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6.7/10
Senior Film Conservator
A definitive 6.7/10 rating for a film that redefined the boundaries of cult cinema. Lambchops remains a cornerstone of transgressive art.
If you like old-timey jokes and don't mind a movie that looks like it was filmed in a basement, then yes. It's very short and pretty sweet.
People who hate wordplay or can't stand high-pitched voices will probably want to throw their laptop out the window. But if you appreciate comedy history, it's a gem.
It's weird to think that back in 1929, people were probably blown away just hearing them talk. Now, it feels like watching a very talented relative perform at a family reunion.
The first thing I noticed is how awkward George and Gracie look at the very start. They kind of wander into the frame like they got lost on the way to the bathroom.
George has this look on his face like he’s trying to remember if he left the stove on. He just stands there with his cigar, waiting for Gracie to say something ridiculous.
And boy, does she deliver. Gracie Allen is a powerhouse of nonsense logic.
She spends the whole time trying to convince George she's smart. Her idea of being smart is just explaining things in the most confusing way possible.
It reminds me a bit of the energy in Madcap Madge, where the lead girl is just doing her own thing. But Gracie is much more precise with her delivery.
There is a bit about a lamb chop (hence the title) that goes on for a while. It's a classic vaudeville routine, but you can tell they haven't quite figured out how to act for a camera yet.
In a theater, you project to the back row. Here, they are right in your face, and it feels a little intense.
I love Gracie's dress, by the way. It has these long fringes that look like they’d be a nightmare to keep clean.
She keeps fidgeting with a fan too. It’s a small detail, but it makes her feel more like a real person and less like a character.
The audio is a bit crunchy. You can hear the background hiss of the early recording tech, which actually adds to the charm.
It’s not as polished as something like The Patent Leather Kid, but it has more soul. It feels raw.
Towards the end, they just… start dancing? It’s very sudden.
One minute they are talking about families and the next, they are doing a little soft-shoe routine. George is surprisingly graceful for a guy who looks like a grumpy accountant.
The way the music kicks in is a bit jarring. It’s like someone just hit 'play' on a phonograph in the corner of the room.
I noticed the floor looks a bit scuffed up. It’s these tiny things that make me realize this was just a job for them back then.
They weren't making 'cinema.' They were just filming their act so they could reach more people.
If you've seen The Klynick, you know how weird these early shorts can be. This one is much more coherent though.
It doesn't try to be a 'profound exploration' of anything. It’s just two pros doing what they do best.
I think the movie gets better once you realize George isn't actually mean to her. He’s just the anchor for her chaotic ship.
The 'dizzy' act could have been annoying, but Gracie makes it feel like she's the one in on the joke. Like she knows she’s confusing him and she’s loving it.
One reaction shot of George lasts about two seconds too long. You can almost see him waiting for the director to yell 'cut.'
Anyway, it’s a fun little slice of history. Go watch it if you have ten minutes to kill and want a smile. 🤡
IMDb 6.3
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