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7.2/10
Senior Film Conservator
A definitive 7.2/10 rating for a film that redefined the boundaries of cult cinema. Let's Love and Laugh remains a cornerstone of transgressive art.
If you are looking for something to put on while you actually pay attention to your phone, this is the one. It is a very loud movie from 1931 that doesn't really know when to stop poking you in the ribs.
Is it worth watching today? Only if you have a weird obsession with early British sound films or if you’ve run out of literally everything else on your watchlist. People who love fast-talking stage plays will probably dig it. People who hate forced jollity will want to throw their remote at the screen.
The whole thing kicks off with a bachelor party. Our main guy, played by Gene Gerrard, gets absolutely plastered the night before he is supposed to get married. We have all seen this trope a thousand times. But here, it feels especially chaotic because the sound tech back then made every clinking glass sound like a car crash.
He ends up marrying a dancer. Not his fiancée. A dancer. It is the kind of mistake that only happens in movies where characters have the logic of a goldfish.
Gene Gerrard has this energy that is... a lot. He is constantly moving. He is always doing something with his hands or his face. It is exhausting to watch, honestly.
There is a scene in a hallway where he is trying to figure out which room is his. It goes on for what feels like ten minutes. He stumbles, he looks at the camera, he mumbles to himself. It is almost funny, then it stops being funny, then it becomes funny again because of how long it lasts.
The dancer, played by Muriel Angelus, is actually pretty good. She has to play the "sane" person in a room full of idiots. Her reaction shots are the only thing keeping this movie grounded in reality.
I noticed a weird shadow on the wall during the big confrontation scene. It looks like a boom mic or maybe just a very confused stagehand. Nobody bothered to edit it out. I love stuff like that. It reminds you that these movies were basically just filmed plays where everyone was winging it.
The audio is a bit of a nightmare. Sometimes the actors are shouting at the ceiling because that is where the microphone was hidden. It makes the dialogue feel very disconnected from the actual movements of thier mouths.
If you compare this to something like The Battle of Trafalgar, it feels way more claustrophobic. It is mostly just rooms and more rooms. It’s a very indoor movie.
There is a musical number that comes out of nowhere. It isn't particularly catchy. I found myself looking at the wallpaper in the background instead of listening to the song. The wallpaper had these tiny floral patterns that were probably very high-end back in the day.
Why do these characters drink so much? I know it’s the plot, but they drink like they are trying to forget they are in a movie. The "drunk acting" is very old-school—lots of hiccups and swaying. It is not subtle.
I kept thinking about Beach Nuts while watching this. That movie had a similar vibe of "let's just throw people in a room and see if they can be funny." Sometimes it works. Here, it mostly just feels like a lot of noise.
There is a character named George who is supposed to be the comic relief. But since everyone is already trying to be funny, he just ends up being the guy who yells the loudest. His mustache is impressive, though. Very stiff.
The movie starts fast, then hits a wall in the middle. There is a long stretch where they are just explaining the plot to each other. We already know the plot. We saw it happen!
It’s like the writers didn't trust the audience to remember that he married the wrong girl. Yes, we get it. He is in trouble. Move on to the next joke.
I did enjoy the costumes. The evening wear is very sharp. Everyone looks like they are headed to a much better party than the one they are actually at. The hats alone are worth the price of admission.
The ending is exactly what you think it is. There are no surprises here. It wraps up with a shrug and a smile. It is the cinematic equivalent of a lukewarm cup of tea.
I wouldn't say I hated it. I just felt like I needed a nap afterward. The energy is so high but the stakes are so low. It is a strange combination.
If you’ve seen The Peacock Fan, you know how these early talkies can be hit or miss. This one is a mild miss that manages to be charming purely by accident.
The script was written by Frederick J. Jackson and Walter C. Mycroft. You can tell they were used to writing for the stage. There is zero cinematic language here. It is just "point the camera at the person talking."
Actually, there is one shot where the camera moves slightly to the left. I gasped. A camera movement! In 1931! It didn't lead to anything, but it was nice while it lasted.
Is Gene Gerrard a legend? Maybe in his own house. He tries so hard. You can see the sweat on his brow. I respect the hustle, even if the jokes land with a thud most of the time.
Anyway, don't watch this if you are tired. You will fall asleep and wake up wondering why a man in a tuxedo is screaming at a dancer. Actually, that might be a better experience than watching it straight through.
It’s a relic. A loud, dizzy, slightly annoying relic. Watch it if you must.
IMDb —
1916
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