Harold invades the "Gilded Guzzle" café, where he appropriates a lady's roll of money, hides under a table and impersonates a cigar store Indian.
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Harold Lloyd has been called the cinema’s “first man in space.” His comedy wasn’t imported from Vaudeville or the British Music Hall like his contemporaries, Charlie Chaplin and Buster Keaton. Harold learned to use the camera the way other comics used a bowler hat or a funny walk. In 1917 he shed the comedic clown personas prevalent in comedy for hundreds of years and pioneered romantic comedy by the ordinary guy up on the screen –- a guy with faults, and fears, “the boy next door.” With his young man in horned-rimmed glasses, he created classic films.
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Snub Pollard (9 November 1889 – 19 January 1962) was an Australian-born vaudevillian, who became a silent film comedian in Hollywood, popular in the 1920s. Born Harold Fraser, in Melbourne, Australia on 9 November 1889, he began performing with Pollard's Lilliputian Opera Company at a young age. Like many of the actors in the popular juvenile company, he adopted Pollard as his stage name. The company ran several highly successful professional children's troupes that traveled Australia and New Zealand in the late nineteenth and early twentieth century. In 1908, Harry Pollard joined the company tour to North America. After the completion of the tour, he returned to the US. By 1915 he was regularly appearing in uncredited roles in movies, for example Charles Epting notes that Pollard can clearly be seen in Chaplin's 1915 short By the Sea. In later years, Pollard claimed Hal Roach had discovered him while he was performing on stage in Los Angeles. Pollard played supporting roles in the early films of Harold Lloyd and Bebe Daniels. The long-faced Pollard sported a Kaiser Wilhelm mustache turned upside-down; this became his trademark. Lloyd's producer, Hal Roach, gave Pollard his own starring series of one- and two-reel shorts. The most famous is 1923's It's a Gift, in which he plays an inventor of many Rube Goldberg-like contraptions, including a car that runs by magnet power. In early 1923, shortly after his second marriage, Pollard returned with his wife Elizabeth to see his relations in Australia. His visit attracted considerable attention, and he appeared again in several theatres to speak about the motion picture business. On his return to the US, he left Roach and joined the low-budget Weiss Brothers studio in 1926. There he co-starred with Marvin Loback as a poor man's version of Laurel and Hardy, copying that team's plots and gags. In later years, Pollard claimed the Great Depression wiped out his investments, and he had been unable to "adjust to the talkies." However, in the 1930s, he played small parts in talking comedies, and was featured as comic relief in "B" westerns. Pollard's silent-comedy credentials guaranteed him work in slapstick revivals. He appeared with other film veterans in Hollywood Cavalcade (1939), The Perils of Pauline (1947), and Man of a Thousand Faces (1957). He also appeared regularly as a supporting player in Columbia Pictures' two-reel comedies of the mid-1940s. Forsaking his familiar mustache in his later years, he landed much steadier work in films as a mostly uncredited bit player. He played incidental roles in scores of Hollywood features and shorts, almost always as a mousy, nondescript fellow, usually with no dialogue. Snub Pollard died of cancer on 19 January 1962, aged 72, after nearly 50 years in the movie business. His interment was at Forest Lawn Memorial Park (Hollywood Hills). For his contributions to motion pictures, Pollard has a star on the Hollywood Walk of Fame at 6415½ Hollywood Boulevard.
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From Wikipedia Bebe Daniels (January 14, 1901 – March 16, 1971) was an American actress, singer, dancer, writer and producer. She began her career in Hollywood during the silent film era as a child actress, became a star in musicals such as 42nd Street (1933), and later gained further fame on radio and television in Britain. Throughout her career, Daniels appeared in 230 films.
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William Gillespie (24 January 1894 – 23 June 1938) was a Scottish actor. Gillespie started in Hollywood films from the silent era. He played in about 180 films between 1915 and 1939, although his appearances were often uncredited. Gillespie frequently appeared in Hal Roach comedies from 1917, usually as stuffy official or manager. He supported such "slapstick comedians" as Charlie Chaplin, Charley Chase, Our Gang, and Laurel and Hardy, but was most prolific supporting Harold Lloyd in 60 films.
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Helen Gilmore (born Antoinette A. Field, c. 1872 – April 1936) was an American actress of the stage and silent motion pictures from Louisville, Kentucky. She appeared in over 140 films between 1913 and 1932. In approximately 1872, Gilmore was born to Richard Field and Mary Cilia Daniels. In 1894, she toured with comic actor Stuart Robson's company, even substituting, on at least one occasion, for Mrs. Robson—the temporarily unavailable May Waldron—in the role of Adriana in Shakespeare's A Comedy of Errors. It was during that tour that Gilmore met and married fellow cast member (and fellow Kentuckian), Joseph B. Zahner, hurriedly tying the knot at New York's City Hall on Friday, July 13. Scarcely five years later, Zahner, then 33, suffered a fatal heart attack. Between 1910 and 1913, Gilmore appeared on Broadway in 4 musical revues: Deems Taylor's The Echo, Manuel Klein's Around the World and Under Many Flags (both at the New York Hippodrome), and Oscar Straus's My Little Friend. Shortly thereafter, she made her screen debut in A Female Fagin. As Mrs. Hobbs in A Petticoat Pilot (1918), Gilmore was commended for her careful character study. The Paramount Pictures film was directed by Rollin S. Sturgeon and was based on the novel by Evelyn Lincoln. She played the head nurse in Too Much Business (1922). This was a comedy which originated with a Saturday Evening Post story by Earl Derr Biggers. In it Gilmore was cast with Elsa Lorimer and Mack Fenton. Her final motion picture credit is for the role of a motorist in the Laurel and Hardy short Two Tars (1928).
