All Night Long (1924) User Reviews (4)

some funny moments but I think this could have been constructed better,...

[planktonrules · 6/10 · 7 July 2006]

The film begins with Harry and a security guard catching some robbers in his business. Low and behold, it turns out the guard and Harry once were buddies in WWI and begin to reminisce about the "good old days" back during the war (yes, I have learned from many old films that despite what you think, WWI was a laugh riot). From this point on, the film bounces back and forth between the present and the past. I liked these WWI vignettes, but really felt it would have flowed much better just to have set the film in WWI and not rely on flashbacks. They really tended to disrupt the film and didn't seamlessly integrate into the rest of the action.

As far as WWI comedies go, this was a lot better than many I have seen in that it was a short comedy so they stuffed a lot of humor into a small package. Many full-length ones tended to have more lulls and dead portions and sustaining the mood was more difficult. The best example of this is the terrible Keaton film, DOUGHBOYS (I love Keaton but this was a bad film). Another example, and still a pretty good film was Syd Chaplin's THE BETTER 'OLE--good, but too long to have sustained laughs.

Could watch it All Night Long

[hte-trasme · 29 September 2009]

This wonderful comedy really gives Harry Langdon a chance to appear in a short film that is excellently suited to his comedy in its story and its style. Apart from being extremely funny, it's very distinctive both in content and style. The story, told in flashbacks, is great for Langdon ad really lets him bring his child-man characterization to the fore -- he just doesn't know that Nanette is supposed to be his friend's girl, and he just doesn't know that's he's not suppose to steal his friend's girl right in front of him, and he reactions are wonderfully slowly stunned when this doesn't work out well for him. Not only that, but the gags and character situations are well set-up and very funny. One or two of them -- such the one involving Harry's legs sticking up from a pile of dirt -- are great examples of black humor.

The structure of telling the story mostly in flashback actually allows a lot of space for Harry's little bits of business. I still can't get over how appealing and funny he can be just refracting his character, taking time to give his reflection in the mirror a friendly greeting, and wavering on the line between giving his old buddy another friendly greeting, or being terrified of his gun. The pacing of the comic tension in Harry's routines -- and in moments of danger such as when he lets a hand grenade sit around without being aware of the danger -- are a joy to watch. Vernon Dent gets paired with Harry here in a duo that would prove a very good idea, and he's a great fit for the part of Harry's ever-more-frustrated "buddy." This short is also very memorable for Harry Edward's excellent direction, which very forcefully highlights the story and comedy and also takes advantage of slow motion, contrast and depth, and the moving camera is really creative ways. He makes the studio scenes of the war still look great on film, and those opening shots in the theatre in which Harry has fallen asleep during "Parlor, Bedroom, and Bath" (which apparently was already a joke for being such an old farce -- seven years before Buster Keaton would be shoehorned into an adaptation) and wonderful, memorable, and actually sort of encapsulate Harry's character.

Some of the explosion and battle scenes at the end, possible an adapted version of the old reliable Mack Sennett chase, are a bit superfluous, but they don't really mar the proceedings. This is a truly funny hilarious Harry Landon short that gives him great latitude to perform his comedy and also looks very distinctive and effective as its own piece.

See The Strong Man first, but this is easily the strongest short

[lambchopnixon · 9/10 · 18 April 2011]

This short is certainly much superior to the likes of Remember When, The Luck O' The Foolish or Feet of Mud. Harry is recognised by an acquaintance from their days as soldiers, and we flashback. If you are familiar with the brilliant (in the full control of his unique character) The Strong Man full-length film, then All Night Long works very well as a strong bonus.

All Night Long is marred by camera trickery but Langdon - not being over burdened by plot - is left space for the little bits of business which see him approaching top form. One moment, failing to locate a door after experiencing a kiss, is a perfect example of Langdon's genius.

Harry Langdon's talent and character are perhaps misunderstood due largely to the words of Frank Capra - Langdon's director in the aforementioned The Strong Man - in the Capra's autobiography. Capra was sacked by Langdon and later wrote of him as something of a bewildered, self-important little man who hardly knew what hit him, rather than giving him credit for his great talent. Contemporary reports go by this text having little else. Capra's words should be seen as perhaps motivated not a little by resentment however.

Interesting Setup That Comes Off Pretty Well

[Snow Leopard · 29 November 2001]

This short Harry Langdon comedy has an interesting setup that comes off pretty well. It also provides a good showcase for Langdon's distinctive comedy style, since it places his character in quite a variety of situations.

The story starts when, in the midst of a very unusual situation, Harry runs into an old Army buddy (Vernon Dent), and the two spend "All Night Long" recalling some of the events and escapades that took place in France when they served together in the war (World War I), with their memories played out in Langdon's characteristic style. Most of it works, and there are some good gags.

Langdon liked to play his characters rather differently than did the more familiar comedy greats of the silent era. For anyone who enjoys the silent comedians of the 1910s and 1920s, it's worth seeing a couple of Langdon's features just to get an idea of the different approach that he represents. There are times when he overdoes his child-like style, but he generally makes good use of settings and props, and he had some good writers, including a young Frank Capra, who wrote for this and several of Langdon's other films.