Motion Picture Magazine (Feb-Jul 1927)

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Mildred, Gloria and Harold on the sand in front of the Lloyd beach house Behind Harold's Spectacles . . . there are keen brown eyes which tell you he would have been an outstanding success in whatever he undertook ■t i By MILTON HOWE HAROLD LLOYD walked into the office with a dog that was bigger than a California burro. "Meet the Prince!" said Harold, introducing the one hundred and sixty-five-pound Great Dane to me. Prince shoved out a mitt that was bigger than Wally Beery's hand. I grasped the paw and cemented the friendship. "He's a great dog," said Harold, patting the hound, who lopped out about seven pounds of tongue and licked his master's hand. "How'd you like the picture?" I had met Harold two nights before at a preview of "The Kid Brother," which was held in a Glendale theater. "Great !" says I in the usual Hollywood manner. If you dont know the diplomacy of Hollywood, let me tell you that if a star or a director asks you 24 International Newsreel Two splendid reasons why the film colony has come to think of Harold as a family man how you liked his picture, either say "Great" or "Yes," and nine times out of ten you are right, so far as the star is concerned. "No, seriously, I mean it. How did you like it and what suggestions would you make?" I felt like one of Harold's own bashful comedy characters, and was in the mood to say, "Go along now, Harold. You're just trying to make me feel good." He said he always consulted his barber and people like that to get their reactions to a picture. I have never been a barber, but I have worked in places where they sold scissors, so I didn't feel wholly disqualified in passing judgment. "The Kid Brother" comes closer to being another "Grandma's Boy" than any picture he has made since that time. Harold told me the barber had said the same thing. In "The Kid Brother" Lloyd r {, i