WE DID FIND this little 2 reeler to be surprisingly interesting. This was not because of its central character & liaison to the audience, Miss Lori Lyons; although she was an excellent attribute to the production.
IN WHAT CAN only be called a very high cinematic moment, the movie opens with some unknown fugitive from justice running for his life over some rugged, boulder covered hills. He is injured and shot at; but just when we are most captivated in the mini drama, it all abruptly comes to a halt. We are instantly transported from this hilly hell-hole, where the escaping protagonist has suddenly become bloody and disabled, to a Hollywood sound-stage.
THE DIRECTOR'S SIGNAL to stop action returns us to a reality world. The actor gets an "attaboy" and the narrative turns to Miss Lori and a whirlwind tour of that "hardworking" town of Hollywood. We rapidly move from several studios, Marineland of the Pacific, Ray Corrigan's Western Ranch ("Corriganville" if you please)and several other locations.
IN WINDING THINGS up, Lori has found a beau (who literally gets into the driver's seat) and in a fine example of the circular events in life, the fade-out returns us to the original fugitive running the hill.
BOTH SCHULTZ AND I agree that what we have here is a mildly interesting short subject/audience warmer and antecedent to the cartoon; albeit not very inspired.
IN WHAT CAN only be called a very high cinematic moment, the movie opens with some unknown fugitive from justice running for his life over some rugged, boulder covered hills. He is injured and shot at; but just when we are most captivated in the mini drama, it all abruptly comes to a halt. We are instantly transported from this hilly hell-hole, where the escaping protagonist has suddenly become bloody and disabled, to a Hollywood sound-stage.
THE DIRECTOR'S SIGNAL to stop action returns us to a reality world. The actor gets an "attaboy" and the narrative turns to Miss Lori and a whirlwind tour of that "hardworking" town of Hollywood. We rapidly move from several studios, Marineland of the Pacific, Ray Corrigan's Western Ranch ("Corriganville" if you please)and several other locations.
IN WINDING THINGS up, Lori has found a beau (who literally gets into the driver's seat) and in a fine example of the circular events in life, the fade-out returns us to the original fugitive running the hill.
BOTH SCHULTZ AND I agree that what we have here is a mildly interesting short subject/audience warmer and antecedent to the cartoon; albeit not very inspired.
