Harold Lloyd's talking films were a mixed bag, lacking the visual thrills of his "Safety Last" type comedy where dangerous situations got laughs out of amazing photography and choreography. Fans of his silents will be disappointed by the lack of this style, because now with a voice, he was like everybody else struggling for laughs in talkie comedy. His early talkies were filled with a few of the qualities of his silents, but by the end of the 1930's came around, he seemed to loose heart even though his films were still above average in the comedy genre.Taking the legend of Harold Lloyd, the silent star, out of the train of thought, "The Milky Way" is still a good film, with some funny moments and certainly filled with a fantastically huge supporting cast and excellent direction. Leo McCarey, one of the finest writers and directors of the 1930's, had a semi classic with thus that does not deserve to be so easily dismissed.The story has Lloyd as a well spoken and friendly milkman who ends up in the fight game when he comes to the rescue of his sister (Helen Mack), beating up professional fighter Lionel Stander and ending up coached by Stander's manager (Adolph Menjou) to become the country's latest champ. Seductive Verree Teasdale takes classical music to train him, while Lloyd has a funny scene showing society matron Marjorie Gateson how to block hits, then later imitates a naying pony. This isn't all laughs, though, with Lloyd concerned about the horse that pulled his milk truck. Still, it's pretty good as a whole, but it is necessary to look at Lloyd in a different light when viewing this and his other talkies.

Turner Classic Movies often has a Harold Lloyd marathon, and sometimes Lloyd's daughter is on hand with an introduction. She and TCM have apparently brought a multitude of new fans to him, and he deserves every one.In "The Milky Way" Harold Lloyd outdoes even himself, and that is (as it is intended) high praise.Far and away better than the remake with the execrable Danny Kaye, this movie has a terrific cast and good script. Helen Mack, one of my particular favorites, gets a rare chance to shine, and she grabs that chance and really does shine in a marvelous performance. Adolphe Menjou, another of my favorites, is just great, nicely underplaying a character role. Actually, everyone seems to be just about perfect in their roles.Add good directing, good writing, and the whole experience is thoroughly enjoyable.You don't have to wait for TCM to bring it around: There is a version at YouTube: https://www.youtube.com/watch?v=F0x128sbn74

A comedy with Lloyd, Menjou, Verree Teasdale, Helen Mack, W. Gargan, directed by a distinguished craftsman. Menjou is at his best, very believable as a dishonest manager.It is slapstick with a reek of folksy artfulness, but the thoughtful plot also has this neat dramatic dimension, required by Lloyd's style, which elicited, entailed this dramatic sharpness; his character was unusual and surprising among the peers, with unexpected means, and skillful in his own way, a naughty wag, determined not to be a victim, which makes the role so truth-like and folksy, with a certain folk realism, slyness and cleverness, a survivor, not at all helpless or clueless, he has his own merry pranks. The lead's slapstick was extravagant (the parades with bagpipes, the horses, already the lion, the flying hat) and baroque, compared to Keaton's.The protagonist is a proletarian. His _naivetés proceed mainly from inexperience (the puddle, the sportive delusions), not from imbecility, he has a gleam of cleverness. His story synthesizes two lines of realism, a modern popular one, and a folkloric one, reminding of the legendary jesters, and the movie's outlook needs to be explained by both of them, plus the extravagant slapstick, whether satirical (the lion, the hat, the bagpipes: the milkman's delusions of glamor …), or not. The milkman is decent and kind (and reasonably gullible in a milieu unusual for him), but not an idealist (this would be a type of lead unknown to the school of folkloric humor).Of the three ladies, Helen Mack plays the milkman's sister, Verree Teasdale the heartless blonde (Miss Westley).Menjou gives one of his best performances as the unprincipled, scheming and shrewd manager, he has an astounding ease.W. Gargan, who is very likable and handsome, plays Speed, Burleigh's future brother-in-law.So, a work of thoughtful and crafty comedy; the engine is the storyline, very polished. Some of the characters are glamorous (Miss Westley, the manager, Speed), others not (the sister and the girlfriend); there is a blockhead, Spider, but even him is the generic blockhead of the '30s comedies, not a slapstick one. Lloyd had this possibility of folk drama, because there is something dramatic in his character's struggle to survive. The movie begins with his humiliations, and he finds the way to upstage them all, he finds a makeshift. His Burleigh is sometimes clumsy, but neither naive, nor humble, he vanquishes the wealthier and their routine. He's sly.

This entertaining film deals with a timid milkman named Burleigh Sullivan (the name of the lead character, "Burleigh" is an inside joke since it sounds like "burly" which means 'strongly and heavily built, husky' which the character is not) . Sullivan (Harold Lloyd), somehow knocks out a boxing champ in a brawl. The newspapers get hold of the story and photographers even catch Burleigh knock out Speed again . Speed's crooked manager (Adolphe Menjou) decides to turn Burleigh into a boxer . Burleigh doesn't realize that all of his opponents have been asked to take a dive. Thinking he really is a great boxer , Burleigh develops a swelled head which puts a crimp in his relationship with pretty girl called Polly Pringle (Dorothy Wilson) . He may finally get his comeuppance when he challenges fighter Speed (William Gargan) for the title. So the sleazy manager decides to substitute him with Sullivan , who is now groomed for stardom. Naive Burleigh does everything the crook says, only to be blamed when it all explodes in their faces big time. This light-hearted comedy and enjoyable story is basically a showcase for the many talents of Lloyd , as a frail man mistaken for a potential champion and probably to be Harold's last classic picture . The yarn is appropriate , but no equal to Lloyd previous silent productions. Amusing acting by Harold Lloyd as a shy milkman Burleigh Sullivan who accidentally knocks out drunken Speed McFarlane, a champion boxer who was flirting with Burleigh's sister . Harold plays a milque-toast weak man , a funny and totally extroverted Lloyd who thinks he really won all those fights that he was signed up by crooked manager Adolphe Menjou who shows to have a big flair for slapstick comedy . Features great support cast such as Helen Mack , William Gargan and Lionel Stander will repeat his role from this original version ten years later and film debut of Anthony Quinn. Producer Samuel Goldwyn bought the rights for the property in the mid-1940s for his remake The kid of Brooklyn (1946), as well as the original negative and almost all existing prints, and destroyed them. The ending struggle scenes for the championship is hysterically fun , an adequate material for Harold LLoyd's physical skills . Beautifully filmed in black and white cinematography as well as atmospheric musical score . It proved to be a very profitable film , being this original rendition with Lloyd and McCarey crisper and funnier than subsequent retelling . The motion picture was professionally directed by Leo McCarey ; however , when director was in the hospital, Norman Z. McLeod directed some of the scenes . The film is definitely for the lighthearted.This flick has been adapted several times , as firstly the original play opened at the Cort Theatre in New York on 8 May 1934 and closed in July 1934 after 63 performances , titled the Milky Way (1934) , written by Lynn Root and Harry Clork , directed by William W. Schorr with a cast formed by : John Brown, Brian Donlevy (as "Speed McFarland"), Leo Donnelly (as "Gabby Sloan") , Edward Emerson, William Foran, Gladys George (as "Anne Westey"), Emily Lowry, Hugh O'Connell (as "Burleigh Sullivan") . And reworked a decade later by Samuel Goldwyn as The kid from Brooklyn (1946) , it even features some of the same supporting characters the Lloyd version . The big difference is the addition of the songs , the players are : Danny Kaye as Burleigh Sullivan, Virginia Mayo as Polly Pringle , Vera-Ellen as Susie Sullivan , Steve Cochran as Speed McFarlane , Eve Arden as Ann Westley , Walter Abel as Gabby Sloan , Lionel Stander as Spider Schultz . Furthermore , The Hedda Hopper Show - This Is Hollywood" broadcast a 30 minute radio adaptation of the movie on March 22, 1947 with Danny Kaye and Virginia Mayo reprising their film roles. And finally a special version titled ¨The Calcium kid¨ (2004) starred by Orlando Bloom , Michael Lerner , Billie Pipper , David Kelly ,in which an English bachelor milkman, 'accidentally' knocks down his boxing club's champion as stand-in sparring partner.