THREE’S A CROWD seems to have marked the real downturn in Harry Langdon’s fortunes as a star. Frank Capra liked to blame Langdon’s decline on the fact that he didn’t know his own screen character because he, Capra, had created it. Capra got fired from the Langdon organisation and Langdon certainly foundered on his own.
Joseph McBride in The Catastrophe of Success, his highly critical biography of Capra, heaps scorn on this notion, pointing out Langdon’s long stage career, during which he clearly had some kind of comic character worked out. And indeed, Langdon did not have Capra’s help on all of his early shorts.
The real problem with THREE’S A CROWD is construction, although the film certainly fails to make good use of Langdon’s childlike, melancholy and uncanny qualities. The first ten minutes or so is a pretty good standalone short, with Harry as a sleepy removal man. Much use is made of Harry’s odd apartment, which has a street lamp by the bed, and the extremely long external staircase, which looks like something Tati might have had built. The nicest gag involves Harry falling through a trapdoor and dangling from a carpet that’s caught in the trap. He manages to climb the dangling rug, attempts to open the trap to get back inside, and of course releases the carpet which slides further through, Harry still clinging to it. This is repeated until he’s running out of carpet and about to plummet several storeys. Good suspense gag, good convincing comedy physics.
Then the mother and baby arrive and the film goes to crap. Influenced by THE KID, down to a dream sequence which takes the place of honest plot development, Langdon is given no amusing business involving his new foster-fatherhood, and an inert swaddled infant is no substitute for Jackie Coogan. Inviting the comparison was madness. It’s a shame because Langdon has an extraterrestrial quality, even more so than Keaton. He’s a unique presence and his best moments have an unsettling quality much to my taste.
The film does have THIS, however —
Well worth buying these —