Jimmy Marsh, a bank teller, is in love with Phyllis, daughter of the bank president. Jesse Watson, vice president and cashier, who also seeks the hand of Phyllis, considers investing in a roadhouse owned by bootlegger Tod Powell. Seeing Jimmy intoxicated there, Watson gets Powell to forge Jimmy’s name to a gambling note and later has him discharged. Jimmy falls in with a repertory company and, thanks to Violet—the utility woman and wardrobe mistress—is hired as a stagehand; then, coached by Violet, he becomes the understudy for the villain. When the show plays in his hometown, Violet dons male attire and plays the villain herself. Violet learns that Powell has threatened Watson with exposure; and through her scheming, Jimmy is cleared of the charge and is reunited with Phyllis. —TCM
New York-born writer and director with a penchant for comedy. He graduated from Fordham University, and, from 1916, worked at Kalem on the ‘Ham and Bud’ series (Lloyd Hamilton & Bud Duncan). When Kalem was taken over by Vitagraph, Taylor became feature continuity writer. Sometime after 1920, he joined Hal Roach as a full screenwriter, eventually becoming an integral part of Harold Lloyd’s writing staff. He often worked in tandem with Fred C. Newmeyer as co-director of such comedy classics as Safety Last! (1923) and The Freshman (1925). Among his important solo directing efforts were Harold Lloyd’s For Heaven’s Sake (1926), Exit Smiling (1926), with Beatrice Lillie; Tempest (1928), with John Barrymore and Ambassador Bill (1931),with Will Rogers.
In 1937, Taylor founded Chase Productions in conjunction with his writer-brother Matt and authored the Broadway play ‘Stopover’, which ran for 23 performances at the Lyceum Theatre. Taylor directed Laurel & Hardy in one of their… read more