En route to the city to find a publisher for his book, a collection of romances in which he plays the amorous hero, The Poor Boy, a shy tailor’s apprentice, meets The Rich Girl and helps conceal her toy dog from the train conductor. The publisher rejects his manuscript, and The Poor Boy, disappointed at his failure, gives up The Rich Girl. Following a change of mind, the publisher sends The Poor Boy an advance of $3,000, thereby provoking him to pursue his true love, who is about to marry a man who already has a wife. In a wild chase, The Poor Boy, using an automobile, motorcycles, horses, and a trolley car, arrives at the church in time to halt the wedding. Tonguetied, he picks up the girl and carries her out of the church. —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
musicalizada por guido y memo, otra experiencia! vientos chavales, les quedó estupendo, se nota el esfuerzo pero sobre todo, el talento