Release Date: 18. June
Pre-Order: N/A
United States
1923
84 minutes
Black and White
1.37:1
Silent
• New 2K digital film restoration
• Musical score by composer Carl Davis from 1989, synchronized and restored under his supervision and presented in uncompressed stereo on the Blu-ray edition
• Alternate score by organist Gaylord Carter from the late 1960s, presented in uncompressed monaural on the Blu-ray edition
• Audio commentary featuring film critic Leonard Maltin and director and Harold Lloyd archivist Richard Correll
• Introduction by Suzanne Lloyd, Lloyd’s granddaughter and president of Harold Lloyd Entertainment
• Harold Lloyd: The Third Genius, a 104-minute documentary from 1989
• Three newly restored Lloyd shorts: Take a Chance (1918), Young Mr. Jazz (1919), and His Royal Slyness (1920), with commentary by Correll and film writer John Bengtson
• Locations and Effects, a new documentary featuring Bengtson and special effects expert Craig Barron
• New interview with Davis
• PLUS: A booklet featuring an essay by critic Ed Park
Pre-Order: N/A
United States
1923
84 minutes
Black and White
1.37:1
Silent
• New 2K digital film restoration
• Musical score by composer Carl Davis from 1989, synchronized and restored under his supervision and presented in uncompressed stereo on the Blu-ray edition
• Alternate score by organist Gaylord Carter from the late 1960s, presented in uncompressed monaural on the Blu-ray edition
• Audio commentary featuring film critic Leonard Maltin and director and Harold Lloyd archivist Richard Correll
• Introduction by Suzanne Lloyd, Lloyd’s granddaughter and president of Harold Lloyd Entertainment
• Harold Lloyd: The Third Genius, a 104-minute documentary from 1989
• Three newly restored Lloyd shorts: Take a Chance (1918), Young Mr. Jazz (1919), and His Royal Slyness (1920), with commentary by Correll and film writer John Bengtson
• Locations and Effects, a new documentary featuring Bengtson and special effects expert Craig Barron
• New interview with Davis
• PLUS: A booklet featuring an essay by critic Ed Park
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