A film that was born to disappoint for all sorts of reasons: because it is always sold as a Harold Lloyd film, rather than a film with Harold Lloyd in the lead (and rarely has such a world of differing expectation been hidden in so linguistically subtle a re-arrrangement!); also because the collision of Lloyd with writer-director Preston Sturges is so very exciting it's galling to settle for anything less than perfection. It doesn't help, of course, that the film seems to want to foster that misunderstanding, beginning with an opening flashback to the end of The Freshman that achieves nothing other than show how good for his age Lloyd was in 1947.
Nonetheless, come at it as a Sturges movie, for which he had the inspired idea of casting Lloyd in the lead (alongside his other rep players: Conlin, Pangborn, Kennedy, Vallee) rather than a Lloyd picture with Sturges directing, and you'll have the best chance of cutting through the decades of accumulated hyperbole and finding instead a simple, funny and characteristic Sturges effort, with an absolutely fascinating one-shot leading performance. Then you might even be able to listen to the dialogue: some of it is wonderful; Sturges at his best, and Lloyd delivers it well.
Never mind the back-projected thrill finale - remember this was the late-forties, and communal film-making genius of the sort that could be commandeered for Safety Last was just a memory now.