The film celebrates motion and freedom in its visual images, exemplified in the frenetic pace of the American automobile. Pop is a good man, but his horse and buggy are slow, and of another era. Although some suspicion of progress might be seen in the way that it imperils the protagonist with machines and how the city officials strive to cheat Jane's 'Pop,' even Pop knows that he can no longer survive driving a horse and buggy and it is time to retire. The lighting of the film is also bright and most of the scenes are bathed in light. Of course, as one of the last silent films, "Speedy" is in black and white, but it is more 'white' than black, in its tones. Coney Island, when the couple goes to see the Yankees is positively awash with light. Even when Jane and Speedy are encased within various shiny rides, they and the other characters dress in summery fabrics, to create a sense of delicacy and sunshine. Unlike Chaplin's "Modern Times" these characters are cogs in the wheels of Coney Island's fun and games, not industrialized machinery. Lloyd's balletic movements never seem to put him at real physical risk because of the film's light visual tones, and the threat of the mob and the city syndicate is never truly threatening. It is more of a plot device to showcase Lloyd's acrobatic art. The brightness also makes it easier for the audience to see the sight gags, like when a crab accidentally gets in Speedy's pocket in a very crowded area, with...
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