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Wait--what? The fabulous double take.


slaytonf
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I'm a big fan of Billy Gilbert's double takes, which always seem to be believable expressions of an endearing but naturally slow-on-the-uptake character, rather than being artificially milked for effect.  For example, this memorable scene from His Girl Friday, starting around the 1:04 mark of this clip (and also at the very end):

Frank Morgan and Harold Lloyd also spring to mind as masters of this sort of "naturalistic" double-take.

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American Fable.

At the (Very) End of This Fantastic Indie (soft core) horror Gem; The Heroine of This Stellar Tale is in a barn, behind her house; tending to a deer she accidentally hit.    She Here's a Comotion outside; steps outside herself, and is met by an Absolutely Amazing, Extraordinary Visitor. A Visitor Whom She is VERY Familiar.

 

Her Ensuing Expression is Precious and Golden. 🎨

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In 1955's Three for the Show, I love Betty Grable's double take after Jack Lemmon, standing with the ushers handing her flowers during her curtain call, gives  her a dozen roses.  After she accepts them and turns away, she realizes he's her husband who has been Missing-In-Action for the past two years.

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One of my faves is a double take which occurs when the expected one doesn't, when Joe E. Brown blithely accepts Jack Lemmon's revelation that he's a man, so that Jack has to do a puzzled (and actually probably funnier) double take as a result (in Some Like It Hot, of course). Wilder's clever withholding of Brown's expected reaction adds to the payoff when Lemmon gets the honors.

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