Come on Seven

Eddie Quillan decide to go to Reno and run the small sum of money they have into enough to get a child an operation. Along the way they beat each other up and cause general mayhem.

I don't care for Jules White as a comedy director. He began in the late silent era doing comedy shorts that relied on the performers doing the same gags and plots that had worked in the early silent era. With the coming of sound, he added loud sound effects to his repertoire. His shorts division at Columbia was frequently a dead end for classic performers who had to fight White, or work with his more amenable associates to get out of his rut.

Yet as a producer, he offered a lot of people work they wouldn't have had without him, and some were able to climb out and get along elsewhere. For the rest, it was a paycheck, which was no small thing when we don't think of movies as art, but as a business. His was the last live-action comedy shorts division when it closed, driven out of business by television, Which, if not a lot, was something.