The Hoose-Gow

This is the one where Stan&Ollie are accidentally locked outside the prison, and Laurel angrily pounds on the gate to be let BACK IN;while Hardy gives the camera one of those unforgettable looks of disgust.

And the opening title card---"Neither Mr. Laurel or Mr. Hardy had any thoughts of doing wrong. As a matter of fact,they had no thoughts of any kind".

Enormous Tiny Sandford is given the chore of guarding the boys on the work gang, and he takes the brunt of the abuse(gooey soup poured on his shoes;but only after it's been overloaded with pepper).

Actually,putting rice in the radiator IS a good way to stop a leak----but science takes a back seat to laughs and loss of dignity.

And their first prison film wasn't this one,but 1927's THE SECOND HUNDRED YEARS.

Despite their protestations of innocence, Laurel and Hardy find themselves on a prison working on a prison road crew where they make a shambles of an inspection visit by the governor.

"The Hoose-gow" was Laurel & Hardy's sixth talkie short and a step in the right direction in recovering the energy and verve of their best silent shorts. Shot almost entirely outdoors, this film doesn't have the claustrophobic, studio-bound feel that hindered some of their earlier talkies. The sound mix must have had some level of sophistication. Look at some of the road crew scenes. The wind is whipping up the branches on some of bushes right behind them. With the microphones of the time, that dialogue must've been unusable. The dubbing was fine.

The plot of the film is simple but serviceable. Nothing new, but nice. It works its way to a nice, rice throwing battle, which, if not on the level of "Two Tars" or "Big Business," is certainly adequate. The supporting cast is good, featuring the always reliable Tiny Sanford and James Finlayson.

Not a classic, but worth watching. Up to this point, their best talkie with the possible exception of "Men O'War."

Everyone has heard that famous phrase. But what about imitating yourself? Is that still flattery? Laurel and Hardy recycle not one, but two recently-used comedy routines in this short.

Plot In a Nutshell: Two innocent bystanders (Stan Laurel, Oliver Hardy) are swept up in a police raid and sent to prison, where they wreak their usual havoc.

Why I rated it a '5': Overall this is not among L&H's best efforts. When you recycle multiple gags in a 20-minute film, it speaks to a lack of imagination and hints at churning just to get in their quota of 10 shorts a year. For those not aware, the 'loose-top-on-the-salt-shaker' bit was already used in "You're Darn Tootin'" and the 'soggy rice fight' was already used (in the form of pies) in "The Battle of the Century."

Perhaps if you have not seen either of those earlier shorts, "The Hoose-Gow" may seem fresh; but once you realize this, however, one can't help but be less than impressed with this effort. Add to this is the fact that the soggy rice fight isn't particularly hilarious and it just kind of falls flat. Hey, it's still Laurel and Hardy, so it's not a total loss. But in their entire catalog of work, "The Hoose-Gow" is decidedly run-of-the-mill.

5/10. Would I watch again (Y/N)?: Probably not. They did much better work elsewhere.

James Parrot's short film The Hoose-Gow opens with Laurel and Hardy being trafficked to prison after being mistaken for involvement in a hold-up. The two spend their days digging ditches, cutting down trees, and doing the hard manual labor in prison with the comedic longevity expected from two of the greatest masterminds in silent/talkie comedy. The two manage to get themselves into enough physical pain and trouble that makes up for their false prison sentence, but the two push on and try to pay their dues, even if it results in grave injury.

This is one of the first times I've seen where slapstick really works for Laurel and Hardy. The Hoose-Gow doesn't make much of an effort to incorporate a lot of verbal wit, and instead, emphasizes the physical elements. For some reason, perhaps the result of a mood-change or an unconscious desire, I was pleased by the slapstick here, especially during the scenes when Hardy is attempting to cut down a tree and Laurel keeps getting in the way, nearly missing the sharp blade of the pickaxe. Scenes like that provide for slapstick that almost seems improvisational rather than a copout for screen writing.

One can tell, however, this is an early sound-short because of the lack of formal dialog. The Hoose-Gow could've really been a silent short and simply had the timely luxury of being able to be produced with sound. My only assumption to the lack of real conversation was writers at the time, in this case, H.M. Walker, who wrote most of Laurel and Hardy's short films, was just getting used to screen writing with audible dialog, making the early sound-shorts lack the kind of leisurely- paced dialog that would be present in Laurel and Hardy's later shorts. It's not a particular flaw, just a difficultly in adapting on part of the short's crew, but it would've made for a more witty short.

Yet The Hoose-Gow accomplishes a feat I never really thought possible with Laurel and Hardy shorts, which is make them more slapstick driven than dialog driven and have them turn out successful. For that, the film deserves a huge plus, and the fact that this is the most active I've seen both men in any project only adheres to their credibility has fantastic physical performers.

Starring: Stan Laurel and Oliver Hardy. Directed by: James Parrot.

The back-breaking labor! The cruel guards! Laurel and Hardy!

It doesn't take the Boys long to turn a visit from governor Jimmy Finlayson into absolute chaos, with a mud fight that recalls the pie-fight finale from BATTLE OF THE CENTURY. This doesn't add anything new to the franchise. It's simply a typically brilliantly executed series of fun.

The IMDb trivia for this short claims the song played at the start of this picture is "Ain't She Sweet." It's actually "That's My Weakness Now."