Men O'War

Call me crazy ("Hey, crazy!") but I never enjoyed silent era films. I tried, oh I tried, but each time an actor's mouth moved there was nothing but an awkward silence. Then after what seemed too lengthy of a wait, a placard flashed on the TV screen, reflecting what the actor had just said moments before. I found this to be very distracting, plus it slowed down the natural comedic timing. This lapse between action and dialog, for me, was like watching an entire movie subtitled, and I couldn't square the two up.

That being said, I didn't watch any of the short and feature length "TV reruns" unless they were "talkies." As a kid who was fortunate enough to have a tiny black and white TV set in my bedroom, every Saturday morning before my parents or the Sun were up, I was thoroughly mesmerized by the vaudevillian, overtly physical humor of Buster Keaton, Our Gang (The Little Rascals), The Three Stooges, and of course, Laurel & Hardy.

The first Our Gang (The Little Rascals) talkie was "Small Talk" released in 1929. Buster Keaton's first talkie was "Free and Easy," released in 1930. The Three Stooges (Larry, Moe and Curly) most recognized talkie was The Woman Haters (1934). "Unaccustomed As We Are," released worldwide in 1929, was Laurel and Hardy's film debut with sound. It was an immediate hit with audiences.

Unlike many of their silent film era contemporaries who couldn't make the transition from silent to sound film, Stan Laurel and Oliver Hardy effortlessly slipped into this new media. Both actors had the rare gift of "comedic timing," and the duo knew how to thoroughly exploit sight gags. Moreover, lovable Hardy routinely broke the "fourth wall" of film, and after each hilarious yet tragic gag, he would often look straight at the camera as if to say, "Can you believe what just happened to me?"

"Men O' War" (1929) was Laurel and Hardy's third sound movie. Like the first two, it is a short. The plot is simple: Stan and Ollie are Navy sailors on leave who, while walking through what looks like Echo Park in Los Angeles, meet two attractive ladies also walking through the park. A very shy Ollie invites the giggling women to join them for a soda, but they only have enough money for three people. Afterwards they rent rent a row boat with the women, which turns into a war with the other boaters. From there it escalates into sheer mayhem.

It's all brilliantly performed by two of the most iconic comedic teams in history, and supported by a wonderful set of actors who would often appear in many future Laurel & Hardy shorts and feature length films.

No spoilers here as usual, but I will reveal that this was vaudevillian actor James Finlayson's first venture into a talkie, and it is also the first time (but certainly not the last time) in which we hear his trademark exclamation: "D'Oh!"

Laurel & Hardy are in their sailor outfits again, although there's really no need for them to be other than to emphasise their ineptitude in the second part of the film, which takes place on a boating lake. They come across a pair of bloomers and mistakenly believe they belong to one of a pair of young ladies they meet in the park. Of course, they don't belong to the ladies, but the boys realise this before they can embarrass themselves. That fact alone is an indicator of the high quality of the writing here; a lesser writer would have had the boys making asses of themselves, but the more satisfying pay-off is gained from the audience's sense of relief combined with the idea of what could have happened.

The boys take the girls for a soda. The clerk here is their old nemesis James Finlayson, but he doesn't really have a lot to do here other than squint suspiciously at the boys through one eye and say 'doh!' (nearly sixty years before Homer). Of course they don't have enough money and Ollie decides he and Stan will have to share one between them. You probably know how that works out, and the simplicity of Stan's line is filled with the kind of crackpot – but understandable – logic that typifies Laurel & Hardy's humour.

The ending's a variation on a theme they had used many times before but it still works because it *is* a variation rather than a rip off. This one's definitely worth a look.

Two sailors meet two equally less-intelligent chicks and with a single tiny coin they manage to produce another quality catastrophe. This is how you take the most out of the situation! One hapless situation follows after another, and when you see what kind of sailors these two are you'll think what kind of Captain let them to ruin Navy's honor. When they manage to get the two chicks into the bar you'll know that something is going to happen when the old grim-face Finlayson is seen playing the bartender.

Everything works fine in this small flick, the total chaos that eventually happens doesn't start too early, though unfortunately it feels a bit prolonged one. But before the lousy bit, you have been given a sharp reminder on how good these masters of banal catastrophes were also verbally.

Stan Laurel and Oliver Hardy were comedic geniuses, individually and together, and their partnership was deservedly iconic and one of the best there was. They left behind a large body of work, a vast majority of it being entertaining to classic comedy, at their best they were hilarious and their best efforts were great examples of how to do comedy without being juvenile or distasteful.

Although a vast majority of Laurel and Hardy's previous efforts ranged from above average to very good ('45 Minutes from Hollywood' being the only misfire and mainly worth seeing as a curiosity piece and for historical interest, and even that wasn't a complete mess). 'Men O'War' is one of the best and funniest Laurel and Hardy short films up to this point of their output, one of their best from their overall early work and very nearly one of my personal favourites of theirs. Their filmography, apart from a few bumps along the way, was getting better and better and 'Men O'War' exemplifies this.

Not a lot to criticise here, though the story is a little all-over-the-shop at times and gets a bit confused.

Once again, 'Men O'War' is non-stop funniness all the way, its best part being the riotous ending. There is insane craziness that doesn't get too silly, a wackiness that never loses its energy, the lack of vulgarity that is a large part of 'Men O'War' memorability and the sly wit emerges here, some of the material may not be new but how it's executed actually feels fresh and it doesn't get repetitive.

Laurel and Hardy are on top form here, both are well used, both have material worthy of them and they're equal rather than one being funnier than the other (before Laurel tended to be funnier and more interesting than Hardy, who tended to be underused). Their chemistry feels like a partnership here too, before you were yearning for more scenes with them together but in 'Men O'War' we are far from robbed of that. Their comic timing is impeccable and love the spontaneity that seemed present here.

'Men O'War' looks good visually, is full of energy and the direction gets the best out of the stars, is at ease with the material and doesn't let it get too busy or static. The supporting players are solid, James Finlayson in particular.

Concluding, great. 9/10 Bethany Cox

Sailors on leave, Laurel & Hardy try to impress two girls they meet in a park in this delightful, early sound short.

After misfiring in their first two sound shorts, Laurel & Hardy start to regain their stride in this short film. There is much to commend here. The scene with the boys meeting the girls is very cute, and the misunderstanding about a lost garment was surprisingly risqué for the time. The scene at the soda shop, where the boys, broke as usual, try to marshal their resources to buy drinks for the girls is also quite amusing. The appearance longtime foil Jim Finlayson as the soda jerk adds to the humor of the scene. In the second reel, the boys take the girls out on a small lake in a rowboat which leads to a typical tit-for-tat fight with their fellow boaters. This sequence isn't as funny as similar battles in "Two Tars" or "You're Darn Tootin'," but it shows that the boys are back on the right track.

One of my favorite shorts of this period. I think it benefited from some nice dialogue that actually seemed written. In their first two films, the dialogue seemed too perfunctorily or ad- libbed. Here, for the first time, they seem to be exploring the true possibilities of sound.