Nothin’ Dirty Goin’ On: THE CHEYENNE SOCIAL CLUB (National General 1970)

THE CHEYENNE SOCIAL CLUB isn’t a great movie, but it’s not a bad one, either. It couldn’t be; not with all that talent in front of and behind the cameras. You’ve got two legendary leads, James Stewart and Henry Fonda , Oscar winner Shirley Jones, Gene Kelly in the director’s chair, and John Wayne’s favorite cinematographer William Clothier . Still, the film, while amusing, should’ve been so much better.

The story’s fairy simple: two old Texas cowhands, John O’Hanlon (Stewart) and Harley Sullivan (Fonda) are plying their trade when John receives a letter. Seems John’s brother has died and left him an inheritance – The Cheyenne Social Club in Cheyenne, Wyoming. John and his old pal head north, and it turns out The Cheyenne Social Club is a cathouse, run by Madame Jenny (Jones), and she and the girls warmly greet the perplexed duo. Uptight John, who’s always wanted to be a “man of property”, decides he’s going to fire the girls and open a boarding house, but Harley doesn’t seem to mind the set-up, sampling all the fine young wares!

The girls are upset when John gives them the news, and the townsfolk are up in arms. There’s an obligatory barroom brawl which lands John in the pokey, and he then discovers if he gets rid of the girls, he loses the property, due to an agreement his brother, “the late DJ”, made with the railroad. Jenny receives a brutal beating from irate customer Corey Bannister, and John straps on his shootin’ iron (even though he’s “no hand with a gun”) and goes after him. Thanks to Harley’s inveterate habit of cracking nuts, John wins the gunfight, only to have the entire Bannister clan descend on Cheyenne for the inevitable shootout scene….

Critics of the time called the film “smutty”, but it’s pretty harmless when seen today. There’s a lot of chuckles to be had, but like I said it’s not the great movie it could’ve been. The problem as I see it is two-fold, the first being Gene Kelly’s meandering direction. Kelly is my favorite among Golden Age dancers (sorry, Fred Astaire), and co-directed one of my all-time favorite films, SINGIN’ IN THE RAIN. But his career as a solo director was hit-or-miss, and the pacing in this Western comedy is off by a country mile. Someone like Burt Kennedy would’ve had a ball with this material, but Kelly is out of his element. Then again, James Lee Barrett’s script doesn’t help matters. It’s far too talky and lacks characterization. Only the three main stars get anything resembling distinctive, motivated parts; everyone else is a cardboard cut-out.

Fonda and Stewart, of course, can do no wrong. The two actors had been friends since their salad days at the University Playhouse on Cape Cod, and became lifelong friends despite the differences in their personalities. Both men became major stars, and appeared together in three films: the 1948 anthology ON OUR MERRY WAY, the Western drama FIRECREEK (1968), and this one (both were in the all-star HOW THE WEST WAS WON, but appeared separately). Jimmy’s still being Jimmy here, but the usually taciturn Fonda’s Harley is a garrulous, randy old coot, and gives the funnier performance. Stewart and Fonda never let their political differences get in the way of their friendship (something sorely lacking today), and even got to satirize it in this exchange:

John: “Solid, respectable, Republican business. That’s what makes America, Harley.”

Harley: “Our folks were Democrats, John.”

John: “Yeah, and where did it get you. A lifetime on the range and sweat in the summer and freezin’ in the winter, and sleeping on the ground and fightin’ wolves and the rattlesnakes… oh no, Harley. There can’t be a finer calling in the world than being a Republican businessman.”

Harley: “I don’t like to dispute you, John, but didn’t you always vote Democratic?”

John (in that trademark Jimmy Stewart hemming and hawing): “Wal, wal, that was when I didn’t know any better.”

And later in the exchange – Harley: “John, you don’t mind if I still vote Democratic, do you?”

John: “Just so long as you’re not seen with me when you do it. Be bad for business.”

Shirley Jones won the Oscar for playing a prostitute in ELMER GANTRY, and she’s a bawdy good time here. Her Jenny is the only one of the girls – Sue Ane Langdon , Jackie Joseph, Elaine Devry, Jackie Russell, Sharon DeBord, all capable actresses – with a fully fleshed out character. Jean Willes is entertaining as Alice, a saloon girl with her sights set on Harley, but again she’s just a stock character, as are the other Familiar Faces here: John Dehner, Dabbs Greer, Myron Healy, Arch Johnson, Robert Middleton, J. Pat O’Malley, Charles Tyner, Jason Wingreen. I’ll usually watch THE CHEYENNE SOCIAL CLUB whenever it’s aired (and have many times), but I can’t help but wonder how much better it could’ve been with tighter direction and a richer script. James Stewart and Henry Fonda together on film for the last time is what makes it worthwhile for me.

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Hooray for Harold Lloyd!: MOVIE CRAZY (Paramount 1932)

Harold Lloyd  made a smooth transition from silent films to talkies beginning with 1929’s WELCOME DANGER. Unlike Charlie Chaplin (who stubbornly clung to making silents until 1940), and Buster Keaton (whose MGM contract took away much of his artistic freedom), Lloyd retained both his comic visual style while integrating verbal gags in the new medium and kept control of the pictures he made. And while his popularity had begun to wane by the 1930’s, Harold Lloyd’s early talkies are definitely worth watching – because they’re flat-out funny! Case in point: 1932’s MOVIE CRAZY.

MOVIE CRAZY is one of those “Hollywood-behind-the-scenes” stories you know I love so much, so it automatically scored cool points with me! Kansas farm boy Harold Hall lives with his parents and daydreams of being a movie star. One day, he sends his picture and a letter to Planet Films exec O’Brien – only the inept Harold accidentally sends a pic of a collar-ad, good-looking guy instead of his nerdy self! O’Brien sends a reply asking Harold to come to Hollywood for a screen test, and the bumbling bumpkin goes west, immediately causing havoc at a location shoot. It’s also here he first lays eyes on actress Mary Sears, in character as a Spanish senorita.

One funny scene (among many) has Harold caught in a rainstorm, chasing his errant shoe as it floats down the street, finally landing on his keister and splashing Mary, now out of costume (though he doesn’t realize it’s the same person) and having car problems. His attempts to help her result in a series of comic mishaps, and earns him the nickname “Trouble”. She takes him home to get out of his wet clothes (wearing one of her outfits!) and her actor boyfriend, the drunken lout Vance, bullies our Harold. His screen test is a bust, though he’s led to believe he’s a hit, and Mary dumps him when she finds out he’s cheating (actually with her, as the senorita!), all culminating with Harold attending a swanky studio party, where he mistakenly switches jackets with a stage magician, causing more chaos with a water-squirting boutonniere, rabbits, and a box of white mice. Dejected, rejected, Harold gets beat up at the studio by the obnoxious Vance. When he comes to, a scene being filmed makes him think Vance is really assaulting Mary, and he finally vanquishes the bully, winding up with a studio contract, and Mary to boot!

There’s so many laughs in MOVIE CRAZY I could barely stop and take notes! Harold’s clumsy, naïve yet likeable persona serves him well as the hayseed in Hollywood, and he and costar Constance Cummings (Mary) make a cute couple. Spencer Charters as O’Brien takes the brunt of Harold’s ineptitude, and Kenneth Thomson’s Vance makes a hissable villain. Among the Familiar Faces are Louise Closser Hale as the studio boss’s dowager wife, Arthur Housman as a soused partygoer, and Grady Sutton in a brief but memorable cameo. The backstage scenes are well done, giving us a glimpse of those halcyon days of early talkies.

A plethora of writers worked on MOVIE CRAZY: the story’s credited to Felix Adler , John Grey, and Agnes Christine Johnson, screenplay to Vincent Lawrence, and ‘continuity’ to Lex Neal, Frank Terry, and Clyde Bruckman (with an uncredited assist to Lloyd and “Nancy and Sluggo” creator Ernie Bushmiller!). Bruckman also gets the director’s credit, though Lloyd had to take over much of the time due to Bruckman’s hard-drinking ways. Clyde Bruckman had been around since the early days of slapstick comedy, and worked with all the greats: Buster Keaton, W.C. Fields , The Three Stooges , Laurel & Hardy, so many others. His drinking curtailed his directorial career (his last was Fields’ MAN ON THE FLYING TRAPEZE), but he could still get work as a gag man. However, Bruckman had a habit of “borrowing” (some would say stealing) old material and reworking it (The Stooges’ short LOCO BOY MAKES GOOD repeats the magician’s coat routine almost verbatim). Lloyd and his lawyers sued Bruckman’s then-employers, Universal, when evidence of this “borrowing” became blatant, and Clyde Bruckman never worked in features again. He was persona non grata around town, though  Abbott & Costello did hire him for their TV series, where his penchant for recycling other comedians’ old material once again found him in hot legal waters. Drinking heavily, unemployable, and nearly destitute, Bruckman borrowed a gun from his old friend Keaton and blew his brains out in a restaurant bathroom in 1955.

*ahem* well, that was a bit of a downer, wasn’t it? Instead of pondering the fate of the unfortunate Clyde Bruckman, let’s instead celebrate Harold Lloyd and MOVIE CRAZY, a hilarious concoction of comedy from an artist too often overlooked by modern audiences:

Campus Kooks: The Ritz Brothers in LIFE BEGINS IN COLLEGE (20th Century Fox 1937)


I haven’t posted anything on The Ritz Brothers since January of 2016 , so when TCM aired a trio of their films this weekend, I chose to review what I consider their best solo effort, 1937’s LIFE BEGINS IN COLLEGE. This was their first name-above-the-title movie, and features Harry, Jimmy, and Al at their zaniest, with the added bonus of comedienne Joan Davis as a kooky coed with her sights on Native American football hero Nat Pendleton.

Collegiate musical comedies were a popular sub-genre in the 30’s: COLLEGE HUMOR, PIGSKIN PARADE, COLLEGE SWING, COLLEGE HOLIDAY, et al, so it seemed the perfect milieu for the Ritzes to showcase their peculiar brand of nuttiness. The story is typical campus corniness, as George “Little Black Cloud” Black arrives at Lombardy College (crashing his motorcycle for an entrance) wanting to join the football team, and immediately developing a rivalry with football team captain Bob. There’s Coach O’Hara, in danger of losing his job after three losing seasons, and his daughter Janet, a love triangle with Janet, Bob, and Southern belle Cuddles, and of course the Big Game against Midwestern, where it’s revealed George is ineligible to play because of his pro past.

However, the plot is strictly secondary to the Ritz lunacy. They’re a trio of tailors who’ve been working their way through college for seven years, without much success (they’re lousy tailors!). They befriend George, who suffered a hazing by Bob and his jock friends early on, and find out the kid’s loaded (Oklahoma oil wells), which he doesn’t want the other students to know about. The brothers act as a “front” and give the dean a huge endowment ( driving him crazy in the process!), with the provision that Coach keeps his job and they get to play on the team (they’ve been sitting on the bench those seven years!). This is all an excuse for the boys to show off their precision timing in some nonsensical song-and-dance routines (a hilarious ‘Latin’ number with Harry in drag, an ‘Indian’ number with them as not-so-brave braves, the fan favorite ‘Spirit of ’76’), and the physical and verbal clowning that made other comedians green with envy! Of course, they get into the Big Game in the final two minutes, and almost blow it before making one of the most ridiculous winning touchdowns in the history of these college football moves!

Gloria Stuart  makes a pleasing Janet, and even gets to sing “Why Talk About Love?” (though I think she’s dubbed), but Dick Baldwin as Bob is dull as a butter knife. Nat Pendleton talkum like Tonto as George, but his comic timing is solid and he’s believable as an athlete (he won a Silver Medal in wrestling at the 1920 Olympics). Joan Davis was a fine clown in her own right, and performs a solo number highlighting her limber slapstick moves. Tony Martin’s on hand as a band leader, though he doesn’t get to do much except introduce the tune “Sweet Varsity Sue”. Veteran Fred Stone is the Coach, and among the Familiar Faces you’ll find two very young actors: a pre-noir Elisha Cook Jr. as the team manager, and a pre-horror Lon Chaney Jr. as one of the football players!

But LIFE BEGINS IN COLLEGE is all about The Ritz Brothers, and as you watch, you’ll find out where comics like Sid Caesar, Danny Kaye, and Jerry Lewis learned their schticks. No less than Mel Brooks called Harry Ritz “the funniest man ever” – high praise coming from a comic genius like Mel! If you’ve never experienced the comedy of The Ritz Brothers, this film’s a good place to start. OR…. you can start here, with this rare clip of Harry, Jimmy, and Al’s appearance on the 1961 TV series JACKPOT BOWLING, hosted by another of their admirers, Milton Berle:

Smashmouth Football: Burt Reynolds in THE LONGEST YARD (Paramount 1974)

Dedicated to the memory of Burt Reynolds (2/11/1936-9/6/2018)

If it was producer Albert Ruddy’s idea to team macho actor Burt Reynolds with macho director Robert Aldrich for THE LONGEST YARD, then the man’s a bloody genius (Ruddy was no stranger to machismo himself, having previously produced THE GODFATHER)! This testosterone-fueled tale of an ex-NFL star turned convict, forced to assemble a football team of hardened criminals to take on the sports-mad warden’s goon squad of guards, is one of Burt’s best vehicles, and a comeback of sorts for Aldrich, who hadn’t scored a hit since 1967’s THE DIRTY DOZEN . Both men hit the end zone with this sports-themed film, and led the way for an onslaught of football films to come.

Former star quarterback Paul Crewe (Reynolds), who was thrown out of the NFL in a points shaving scandal, finds himself under arrest after fighting with his girlfriend, stealing her car, and leading the Miami police on a drunken car chase. He’s sent to Citrus State Prison, where Warden Hazen (Eddie Albert ) is a huge football fan obsessed with winning the prison league championship. Hazen wants Crewe to help coach his team, but the con balks at the idea, earning the wrath of Hazen and Captain Knauer (Ed Lauter).

After taking his lumps, Crewe agrees to put together a team of cons to play a tune-up game with the guards. Along with veteran con and ex-New York Giant Nate Scarboro (Michael Conrad), Crewe assembles a team of the biggest miscreants in stir, coaching them to be viscious, violent, and mostly importantly, cheat! Hazen sends around his trustee Unger (Charles Tyner) to spy on the team, now-dubbed ‘The Mean Machine’, and when he gets busted for being a rat he tries to kill Crewe with a booby trap, only to murder team manager and supreme scrounger Caretaker (James Hampton) instead. The day of the big game finds The Mean Machine up big at halftime, until Hazen warns Crewe his team must lose or he’ll face an additional twenty years as an accessory to Caretaker’s death….

THE LONGEST YARD, Ed Lauter, Eddie Albert, 1974
Macho Men: Robert Tessier, Burt, Sonny Sixkiller

Burt knew a thing or two about football, having played briefly for Florida State before injuries curtailed his college career. He certainly looks the part of an ex-jock, and carries himself well on the field. Eddie Albert is a real slimeball as Warden Hazen, obsessed with football and his own little power trip. All the actors are of the tough guy variety, above all Robert Tessier as Shokner, “the very baddest cat in the joint”, and one of my favorite badass character actors. Many of the others are former NFL and college players themselves, such as ex-Tarzan Mike Henry (later the dunderheaded Junior in Burt’s SMOKEY AND THE BANDIT films), Hall of Famer Ray Nitschke of the Green Bay Packers, Joe Kapp of the Minnesota Vikings, and Washington Huskies QB Sonny Sixkiller. Among the non-footballers there’s Richard “Jaws” Kiel, Harry Caesar, Bernadette Peters (as Hazen’s horny secretary), John Steadman (because every sports movie’s gotta have a guy named “Pop”), and ex-pro wrestler Pepper Martin.

Aldrich captures the violent worlds both behind the walls and on the field, and utilizes some cool split-screen work to give things that big-game feel. Screenwriter Tracy Keenan Wynn comes from a long line of Hollywood royalty (father Keenan, grandfather Ed), and was also responsible for the TV Movies TRIBES, THE GLASS HOUSE, and THE AUTOBIOGRAPHY OF MISS JANE PITTMAN, and big screen ventures THE DROWNING POOL and THE DEEP. THE LONGEST YARD was his feature debut, and he came up with a real championship of a story. It’s the perfect way to get ready for the season… and oh, just one more thing:


LET’S GO, PATRIOTS!

(Hey, you knew that was coming, right?)

Confessions of a TV Addict #10: Neil Simons’ Greatest Hit THE ODD COUPLE Will Endure


When Neil Simon passed away this weekend at age 91, the world lost one of the 20th Century’s greatest comedy minds. Simon got his start writing for radio along with brother Danny Simon, and the pair soon moved into the then-new medium of television, hired by producer Max Leibman for the staff of YOUR SHOW OF SHOWS starring Sid Caesar, Imogene Coca, Carl Reiner, and Howard Morris. This seminal variety show ran from 1950-54 and featured the talented comedy minds of writers Mel Brooks , Selma Diamond, Mel Tolkin, and Reiner on its staff. The Simons siblings moved to Caesar’s next venture CAESAR’S HOUR (1954-56) along with most of the writing staff, joined by newcomers Larry Gelbart and Aaron Ruben .

The Simons joined the staff of THE PHIL SILVERS SHOW (1955-59) for its final season, chronicling the escapades of con artist Sgt. Bilko. During this time, Neil began working on a semi-autobiographical play that became COME BLOW YOUR HORN. First produced in 1961, the play was a Broadway smash, and Simon was soon The Great White Way’s most celebrated playwright. He won his first Tony Award in 1965 for THE ODD COUPLE, and it’s this work that’s become his most enduring, with numerous adaptations in all media, including television, where we’ll focus.

The original stage production starred Art Carney as fussy Felix Unger and Walter Matthau as sloppy Oscar Madison, who reprised the role in the 1968 film version opposite Jack Lemmon as Felix. But when Paramount introduced their sitcom adaptation in 1970, they struck comedy gold by casting Tony Randall as Felix and Jack Klugman as Oscar. Randall was well-known for his comic chops, but Klugman was a revelation. Mostly known for his dramatic roles in film (12 ANGRY MEN) and television (including four episodes of THE TWILIGHT ZONE), Klugman had taken over the part of Oscar on Broadway and made it his own. The chemistry between Randall and Klugman was comedic dynamite, and the two actors began a lifelong friendship.

There were some minor changes made (for instance, Felix is now a photographer), but the basic premise remains. Neat freak Felix is thrown out by his wife Gloria and moves in with his messy, recently divorced pal Oscar. The pair constantly drive each other nuts with their opposite personalities. Felix is a bundle of neurosis, a confirmed hypochondriac (Randall’s “honking” allergy fits are classic!), and pines to return to Gloria. Oscar fancies himself a ‘ladies’ man’ despite his slovenly appearance, loves his poker games (which Felix always manages to foul up), and has a love/hate relationship with ex-wife Blanche (who’s portrayed by Klugman’s real-life spouse Bret Somers). Felix is the yin to Oscar’s yang, which sets the stage for hilarity during the show’s five-year, 114 episode run.

The series really hit its stride in Season 3 with some truly classic episodes. “Big Mouth” pits sportswriter Oscar against MONDAY NIGHT FOOTBALL anchor (and notorious curmudgeon) Howard Cosell, “Password” features Felix and Oscar on the TV game show hosted by Allan Ludden (with Ludden’s wife Betty White on the opposing team), “I Gotta Be Me” finds the mismatched roommates entering group therapy. My favorite is “My Strife in Court”, with the duo mistakenly arrested for ticket scalping, and this classic bit played to perfection by Randall:

THE ODD COUPLE has gone through many permutations over the years: a Saturday morning cartoon, a short-lived African-American version starring Ron Glass (BARNEY MILLER) as Felix and Demond Wilson (SANFORD & SON) as Oscar, a Simon-written female take on the characters, and the recent CBS series that was half good (Thomas Lennon’s Felix) and half not-so-much (Matthew Perry’s Oscar). Many cite Jack Lemmon and Walter Matthau in the film version as the ultimate Felix and Oscar, but far as I’m concerned nobody played the characters better than Tony Randall and Jack Klugman in one of the funniest sitcoms television has ever produced.

RIP Neil Simon (1927-2018)

Comedy Tonight: A FUNNY THING HAPPENED ON THE WAY TO THE FORUM (United Artists 1966)

Director Richard Lester made the jump from The Beatles to Broadway in filming A FUNNY THING HAPPENED ON THE WAY TO THE FORUM, but it wasn’t that far a leap. In adapting the Tony-winning musical comedy to the screen, Lester energizes the film with his unmistakably 60’s cinematic style, resulting in one of the decade’s best comedies, aided and abetted by a cast of pros including Zero Mostel , Phil Silvers, Jack Gilford, and the great Buster Keaton in his final film performance.

The credits roll to the tune of Stephen Sondheim’s “Comedy Tonight”, which may be my favorite song from any musical, as Zero introduces us to the main players. He’s Psuedolus, a slave owned by young Hero (Michael Crawford), son of unhappily married Senex (Michael Hordern) and his shrewish (not Jewish) wife Domina (Patricia Jessel, who’s a riot!). Hero has fallen in love with Philia (Annette Andre), the girl next door… except next door happens to be a whorehouse run by oily Marcus Lycus (Phil Silvers). Pseuodlus, who longs to be free, is charged with keeping tabs on Hero while Senex and Domina are away, and head house slave Hysterium (Jack Gilford) is charged with keeping tabs on Pseudolus! On the other side is the house of Erronius (Buster Keaton), an elderly man with poor eyesight still searching for his “lost children stolen by pirates” years before.

Got all that so far? Good, because things get complicated from here: Pseudolus takes Hero to Lycus’s emporium, only to discover Philia is pledged to Roman Captain Miles Gloriosus (Leon Greene), who’s on his way, while Pseudolus himself falls for the beautiful mute courtesan Gymnasia (Inga Neilsen). Houses gets switched, Senex returns home and thinks Philia is for him, Hero is sent to search for mare’s sweat (don’t ask!), Pseudolus and Lycus constantly try to screw each other over, Hysterium gets hysterical, Erronius thinks his house is haunted, The Captain demands his courtesan, and Domina is on her way home! All capped off by a mad chariot chase that, though I can’t find any evidence to back it up, looks like it contains some of Buster’s handiwork!

Zero, Silvers, and Gilford were all veterans of comedy, performing in venues from vaudeville to burlesque, and The Catskills to Broadway. This was Zero’s first film appearance after being blacklisted in Hollywood for fifteen years, during which time he became a huge Broadway star, originating the role of Pseudolus there (and winning a Tony), followed by his Tevye in FIDDLER ON THE ROOF (garnering another Tony). Mostel mugs for the camera and hams it up mercilessly, and I mean that in a good way! His inspired clowning has influenced generations of comics, and here he goes full throttle in a part he was born to play.

Equally uproarious is Phil Silvers , without his trademark glasses but as Bilko-like as ever as procurer Marcus Lycus. Silvers and Mostel play off each other like two dueling swordsmen, engaging in a battle of “Can You Top This?” with each other and generally having a ball. The underrated Jack Gilford doesn’t get discussed much these days, mostly being remembered from the film COCOON, but was a great comic actor in his own right, and his song “Lovely” (performed while dressed in drag!) is just one of the movie’s many highlights. Michael Crawford went from playing the naïve Hero to Broadway’s original PHANTOM OF THE OPERA a few decades later. Besides those previously mentioned, Familiar Faces include Alfie Bass, Roy Kinnear, DR. WHO #3 Jon Pertwee (whose brother Michael cowrote the screenplay with Melvin Frank), and an uncredited Ingrid Pitt as one of Lycus’s courtesans.


Then there’s Buster Keaton , still taking pratfalls at age 70 while suffering from the cancer that would kill him before the films’ release. Keaton’s role isn’t as big or as showy as the rest of the gang, but The Great Stoneface is always a sure-fire laugh getter, and his character plays an important part at the film’s conclusion. A FUNNY THING HAPPENED ON THE WAY TO THE FORUM is a fitting ending to Keaton’s feature film career, surrounded by a top-notch group of funnymen, and given a chance to make us laugh one more time. But let’s not end things on a melancholy note, but rather with how things begin, the opening credits from A FUNNY THING HAPPENED ON THE WAY TO THE FORUM. Take it away, Zero:

Double Your Fun: Laurel & Hardy in BLOCKHEADS (MGM 1938) and SAPS AT SEA (United Artists 1940)

Hal Roach first teamed Stan Laurel with Oliver Hardy in 1927, beginning a long and prosperous screen comedy collaboration. The pair became the movie’s most beloved, and funniest, screen team, a point  that’s hard to argue against after a recent rewatching of BLOCKHEADS and SAPS AT SEA, two films that each clock in at less than an hour, but pack more laughs than many longer, larger budgeted films of the era – or any era, for that matter!

In BLOCKHEADS, L&H are soldiers during WWI, and Stan is ordered to stand guard in the trench until the troop returns from battle. Twenty years later, he’s still there! Found by a pilot he shoots down, Stan is taken to an Old Soldiers’ Home, when Ollie (once again a henpecked husband) spots his picture in the newspaper. Ollie rushes to see his old pal, and finds him sitting in a wheelchair with his leg tucked under him. Thinking Stan’s lost a limb, Ollie picks him up and brings him home to meet his wife, and of course mayhem ensues as they attempt to climb upstairs to Ollie’s thirteenth floor apartment, encountering trouble at every floor, and a final melee with Ollie’s wife, neighbor Patricia Ellis, and jealous husband Billy Gilbert !

A battalion of comedy writers (Felix Adler, James Parrott, Charley Rogers, Arnold Belgard, and former silent star Harry Langdon) are credited with the script, but let’s not forget the behind-the-scenes contributions of Stan Laurel. Stan held court during the writing sessions for L&H’s films, supervising the entire project, and many of the quick-hit gags sprung from his fertile comic mind. It’s hard to say who came up with what, since all were great gag writers, but they come fast and furious: Stan in the trench, eating beans, tosses his empty can onto a pile (a virtual “hill of beans”!); the aforementioned wheelchair sight gag; perennial nemesis James Finlayson battling Ollie; an obnoxious brat (Tommy Bond, Butch of the OUR GANG shorts) kicking his football on one of the floors; and Stan smoking his “hand pipe” (first used in WAY OUT WEST). One of my favorite gags is when Stan tells Ollie, “You remember how dumb I used to be?…Well, I’m better now”, followed by a series of mishaps that causes Ollie to repeat, in his own inimitable way, “You’re better now”!

Billy Gilbert as the big-game hunting jealous neighbor adds his own blustery brand of buffoonery. Like Finlayson and Edgar Kennedy, Gilbert made a great foil for the boys in many of their shorts and features. Minna Gombell takes the role usually filled by Mae Busch as Ollie’s combative wife. John G. Blystone is the credited director (he also worked with the boys on SWISS MISS), but Stan had final say on all things Laurel and Hardy. After BLOCKHEADS, the team and producer Hal Roach left MGM (though Stan and Ollie would return five years later under drastically different circumstances).

Roach moved his output to United Artists, and his last with Laurel and Hardy is one of my favorites, 1940’s SAPS AT SEA. In this one, the boys work in a horn manufacturing company, where all the noise causes Ollie to have a nervous breakdown (“Horns! Horns!). He’s sent home to get some peace and quiet – no chance of that with Stan around! Ollie’s doctor (Finlayson again) recommends an ocean voyage, which Ollie refuses, but Stan has a brilliant idea (for a change); they could just rent a boat and stay in the harbor, getting as much fresh salt air as they would by going a-sea!

After some chaos involving wayward plumbing (silent legend Ben Turpin cameos as the cross-eyed plumber in his final film appearance) and Stan’s music teacher (Eddie Conrad) stopping by to give him music lessons (driving Ollie berserk!), the boys head to their dilapidated rented scow ‘Prickly Heat’, with a goat named Narcissus in tow (because Dr. Fin recommended Ollie drink plenty of goat’s milk!). Escaped killer Nick Grainger (Richard Cramer, playing it straight), chased down to the docks by police, sneaks aboard and hides on the boat, but Narcissus chews through the line, causing the boat to drift out to sea.


Grainger and his gun (nicknamed Nick Jr.) take control, dubbing the boys Dizzy and Dopey, and ordering them to rustle up some grub… or else! Having no food on board, Stan and Ollie decide to serve Grainger a “synthetic” meal, consisting of string spaghetti, sponge meatballs, paint tomato sauce, soap grated cheese, and the like. The killer watches them make the deadly concoction, then forces them at gunpoint to eat it themselves! More mayhem occurs when Stan begins playing his trombone, causing Ollie to go berserk again and subdue the criminal, just as Harbor Patrol comes across the adrift boat, followed by a funny coda and “another nice mess” Stan gets Ollie into!

Director Gordon Douglas , a graduate of the OUR GANG shorts, keeps things moving swiftly, and writers Adler, Langdon, and Rogers return, but as usual Stan Laurel is the genius behind the scenes. Some of the gags are old (the ‘mama’ doll under the rocking chair, for instance), but Stan and Ollie make them all seem fresh. SAPS AT SEA is their last really great comedy; when they signed a contract with 20th Century-Fox, creative control was taken out of Stan’s hands, and their later films suffered for it. Thank goodness their films under Hal Roach still survive, masterpieces of comedy delivered by the best in the business. The world is a better place thanks to Stan Laurel and Oliver Hardy!