Ihr könnt mir mal was blasen

This is the story of two musicians who played neither by note no ear, instead they used brute strength. On the night in question the orchestra leader was making his farewell appearance – something the public had been demanding for years. Fired for messing this up the pair find themselves out of their house as well as they are already 14 weeks late with the rent. On the city streets with only their instruments the pair find it hard going earning money.

Shown as part of BBC3's generally good documentary series on silent comedy legends "Silent Clowns", this Laurel and Hardy short is one of the very few silent films of theirs I have seen. I do love their "talky" short films and looked forward to this. It took a minute or two to get used to the lack of audible jokes and the short does demonstrate that this was something they wanted, because the title cards are mostly funny and not solely used to describe plot. Naturally though the vast majority of this is physical comedy, which for fans will be just fine because they still deliver this really well.

It is impressive how the pair do so much with very basic routines and obvious gags. The opening orchestra scene is funny and, after a bridge scene, the streets produce some good laughs leading up to the famous sidewalk chaos bit. Newcomers might not see what the fuss is about (this is always the risk – some viewers just watch L&H and think "all been done before", missing the point that no, it has all been done since) but fans will take to it despite the lack of sound. As always Laurel and Hardy work really well together, trading laughs off one another and delivering their parts equally well. Kennedy's directorial approach is wisely to pretty much just point and shoot.

Overall an enjoyable and funny silent short that Laurel and Hardy fans will lap up even if, like me, those accustom to sound will feel its absence.

This is a highly entertaining Laurel and Hardy short from the silent era.

Plot In a Nutshell: Two unemployed and recently homeless musicians turn to panhandling, with disastrous results.

Why I rated it an '8': Simply put, it had me laughing or at least smiling throughout the entire 20 minutes. I don't know if any moment reaches the heights of their absolute best work, but there are plenty of funny moments here. From the band stand to the lodging house to the city streets, Laurel and Hardy bring their "A" game to this loose collection of sketches woven into a story. The highlight is unquestionably the finale, where no less than 15-20 men engage in a pants-ripping melee that will leave you in stitches. I sure was!

8/10. Would I watch again (Y/N)?: Yes, absolutely. Good stuff!

You're Darn Tootin', released in 1928, is one of Laurel & Hardy's last silent shorts. There is no high-brow humor, no Andy Kaufman what's-he-really-doing-here angst, and the closest thing to sophisticated word play comes when Stan throws Ollie's horn under a steam roller and, after trying to get the now half-inch thick instrument to toot, Ollie deadpans to the camera and a placard announces "It's flat."

You can see the fine hand of legendary comedic actor Edgar Kennedy in his direction. Kennedy's fortes – the slow burn and intricate interactions with props – are the centerpieces here, from the fiddle bow and music sheet sequence early on to the gradual acceleration from annoyance to mayhem and utter anarchy at the end.

Stan and Ollie destroy a band concert, get fired, evicted, and fight with each other and everyone else who so much as passes by. The big finale is the infamous pants-ripping scene. "You're Darn Tootin'" is pure slapstick and low-brow humor. It's also the funniest twenty minutes ever committed to film.

Warning: do not watch this film without a change of underwear available.

WITH THE RELEASE of this 1928 silent, the LAUREL & HARDY team was established, complete and the L & H that we all know and have loved all of our lives. The only element missing is a soundtrack; and that may well have been an additional amenity.

MANY HAVE THEORIZED that YOU'RE DARN TOOTIN' may well have planned as a sound picture. If not a true "Talkie", it probably would have had the benefit of music and sound effects. It surely is an intriguing notion and there is plenty of 'circumstantial evidence' to support this notion.

BUT, SOUNDTRACK OR not, the 2 reeler marks a very important place in the history of Laurel & Hardy; as well as the direction that was taken by the HAL ROACH STUDIO. In it we find a well meshed Stan & Ollie, fully outfitted in their trademark bowlers (that's another name for derbies, Schultz), bow tie (Laurel) and necktie (Hardy). By this time, Stan Laurel had even adopted that scraggly, high topped hairdo.

THE OVERALL LOOK of this picture is both bright and realistically staged; with the vast portion of the filming being done out of doors. It is done mainly in the streets of Culver City in suburban LA. It was there that the HAL ROACH STUDIO was situated.

AS WAS THE case in all of the Roach product at that time (and for some years before),the titles were written by H.M. Walker. It was his wit and mastery of the King's English that added a real class to the silent films of L & H, Charley Chase, early Harold Lloyd, Snub Pollard and so many other series. Mr. Walker continued on the job after the ascent of the talkies, writing dialogue as well as those great title starters that typically were characteristic of L & H sound shorts.

ANOTHER ASPECT OF the title cards utilized at this juncture was an abandonment of those which consistently relied on humor which was unrelated to the story on the screen. These included both references to the habits of the characters, as well as giving them purposely outlandish sounding names. This was a regular over at Roach's good friend as well as his rival, Mack Sennett at KEYSTONE COMEDIES.

IN ADDITION TO opting for a more subtle and clever type of title, Roach and associates moved to do things much more s-l-o-w-l-y. Instead of rapid fire stacking the gags, one on top of the other, the writers and directors would exploit the gag situationals from every different angle. Their favourite ploy of presenting physical conflicts was dubbed "Reciprocal Destruction" by Roach Studio's supervising Director, Leo McCarey.

IN IT THE combatants would alternate in doing harm to each other or to the property of the other; all the while there was no attempt by either side to prevent any of the mayhem.

IT WAS LARGELY the efforts of Mr. McCarey and Stan Laurel that established this slow, deliberate style. It was also the principal that brought Stan Laurel's screen persona that we all are so familiar with. (Just you screen a Stan Laurel comedy from before the teaming with "Babe"-as Oliver Hardy was known to his friends).

SO THAT BRINGS us to the movie itself. We have already stated our opinion that YOU'RE DARN TOOTIN' was the zenith of the L & H series and established what was basically the 'finished product.' It is non-pretentious, smoothly conceived and truly funny. Its cleverly rendered pacing along with the chain-reaction like building of the final sequence all make it a primer for doing a comedy, short or not.

AND IT IS this finale that does its best to comply with the primary rule of comedy. That being: "Always Leave 'Em Laughing" *

NOTE: * The ending of Robert Youngson's compilation tribute film LAUREL & HARDY'S LAUGHING 20s (1965) uses this comic windup for its own ending.

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.

While not classic Laurel and Hardy, later films, short and feature, had stronger chemistry when fully formed and used their considerable talents better, 'You're Darn Tootin' is a lot of fun. Before, Laurel was much funnier and more interesting while Hardy in most of the previous outings had too little to do. 'You're Darn Tootin' is very good, to me it's easily one of their best at this point of their careers and one of the first, along with the two mentioned above, to feel like a Laurel and Hardy short rather than a short featuring them.

'You're Darn Tootin' is flimsy in story, and doesn't feel quite enough for the short's length.

A few gags are a bit repetitive and old-fashioned.

Laurel however is very funny, and sometimes hilarious. It is wonderful seeing Hardy having more to do and he is on Laurel's level and actually even funnier. The chemistry is certainly much more here than in previous outings of theirs, namely because there's more of them together and it was starting to feel like a partnership. Support is nice.

Both Laurel and Hardy have great moments, especially the orchestral presentation in the park sequence which is sheer hilarity.

A good deal of the humour is well timed, hugely energetic and very funny if not always hilarious, with everything going at a lively pace and there is a lot of charm and good nature to keep one going. 'You're Darn Tootin' looks quite good still with some interesting shots.

In summary, a lot of fun. 8/10 Bethany Cox