Bier her!

... but I have to admit that Jimmy Durante is doing much of the heavy lifting, particularly in the first half. The plot revolves around a misunderstanding that Jimmy (Jimmy Durante) and Elmer (Buster Keaton) have about the nationwide vote on repealing prohibition. They think that because repeal passes at the polls that Prohibition is automatically repealed, when in fact the law is still completely in force. Thus, the next day, Jimmy has Elmer take out his life savings of ten thousand dollars as a down payment on an old repossessed brewery. The two enlist a trio of unemployed men sleeping in the brewery to help them make beer and they hang a sign outside of the brewery advertising that they are selling beer. Instead of being stampeded by the public though, it is the police that are at the door. The only thing that saves the pair from ten years in Leavenworth is that they are incompetent brewers - their beer has a head but no kick - there's not a drop of alcohol in any of it.

So now when the original trio of unemployed guys sleeping in the brewery dig up a long out-of-work master brewer Jimmy has a brainstorm. The cops already think that he and Elmer are just making "near beer" - an old Prohibition era concoction with the taste of beer minus the alcohol, so there will be no second raid. Jimmy decides to use the brewer to make real beer and real money so Elmer doesn't lose his life savings on the brewery which they have heavily mortgaged. Jimmy lies to Elmer about all of this because he knows Elmer is too honest a fellow to have anything to do with bootlegging. But it isn't long before local gangsters - real bootleggers with real guns - notice there's a down-turn in their business caused by Jimmy and Elmer's beer. A further complication - Elmer is in love from afar with the head gangster's girl.

How will all of this work out? Watch and find out.

This film moved along briskly with several very clever comic twists and turns, and although in this film Durante is Keaton's equal in the comic participation, I really couldn't say that Keaton seemed inebriated, although he did seem to have extra heavy make-up on perhaps to cover up his condition. Durante just seems to be handling the verbal end of the comedy and Keaton stays where he is most comfortable - in the physical and pantomime end of comedy. There's even a repeat of the Seven Chances avalanche at one point, with Keaton and everybody else for that matter, running for their lives not from boulders but from beer barrels.

This is far better than the tiresome "Sidewalks of New York" from two years before, and from what I've read this film did very good business at the box office. With Keaton and Durante having finally gotten comfortable in their comic partnership I'm surprised Louis B. Mayer would have fired Keaton. But then Louis B. always was a sentimental fellow - he never let profit get in the way of his animosity.

Keaton followers know his decision to go to MGM was a disaster artistically and the smothering of his talent is apparent in this film. In some scenes he looks like he hasn't slept in days. Stick with it though, as with any chance to glimpse comic genius, you can spot the sparks. Durante, also a unique performer, and Keaton don't make a good team. Keaton was a cool presence, far more subtle and with much more depth of characterization than other comedians of the era. Durante was a hot performer, more verbal, but with a manic physicality. At times, you worry that he's actually hurting Keaton with his constant shoving, grabbing, poking and slapping. There is a rather sexy performance from Phyllis Barry as Keaton's amour and one wonders why she didn't go on to become, as they say. Everybody works very hard which usually kills farce, but there are moments of pure zaniness usually involving barrels, and some good lines satirizing the standard gangster picture. Anyone who loves these two men, as I do, should see this, if only in giggling tribute.

Certainly not great, but not awful either. It's topical with the end of Prohibition, and the film's treatment of this is a celebration, with some wonderful moments towards the end. Unfortunately, Buster Keaton, already depressed and drinking heavily, was fired afterwards, marking an even sadder inflection point in his career, as bad as the MGM years were. These things tugging the emotions in opposite directions make it worth seeing.

The film leans on Durante, who delivers his malapropisms and "ha cha cha" shtick with zeal. "Say, it's so dark here, I can't see the nose before my face," Buster says. "I don't have that trouble," Durante replies, in perfect deadpan. Contemplating Buster being with the woman he's fallen for, he quips "Can you imagine? At a time like this. Elmer's in the park - spoonin'. Why, it's enough to give a man 'varicoose' brains!" There are many others, not uproarious, but delivered energy and charisma.

As for Buster, it's always sweet to see him lovelorn (the object of his affection played by Phyllis Barry), but the only moment truly worth the price of admission is him running down a hill away from a bunch of beer barrels bounding along after him. It ain't Seven Chances (1925) with the rocks, but it ain't bad. Buster also reprises the overflowing yeast gag from My Wife's Relations (1922), but the slapstick from Durante and the workers who are like 3 stooges-lite isn't all that funny.

There was a clever bit of innuendo at the polling place, when Durante's character says his name is "Potts - and no crack!" When Buster steps up next he reports his name is "Elmer J. Butts," and the silent "and no crack" can be felt. Buster also gets in a funny line when a swarm of townspeople descend upon the brewery to "drink up all the evidence." The best moment is saved for Durante, however, who while breaking the fourth wall blows the suds off a stein of beer and says "It's your turn next, folks! It won't be long now! Ha cha!" While FDR had been elected, it would be another 10 months before this was true.

Having heard for years how bad this film is, I must concur with the previous reviewer, who said "not that bad." This was the last of the three films where Keaton was teamed with Jimmy Durante, and while this is not as good a film overall as SPEAK EASILY, it IS better than THE PASSIONATE PLUMBER (although PP includes some great individual scenes), and also it is the only film of the three where Keaton and Durante work together as an actual comedy team. Much has been written about Keaton's alcohol abuse during the shooting of this film (in fact, Keaton was fired from MGM for that, even though WHAT NO BEER was a smash hit at the box office!), but since the Elmer character he is playing is basically a stoic, introverted guy, it's not too evident...and anyway, a pro like Keaton could deliver this uninspired dialogue in his sleep. The plot--involving Durante and Keaton starting a brewery near the end of prohibition and facing the wrath of both the police and the bootlegging underworld--allows for a number of good comic set-ups, the scene with Keaton explaining his business practices to the gangsters is particularly funny. Keaton's US career would revive a few years later when he began making his much-underrated comedy shorts at Educational Pictures, but WHAT NO BEER is the last film of his initial sound period at MGM, and as such it is a historic film. Also, it's an entertaining comedy with Keaton still in OK form.

I found this movie to be highly entertaining. Durante and Keaton are marvelous together. It is a shame more people don't know about this little gem. Keaton especially is so endearing and so believable. The gowns and furs on the leading lady were outstanding, the height of art deco elegance. Unrealistic for a gangster's moll, but extremely elegant. The cut of one of the dresses was just amazing. The movie moves along at a quick pace, and is just the right length. It is reminiscent of The Lavender Hill Mob, a group of endearing, comedic men trying to pull off a caper. It could also be viewed as a piece of history as it was filmed right around prohibition time.

Surely something all beer lovers would enjoy, the enthusiasm of all that beer.