You're Darn Tootin'

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

This amusing, clever short feature is a pretty good example of the way that Laurel & Hardy, at their best, could get a lot of mileage out of a few simple ideas. While many of the gags have been done before, frequently by Stan and Ollie themselves, the material works and provides good laughs thanks to their expert timing, funny mannerisms, and creative use of props. The wild sidewalk fracas is probably the best-remembered part of "You're Darn Tootin'", but perhaps the wittiest sequence is the opening scene on the bandstand, which packs quite a few laughs into a short time. Any Laurel & Hardy fan should enjoy this one.

More of a collection of loosely linked sketches than a plot, You're Darn Tootin' builds to a crescendo which finds a dozen men doing battle in the street without their trousers.

You're Darn Tootin' has Laurel and Hardy as members of a municipal band, known for causing the conductor ample amounts of grief with their incompetence and clueless way of going about things. After their antics cause them to be kicked out of the band, they come home to realize their landlady has evicted them because of their lack of employment. The men try their luck at being street musicians, scraping by by the courtesy dimes and nickles people throw into the cups adjacent to them, but to little avail, as the two consistently argue and even engage in arguments with innocent passersby.

Noted Laurel and Hardy scholar Randy Skretvedt notes You're Darn Tootin' not so much as a comedy but as a painfully honest display of friendship and helplessness. Even when Laurel and Hardy are without a job, a home, and knowledge of where there next meal will come from, they cling to each other, and even if they fight and bicker with one another, one pretty quickly realizes these two couldn't live without one another by their side. It's an paradoxical friendship that has stood the test of time and cinema, but Laurel and Hardy deserved to be bound together for eternity, through all the needless slap-fighting and goofball situations.

You're Darn Tootin' is less a comedy short and more a nimble exploration at the kind of paradoxical friendship these two characters embody. While, of course, being humorous and delightfully unpredictable, Laurel and Hardy's relationship has pals is explored in a richer sense and, with that, we get a short that embodies really what it's like to have that one friend that you can't live with but can't live without.

Starring: Stan Laurel and Oliver Hardy. Directed by: Edgar Kennedy.

This is a first rate Laurel & Hardy comedy, a near perfect example of what they do best. I've long considered it one of their most enjoyable silent films and, for that matter, one of the best short comedies they ever made. The story follows a basic three-act structure, solidly constructed yet loose enough to allow for plenty of gags along the way. It builds steadily from the opening sequence to the wild climax, all beautifully photographed. (Ahhh, the sunny streets of Culver City!) You're Darn Tootin' is one of only two L&H comedies directed by their frequent co-star Edgar Kennedy (the other is From Soup to Nuts), and based on the results in both cases it's too bad Kennedy didn't direct Laurel & Hardy more often, as he demonstrated a real flair for their brand of comedy. The boys themselves -- who still look pretty boyish at this early stage of their career -- responded well to his direction, likely because they'd worked harmoniously as fellow performers.

Here Stan and Ollie play a pair of hapless musicians whose professional status declines sharply in the course of one disastrous day. We begin with a band concert in a public park that starts placidly but turns rowdy; we proceed to a quieter albeit amusing mid-section at the boys' boarding house, where they're behind on paying their rent; and we conclude with a grand finale of contagious shin-kicking, pants- ripping, and other harrowing acts of civic chaos, all topped with a memorable sight gag as the pay-off. The opening scene at the park is so methodically timed and builds so rhythmically you can practically hear the music, even when watching a mute print. (In the 1960s the sequence was given a nicely synchronized musical track by Robert Youngson for his compilation The Further Perils of Laurel & Hardy.) For me, the best moments often can be found in the smaller gestures rather than in the vistas of full-scale mayhem. Watch the guys' faces during the medium two-shot at the boarding house dinner table, all filmed in a single take, when Stan takes the tops off the salt and pepper shakers, uses each condiment on his soup, and then fails to replace the tops properly. Ollie falls victim to this maneuver not once but twice, first dumping too much salt into his soup and then too much pepper. We know what's coming, but somehow our anticipation of this little disaster translates into amusement. And they make it look so natural! We're amazed when Buster Keaton blithely crashes a bicycle and sails over the handlebars, but with Laurel & Hardy it's the nuances that score the biggest laughs. Nuances, such as the play of Ollie's fingers as he delicately breaks the crackers into his soup, soup that we know is about to be ruined because he's not paying attention as Stan takes the top off the pepper shaker. Ollie takes such pleasure in breaking up those crackers it borders on heart-wrenching, and he looks so crushed when his soup gets ruined, but even so, we laugh.

Everything comes to a head in the unforgettable finale, when the boys try to make a go of it as street buskers. Needless to say, they fail. And then argue, and manage to draw an alarming number of passersby into their violent quarrel. We find once again that it doesn't take much to start a major riot in Culver City. On some level I suppose I enjoy these "total warfare" sequences because they use slapstick to cheerfully confirm our worst suspicion about humanity: i.e. that just under the veneer of civilized behavior, whether disguised in the natty suits and snap-brim hats of the 1920s or the clothes of today, we're quite ready to drop all pretense of civility and clobber each other for the most stupid reasons imaginable, or for no reason at all. That's what I love about the comedy of Laurel & Hardy: their films represent society as we know it, exaggerated only slightly. Which, when you think about it, is kind of appalling.