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Laurel and Hardy have to deliver the deed of a valuable gold mine to a girl called Mary Roberts (Rosina Lawrence).James Finlayson is the bad guy of the movie.He plays a man called Mickey Finn and when he hears the story of these two fellas he decides to fool them with the saloon singer Lola Marcel (Sharon Lynn).They introduce Lola as Mary Roberts to these two dummies.And they buy it.Way Out West from 1937 is a classic comedy from Stan Laurel and Oliver Hardy.It's one of their best comedies among with many others.It's enjoyable to watch the slapstick comedy with these two comedians of last century.This movie includes many funny parts that made me laugh and I just couldn't stop.Just like Stan couldn't after Lola tickled him.Watch Way Out West if you want to see Laurel and Hardy at their best.Nobody does it the way they did.

This is truly one of the funniest movies ever made. I'll never look at another block and tackle without a chuckle. And of course that groovy soft shoe shuffle and the Trail of the Lonesome Pine are gems - cinema history. Stan and Ollie weren't just slapstick geniuses. Theirs was a subtle blend of visual, acute observational and surreal comedy that has rarely been matched and never beaten. This film exemplifies their craft perfectly and shows touches of where, twenty to forty years later, the Goons, Monty Python, Tommy Cooper and The Comic Strip were coming from. After seeing this I recommend Sons of The Dessert, their other feature length masterpiece.

"In James W. Horne's WAY OUT WEST, Laurel and Hardy go west to deliver the deed of a gold mine and promptly get themselves embroiled in duplicity and horseplay. They are perhaps the most unlikely knights in shining armor, that all depends on how feckless the villains are, James Finlayson's crooked salon owner Mickey Finn is outright cartoonish, which leaves Sharon Lynn's bejeweled salon singer Lola do the heavy lifting of manhandling Laurel with tickle torture, you can guess who is wearing the pants in that household.

WAY OUT WEST gifts audience with Laurel and Hardy's iconic synchronized dancing accompanied by the Avalon Boys, later the comical rendition of "The Trail of the Lonesome Pine", and Laurel's hat-eating, thumb-lighting gags, but its storyline is way too unremarkable to bother mentioning and the pratfall antics are deployed ad nauseam (I can imagine even the sinkhole would sigh resignedly)."

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What did Rosina Lawrence's dying father expect when he entrusted Stan Laurel and Oliver Hardy to deliver the deed to a gold mine to her in Way Out West? I mean even in death was his judgment that seriously impaired?

The boys are up to the necks in it in the town of Brushwood Gulch when they try to do their good deed. In fact Ollie's up to it even before as Stan innocently dumps the freeloading Ollie who is snoozing in a travois drawn by their donkey while Stan is guiding the poor animal. Dumps Ollie in a creek mind you. Serves him right actually.

The boys arrive in town and wouldn't you know it, they tell bartender James Finlayson what their mission is. So the quick thinking Finlayson gets his wife Sharon Lynne to pose as Lawrence and the boys sign the deed over to her.

Later on they discover their mistake and the rest of the film is spent trying to make up for their mistake and get the deed to the rightful owner. Of course it's one mishap after another, including Stan lighting Ollie's thumb on fire. Don't ask how.

Everybody looks like they're having a great old time in Way Out West. Finlayson is a terrific Snidely Whiplash, Lynne does a great imitation of the kind of brassy dame that Gladys George or Binnie Barnes had a specialty in, and Lawrence is a fabulous little Nell heroine.

Way Out West is one of Stan and Ollie's best feature film comedies. It even got an Oscar nomination for Best Musical Scoring. But I still wonder, wasn't their anyone else Lawrence's father could get for such a mission?

As with any classic Laurel & Hardy, the plot is unimportant and just a frame on which to showcase their sweetly innocent brand of humor. Here they're trying to keep ownership of a goldmine out of the greedy clutches of a saloon owner and his blonde canary. The boys don't show up until 10 minutes into the proceedings, but from then on they are center stage with one routine after another.

Most are pretty funny, though the keep-away parlor chase goes on a shade too long as does the break-in escapade. However, when Hardy smugly revels in his superiority only to lose his outer garments and dignity to Laurel's witless bungling, we get a good look at the core of their appeal.

The comedy bits may be entertaining, but the several song and dance numbers are sublime. Notice how effortlessly the duo picks up on the hiccuping beat of the musical Avalon Boys. The resulting dance duet is among the most charming in film annals. Hardy in particular transforms from ungainly fat man into nimble blithe spirit, a beguiling triumph of grace over bulk, and more meaningful in its implications than the miles of over-produced, over- choreographed numbers from Hollywood's army of Big Musicals.

Sadly, theirs is the fey, gentle humor of an era gone by. Quite simply, there's been no one like them before or since. But at least a permanent record of their achievement remains for the rest of us who enjoy this lighthearted look at classic comedy.