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From the first seconds of this film's opening credits you know something's a little "off." Leo the Lion roars his roar in silence, backed not by the beloved Koo-Koo theme but by unfamiliar, generic theme music which cuts off sharply when the dialog begins, and from then on it's talk, talk, talk. While Laurel & Hardy buffs will tune in to Unaccustomed As We Are well aware that it was the team's first talking film, willing to cut the boys some slack, casual viewers looking for a chuckle or two should be warned that this is a movie with all the faults of the earliest talkies, i.e. slow pacing and somewhat uneasy performances. All things considered, the guys adapted pretty well to the new technology, but at times this film looks like a nervous dress rehearsal.

The marital squabbling between Ollie and Mae Busch, later developed into a fine art, feels a little forced here, and occasionally suggests an improv exercise in an acting class. And while it's always a pleasure to see Thelma Todd and Edgar Kennedy in support, it's apparent that they're just as uncomfortable the new technology as our two stars. Generally speaking Stan comes off better than Ollie because so much of his material is visual, allowing for his hilariously over-scaled reactions. It could be mentioned too that Stan had more extensive stage experience than most of his colleagues, and was therefore more comfortable delivering dialog.

Still and all, Unaccustomed As We Are is a decent maiden effort in the new medium, and there are some interesting attempts to experiment with sound, as when Ollie puts on a jazz record during one of Mae's tirades and causes her to unintentionally rant in time to the music. It's kind of odd, but amusing. Other bits involving off-stage explosions, fights, and crash-bang sound effects must have made more of an impression when the film premiered, when their impact was still so new. But the major problem here is uncertainty about what sort of material will work in talkies and what won't. For instance, there are moments when the guys strike deliberately theatrical poses and deliver their lines in the style of ham actors, as when Ollie threatens to leave for South America "to do Big Things!" Cute, but this sort of shtick played a lot better in the silent days, and they would soon leave it behind. Dedicated Laurel & Hardy buffs will surely want to see their first talkie, but even the fans need to make allowances for (understandable) awkwardness and remember that soon after this debut, after a little more practice, the guys were producing talkies as strong as their late silent output.

A couple of technical notes: a silent version of Unaccustomed As We Are was also released in 1929 for theaters not yet wired for sound, and for many years it was the only version available, but it's deadly to watch and should be avoided. The major element of interest here, after all, is to observe how the gang at the Roach Studio handled the new technology, and without that you've got nothing. The soundtrack was not re-discovered until the 1970s, and, in the version of this film currently available on DVD, Reel Two is in pretty rough shape. During the latter scenes you can detect a strange, metallic echo under the dialog, which at times sounds almost like the chirping of birds. That's the closest you'll get to hearing the Koo-Koo Song in this one!

P.S. I'm pleased to add that there's a newly restored version of this film now available, and the sound quality in the second reel is much improved.

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.

Although a vast majority of Laurel and Hardy's previous efforts ranged from above average to very good ('45 Minutes from Hollywood' being the only misfire and mainly worth seeing as a curiosity piece and for historical interest, and even that wasn't a complete mess), 'Two Tars' for me was their first truly classic one with close to flawless execution. Didn't find 'Unaccustomed As We Are' as one of their best and a bit disappointing compared to their late 1928 and previous 1929 efforts, which were among their best and funniest early work. It is still good and of interest historically, being their first talkie. It's strange at first but it works well and the dialogue itself is a lot of fun.

It may not be "new" material as such and the first part takes a little bit too time to get going.

Compared to the late 1928 and previous 1929 output, it is a little on the subdued and bland side, contrary to the insane craziness and wacky slapstick that was properly starting to emerge.

When 'Unaccustomed as We Are' does get going, which it does do very quickly, it is good enough fun, not always hilarious but never less than very amusing. It is never too silly, a wackiness that never loses its energy and the sly wit emerges here, some of the material may not be new but how it's executed actually doesn't feel too familiar and it doesn't get repetitive.

Laurel and Hardy are on top form here, both are well used, both have material worthy of them and they're equal rather than one being funnier than the other (before Laurel tended to be funnier and more interesting than Hardy, who tended to be underused). Their chemistry feels like a partnership here too, before 'Two Tars' you were yearning for more scenes with them together but in 'Unaccustomed as We Are' we are far from robbed of that. Their comic timing is impeccable.

'Unaccustomed as We Are' looks good visually, is full of energy and the direction gets the best out of the stars, is at ease with the material and doesn't let it get too busy or static. The supporting players are solid.

Overall, very good. Not essential or classic Laurel and Hardy, but a good representation of them. 7/10 Bethany Cox

Early on while watching Laurel & Hardy's "Unaccustomed As We Are" I figured out that the plot was going to be similar to their later "Block-Heads", with Ollie bringing Stan home, only to have his wife get angry at his expectations of her (the later movie expanded the plot). This 1929 short has the guys doing their usual stuff, and in some scenes I could predict what was about to happen. Predictable though some of it may be, the whole thing is a fun romp. It's not their best, but I recommend it.

Noticeably absent is James Finlayson, whose annoyed grunt inspired Homer Simpson's catchphrase.

It would take a couple of talkie films before Stan and Ollie adapted to the new medium of sound but they soon did. Released in 1929, "Unaccustomed As We Are" is about Ollie inviting Stan to an evening meal with he and Mrs. Hardy - and that soon finishes in anarchy! Mae Busch is once again cast as Mrs. Hardy and does very well. Edgar Kennedy is cast again as a Police officer who lives across the hall from Ollie and his wife. Thelma Todd plays the wife of Officer Kennedy and she shows how feisty she can be! The comedy is a bit awkward at times but that isn't the fault of Laurel and Hardy, it was only a temporary problem. There are some funny scenes, such as when the boys play a gramophone record to drown out Mrs. Hardy's constant nagging!

Considering this was the boy's first talkie the title of this short is quite cute and the film itself is pretty good. There's certainly not that much evidence that L&H were embarking on what was essentially a new career in sound. It must have been a real bonus for their fans to discover how well suited each one's voice was suited to their character. The film's plot is a familiar one of marital spats and misunderstandings culminating in L&H trying to conceal their comely semi-naked neighbour (a sexy Thelma Todd) from Ollie's shrewish wife (Mae Busch) and Todd's jealous husband (Edgar Kennedy).

There's some interesting experimentation with sound here. Hardy and Busch's dialogue overlaps as they argue and it's oddly compelling - as well as funny. The physical comedy is still there too, with numerous pratfalls and a couple of explosions. All in all, an accomplished sound debut from the boys..

Laurel & Hardy getting in trouble with one or both wives has got too be the most used plot line in the long series of Laurel & Hardy movies. In this movie Oliver Hardy gets into trouble with his wife when she is fed up with cooking for every friend that her husband takes home.

The story sounds simple and so is the movie. It's simple but effective. The comical situations work out well and it makes this movie a worthy first 'talkie' for the two boys. It's not their best or most original movie but it serves its purpose. The plot line for this movie was later reused for the other Laurel & Hardy picture; "Block-Heads", which to be honest is better executed in that movie and it's a more superior movie in general.

Nothing remarkable, just another fine executed and timed enjoyable comical short from Laurel & Hardy, with also the Laurel & Hardy regulars Thelma Todd, Mae Busch and Edgar Kennedy in it.

7/10

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'Unaccustomed As We Are' is another comical short where Laurel and Hardy argue with Hardy's wife...again. The duo are back with Thelma Todd, Edgar Kennedy and Mae Busch. It starts off with an Hardy bringing Laurel home to dinner and he's very excited about introducing him to his wife. Throughout the entire twenty minutes, the kitchen burns down thrice, the sensual neighbour has to disrobe and hide herself in a box, a policeman is involved...and lots of hilarious silly adventure. The short is quite well executed. I'm not much used to see Laurel and Hardy talk (and this apparently is their first talkie) so this was quite different from their usual work that I'm more acquainted with. Yes somehow I still prefer their silent films. While this may not be the best of the classic comic duo, it still remains entertaining thanks the the actors' impeccable comic timing even though it's now almost 80 years old.

Sixty years ago and more, when I settled in for the afternoon with Officer Joe Bolton on WPIX hosting the Three Stooges, The Little Rascals, and Laurel & Hardy, this ran a few times a year. I didn't know that Stan & Ollie had been in the movies for a decade and more, had been a comedy team for two years, and this was their first sound film I didn't know that the other members of this cast -- Edgar Kennedy, Mae Busch, and Thelma Todd -- were accomplished farceurs. I didn't realize that major stars were being destroyed in the changeover from silent to sound movies because their voices didn't match the silent personas. All I knew was that the Boys seemed to arise out of nowhere in 1929, in a world that still made sense to me, fully formed and extremely funny.

I don't know what people born more recently than I think of these shorts, this one in particular. Tastes change. The way people relate to each other changes. This short comedy was not produced to be seen ninety years later. All I know is that sixty years after I first saw this movie, it is still very very funny to me.

After many years of being on and off YouTube, I finally got to see this, the very first talkie made by Stan Laurel & Oliver Hardy. And they, along with supporting players Edgar Kennedy, Mae Busch, and Thelma Todd, talk quite a bit, more than I'm used to in their subsequent films. Both Kennedy and Busch seem not quite what I'm used to hearing concerning their voices but that's excusable since this is their first time with sound. And quite a bit of the gags depend on what they sound like, as opposed to simply seeing the action playing out especially with the final gag. Oh, and I loved the way Ms. Busch's rants seemed in tune with a record in one of the scenes! This is also the first time Hardy says, "Why don't you do something to help me?" as well as that of Stan's constant crying. In summary, Unaccustomed as We Are isn't perfect, but it's still a very funny Laurel & Hardy film.

Laurel and Hardy are enjoying a game of pool, when Mr Hardy tells Laurel all about his wife's cooking and decides to invite him round to get some food. However the expectation of food is too much for Mrs Hardy and she refuses leaving the duo to cook for themselves. After a bad start a neighbour offers a little help which only leads to more trouble.

The title refers to the phrase used by after dinner speakers `unaccustomed as I am to public speaking etc' and is used as, in terms of their shorts, the duo were unaccustomed to it as this was their first `talky'. As such the sound quality is pretty poor and at some points the dialogue doesn't flow very well because it sounds like it is being said very deliberately so as to be clearly heard. This slows the action down which is a bad thing because the comedy isn't as to the fore as usual.

There are still some funny scenes but it didn't totally work for me. Hardy didn't do as well as he usually does, although Laurel was as good as I'm used to him being. The support cast are amusing and do better with the dialogue than Hardy (not sure why) but it is more Laurel's film than before.

Overall this is a good short in that it has several good scenes that are funny, but, because they are just starting out with sound on film here, they are not as good as they quickly become.

UNACCUSTOMED AS WE ARE is the first of the 'talkie' Laurel & Hardy movies and it's another hit from the comedy duo. In fact, it's pretty impressive that the right formula was in place this early on in their partnership, and watching the film today you see plenty of the magic that made the duo shine.

The plot, which was extensively re-used for the later feature-length production of BLOCK-HEADS, sees Hardy bringing Laurel home for a steak dinner - only for everything, literally everything, to go wrong. There are plenty of slapstick gags when it comes to the meal preparation, although with fiery showdowns between Hardy and his wife, as well as a pair of neighbours who later become involved in the shenanigans.

UNACCUSTOMED AS WE ARE is well-shot and very fast paced (as you'd expect with it running at just 20 minutes) with plenty of gags to recommend it. Laurel is on particularly fine form with his expressions and mannerisms, for example his hilarious crying routine which features at the climax. Great stuff.

The comedic team of Stanley Laurel and Oliver Hardy serves as a prime example of the success a handful of comedians from the silent era had when they were first heard on the cinematic screen. More common were those comedians such as Charlie Chaplin who hesitated in bringing their voices into their movies. But Laurel and Hardy didn't think twice when Hollywood studios made the conversion to sound. The pair appeared in their first all-talkie, May 1929's "Unaccustomed As We Are." Suddenly, the viewers could hear Laurel whimpering in his trademark sobbing when he was confronted by the husband (Edgar Kennedy) seeing him with his undressed wife. Hardy could be heard explaining to his wife (Mae Busch) why he's leaving her.

"Unaccustomed As We Are" was one of the first films to be shot on the new sound stage producer and studio owner Hal Roach built in the spring of 1929. The movie's title is drawn from the then popular phrase "Unaccustomed as we are to public speaking," which, despite the pair's previous stage experience, was still a somewhat jarring experience for all the actors on the set miked up for the first time. Laurel especially was wary about being amplified by the sound system because he was known to have a slight lisp and felt the technology would exaggerate his speech defect. It turned out no one picked up the lisp.

Directors Lewis Foster and Hal Roach used the new audio devices to great effect in "Unaccustomed As We Are.." When Edgar Kennedy is bragging about his female escapades to Laurel and Hardy, his wife is hiding in a traveling trunk so she wouldn't be discovered having the two men in her apartment. She later emerges enraged at his philandering and throws everything she can get her hands on at him. As the comedic pair retreat to their apartment across the hall, the noise heard off-camera emphasizes the violence taking place, an audio technique which will be used in many future comedies. Similarly, when Laurel falls down several flights of stairs, viewers don't actually see him tumbling, but they hear his body hitting the hard stairs. Such sound effects were impossible to replicate in silent films.

Throughout their movie careers, Laurel and Hardy were known for their catchphrases. "Unaccustomed As We Are" was the first time Hardy says "Why don't you do something to help me." The movie had to be shot during the evenings since Hal Roach had money to outfit only one studio set for audio. The 'Our Gang' film "Small Talk" was using the same set during mornings and afternoons because the childhood actors were restricted to only day shoots.

Laurel and Hardy's silent films were very funny, but the sound films put the dynamic duo over the top. UNACCUSTOMED AS WE ARE marked the boys' very first talking short film and with all the ribbons.

First and foremost, Mae Busch is in the mix, a one of a kind actress and with excellent timing, playing Hardy's "short-fuse" wife. The role she became famous for after a successful career in silent films, and she made the most of it. Beautiful Thelma Todd, who would also work with Laurel and Hardy, plays their flirtatious next door neighbor, inadvertently getting them in hot water with Mae. Last but not least, slow burn Edgar Kennedy, a comedy legend himself, plays a cop who gets caught up in a fight between Hardy and Mae Busch --and all the broken dishes. Watch the speghetti scene where Stan serves Ollie a lap full of pasta; a classic repeated many times.

This plot was re-worked into their feature film, BLOCK HEADS in 1938, but without Mae Busch, who was missed. Followed by one more silent film, DOUBLE WHOOPEE, featuring Jean Harlow.

Interestingly, producer Hal Roach was extremely cautious about releasing a sound film, due to the fact it was a new innovation and there were theaters around the country still not equipped for sound. Accordingly, a silent version was also released, and apparently outlived the sound version, which was considered lost and then re-discovered decades later. An amazing story in itself.

Early film for director Lewis R. Foster, who later won an Oscar for writing MR. SMITH GOES TO WASHINGTON (1939). Leo McCarey also credited for writing this film short. Thelma would next appear with Stan and Ollie in ANOTHER FINE MESS, a masterpiece in itself and one of their longest film shorts.

Always on remastered dvd, both silent and film shorts. Thanks much to METV and MOVIES Net for running many of Laurel and Hardy's films.

Call me crazy ("Hey, crazy!") but I never enjoyed silent era films. I tried, oh I tried, but each time an actor's mouth moved there was nothing but an awkward silence. Then after what seemed too lengthy of a wait, a placard flashed on the TV screen, reflecting what the actor had just said moments before. I found this to be very distracting, plus it slowed down the natural comedic timing. This lapse between action and dialog, for me, was like watching an entire movie subtitled, and I couldn't square the two up.

That being said, I didn't watch any of the short and feature length "TV reruns" unless they were "talkies." As a kid who was fortunate enough to have a tiny black and white TV set in my bedroom, every Saturday morning before my parents or the Sun were up, I was thoroughly mesmerized by the vaudevillian, overtly physical humor of Buster Keaton, Our Gang (The Little Rascals), The Three Stooges, and of course, Laurel & Hardy.

The first Our Gang (The Little Rascals) talkie was "Small Talk" released in 1929. Buster Keaton's first talkie was "Free and Easy," released in 1930. The Three Stooges (Larry, Moe and Curly) most recognized talkie was The Woman Haters (1934). "Unaccustomed As We Are," released worldwide in 1929, was Laurel and Hardy's film debut with sound. It was an immediate hit with audiences.

Unlike many of their silent film era contemporaries who couldn't make the transition from silent to sound film, Stan Laurel and Oliver Hardy effortlessly slipped into this new media. Both actors had the rare gift of "comedic timing," and the duo knew how to thoroughly exploit sight gags. Moreover, lovable Hardy routinely broke the "fourth wall" of film, and after each hilarious yet tragic gag, he would often look straight at the camera as if to say, "Can you believe what just happened to me?"

"Unaccustomed As We Are" (1929) is a straightforward marital comedy where Ollie brings his good buddy Stan home to sample the magnificent cooking skills of his wife (Mae Busch). The first gag unfolds as Ollie and Stan show up at Mr. And Mrs. Hardy's apartment residence unannounced. Most wives would absolutely be unhappy with that, and Hardy's wife blows a proverbial gasket. The second gag unfolds as they meet Mrs. Kennedy (Thelma Todd) and afterwards Mr. Kennedy (Edgar Kennedy).

It's all brilliantly performed by two of the most iconic comedic teams in history, and supported by a wonderful set of actors who would often appear in many future Laurel & Hardy shorts and feature length films.

No spoilers here as usual, but I will reveal that Stan Laurel was initially very apprehensive about his lines of dialog because he had a slight lisp.

This one is obviously the boys' first talkie. The action doesn't make much sense, the tone keeps shifting, the dialogue is forced and unnatural, and the result, for me, is unsatisfying. One must cut everyone involved some slack; everything was so new. (That said, Berth Marks, from the same year, is much more polished, well-paced, and funny.) The marital angle in Unaccustomed As We Are is overplayed, and would take awhile for Laurel and Hardy to work out; their later films have the characters of the shrewish wife and the bumbling husband much more thoroughly thought through.

Count this as a transitional effort to much better (and funnier) things.

Ollie brings Stan home for a home cooked meal from his wife. When his angry wife leaves, they decide to cook for themselves with predictable results. A neighbor, wife to a tough cop, comes to their rescue and loses her dress in the process. The boys have to hide her in a trunk when Mrs. Hardy and the cop both return home. Chaos ensues.

This short, Laurel and Hardy's first sound one, is certainly pleasant enough. The small supporting cast is filled with regulars with Edgar Kennedy as the cop, the ill-fated Thelma Todd as Mrs. Kennedy and Mae Busch as Mrs. Hardy. The main problem is that the film is that action and staging is so subdued and contained, particularly in comparison to their late silent shorts. It would be easy to argue that Laurel and Hardy reached their prime in the waning days of the silents with films like "Two Tars," "Big Business," "Liberty" and "Double Whoopee." Those films are all comic gems. This is definitely a step backwards. This film also suffers in comparison to their late Hal Roach feature "Blockheads" which reprises almost the entire short with more assurance and better production values.

Still, no film with the boys is a total loss. If you are a fan, you will find yourself smiling, if not laughing, throughout.

Unaccustomed As We Are (1929)

** 1/2 (out of 4)

Hardy's wife leaves him when he brings Laurel home for dinner. L&H's first talkie was also later remade as Block-Heads. This short is pretty funny, although the future film is certainly a lot better.

With Love and Hisses (1927)

*** (out of 4)

The Sergeant (Oliver Hardy) and Captain (James Finlayson) aren't happy with some dumbbell recruits (including Stan Laurel) so they are sent out with the Sergeant so that he can get them into shape. Very funny silent short is actually a Hal Roach "All-Star" show since L&H weren't a group yet. There's plenty of laughs including the segment where the men go skinny dipping.