Les montagnards sont là

Laurel and Hardy are travelling through Switzerland selling mouse traps (unsuccessfully it has to be said). When a man offers to buy the business from them, Hardy accepts and takes the foreign money. After the duo eat a large meal at a posh hotel they find that the note is worthless in Switzerland and are forced to work in the hotel to pay off their debt (and pay for every plate they break). While they are there they also get involved in a marital spat between a composer and his famous singer wife.

As someone who has seen more of their shorts than I have of their features, I was worried that a longer running time (70 minutes) would be too much for the duo to sustain. Having seen other features I knew they COULD do it if they were given the chance – sadly here they weren't given that chance. Instead they are given surprisingly little screen time and not allowed to work their magic for very long, with an off-putting amount of time devoted to the martial problems I have previously alluded to.

I don't know who made the decision that Laurel and Hardy were unable to carry a feature and required a structure to base their routines around - they should always be within the structure! The mistake shines through though in several funny scenes where Laurel and Hardy are given the good material – the gorilla (in Switzerland!) on a bridge may not make much sense but it is funny, although my highlight was Laurel trying to coax brandy out of a St Bernard's! Sadly the chances for them to produce are limited by the tradition (and overdone) song and dance numbers (where we also have the usual `Laurel does funny voice' stuff) and the romantic subplot.

Hardy is good as is Laurel, but Laurel's character is much stronger than in the shorts – he still bears the brunt of stuff but he is more forceful than before, not to mention a lot chubbier! I personally didn't take to this as well as I'd hoped I would – for whatever reason the changes were made, they off balanced the relationship that I love between the two. The support cast are roundly OK but it is hard to get interested in them simply because, while they are on, Laurel and Hardy aren't.

Overall this is a very weak feature from the usually reliable pair. The majority of the running time is taken up by the songs and the romantic subplot, with the duo only given a few chances to shine (which, happily, they take). In the 70 minutes it took to watch this I could have watched three of their shorts – each of which would have been better than this!

I think this picture gets bashed undeservedly. By 1938 Hal Roach was branching out into other movie genres, and he liked adding music to comedy and comedy to adventure. Laurel and Hardy had been successful in "The Devil's Brother" and "Babes in Toyland", and this film was not a stretch from those. He added good sets, a better than usual supporting cast, and popular music to this picture. Stan, for his part, created gags that were unusual for the team, such as the St. Bernard scene, the piano-bridge scene, and the organ scene. Both men were in the 40's; Stan had been ill and Oliver was really adding weight, and they were less than believable doing banana peel slide routines any more. They all tried mightily to produce a pleasant hybrid movie, but because it wasn't traditional L&H picture they got resentment instead. The light was visible at the end of the tunnel for Stan and Ollie by this time, and they attempted a direction change they hoped would retain their place as major stars.

Swiss Miss would have been far far better had Hal Roach dispensed altogether with the operetta format and just allowed Stan and Ollie to do their thing. Away from them the film sinks like the Titanic.

Walter Woolf King and Greta Natzler are the husband and wife romantic leads and there's a strain in their relationship. He's a composer, she's a singer and poor Walter is jealous of the attention she gets and no one pays attention to what he writes. He goes off to the Alps to compose his masterpiece. She follows him there.

The banter and the songs are typical of a MacDonald/Eddy film, but Nelson and Jeanette never had to sing stuff like I Can't Get Over the Alps and the Cricket Song. They wouldn't have had careers if they did.

Interestingly enough the bit with King composing the Cricket Song after hearing their chirping is similar to Jerome Kern hearing a bird call and getting I've Told Every Little Star out of it. Of course it wasn't Jerome Kern who gave us the Cricket Song.

Walter Woolf King who's best known as the egotistical Lespari from A Night at the Opera just doesn't come across as a good guy. Maybe with better material Allan Jones could have done this part.

But with Stan and Ollie the film is enjoyable. They've got some classic bits, Laurel trying to steal some brandy from a St. Bernard, drilling holes in a shopkeeper's floor and hitting a gas line for their trouble and best of all the insane idea of moving an upright piano across a rope bridge and encountering an escaped gorilla.

Mute the sound whenever Stan and Ollie aren't around and you might enjoy Swiss Miss.

Disappointing Laurel and Hardy film. Stan and Ollie are hilarious, of course, and their encounter with a gorilla on a rope bridge is a classic, but they're still done-in by subplots and musical numbers that command more time than their antics. Definitely worth seeing, but if you're new to the L&H cult and haven't seen it and are thinking of buying it, be advised that, despite their top billing, they are almost guest stars here.

This marvellous film neatly sets up a position - that the Swiss Tyrol is the traditional pleasant place of thigh slapping, jolly peasants and picturesque vies. From these images, composer will create his masterpiece. But to get the right mood, the staff at the swank hotel he is staying at must get themselves up in traditional costume - the image is artifice. Into this artificial, romantic world comes the dialectical opposition: Laurel & Hardy, with their arguments and bad luck. Immediately they arrive, the locals are shown to be devious cheats. They are then forced to work as slaves in the hotel to pay off an enormous food bill. All the while the composer is writing his ridiculous score, full of innocent mountain maids and singing crickets. The composer's prima-donna wife arrives and his false vision of innocence is shattered. She wants to play the innocent Swiss miss in his new work but he, rightly, rejects her as too worldly. To get the role, she connives, flirts and manipulates the hotel staff, including L & H. The greatest sequence involves our heroes attempting to get a piano across an Alpine valley rope bridge - the precarious position of artificial human culture within a dangerous natural world is exposed. To add icing to this cake, they are finally attacked on the rope bridge by a gorilla! This gorilla in the Swiss Alps might be something which Luis Bunuel would have enjoyed. In the end, the composer welcomes his wife back and accepts the artificial, anything-but-innocent nature of his art. L & H, the latter of whom has been in love with the wife, are chased away from the village by, of course, the gorilla.