Musica classica

WITH THE RELEASE of this 1928 silent, the LAUREL & HARDY team was established, complete and the L & H that we all know and have loved all of our lives. The only element missing is a soundtrack; and that may well have been an additional amenity.

MANY HAVE THEORIZED that YOU'RE DARN TOOTIN' may well have planned as a sound picture. If not a true "Talkie", it probably would have had the benefit of music and sound effects. It surely is an intriguing notion and there is plenty of 'circumstantial evidence' to support this notion.

BUT, SOUNDTRACK OR not, the 2 reeler marks a very important place in the history of Laurel & Hardy; as well as the direction that was taken by the HAL ROACH STUDIO. In it we find a well meshed Stan & Ollie, fully outfitted in their trademark bowlers (that's another name for derbies, Schultz), bow tie (Laurel) and necktie (Hardy). By this time, Stan Laurel had even adopted that scraggly, high topped hairdo.

THE OVERALL LOOK of this picture is both bright and realistically staged; with the vast portion of the filming being done out of doors. It is done mainly in the streets of Culver City in suburban LA. It was there that the HAL ROACH STUDIO was situated.

AS WAS THE case in all of the Roach product at that time (and for some years before),the titles were written by H.M. Walker. It was his wit and mastery of the King's English that added a real class to the silent films of L & H, Charley Chase, early Harold Lloyd, Snub Pollard and so many other series. Mr. Walker continued on the job after the ascent of the talkies, writing dialogue as well as those great title starters that typically were characteristic of L & H sound shorts.

ANOTHER ASPECT OF the title cards utilized at this juncture was an abandonment of those which consistently relied on humor which was unrelated to the story on the screen. These included both references to the habits of the characters, as well as giving them purposely outlandish sounding names. This was a regular over at Roach's good friend as well as his rival, Mack Sennett at KEYSTONE COMEDIES.

IN ADDITION TO opting for a more subtle and clever type of title, Roach and associates moved to do things much more s-l-o-w-l-y. Instead of rapid fire stacking the gags, one on top of the other, the writers and directors would exploit the gag situationals from every different angle. Their favourite ploy of presenting physical conflicts was dubbed "Reciprocal Destruction" by Roach Studio's supervising Director, Leo McCarey.

IN IT THE combatants would alternate in doing harm to each other or to the property of the other; all the while there was no attempt by either side to prevent any of the mayhem.

IT WAS LARGELY the efforts of Mr. McCarey and Stan Laurel that established this slow, deliberate style. It was also the principal that brought Stan Laurel's screen persona that we all are so familiar with. (Just you screen a Stan Laurel comedy from before the teaming with "Babe"-as Oliver Hardy was known to his friends).

SO THAT BRINGS us to the movie itself. We have already stated our opinion that YOU'RE DARN TOOTIN' was the zenith of the L & H series and established what was basically the 'finished product.' It is non-pretentious, smoothly conceived and truly funny. Its cleverly rendered pacing along with the chain-reaction like building of the final sequence all make it a primer for doing a comedy, short or not.

AND IT IS this finale that does its best to comply with the primary rule of comedy. That being: "Always Leave 'Em Laughing" *

NOTE: * The ending of Robert Youngson's compilation tribute film LAUREL & HARDY'S LAUGHING 20s (1965) uses this comic windup for its own ending.

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.

Although I certainly don't consider this movie to be Laurel & Hardy's best, it still is of course a very amusing short, that features plenty of good slapstick moments.

The movie is a bit dragging at times with its gags but overall the movie has plenty of moments in that will surely make you laugh. Especially the ending is purely classic. The slapstick comedy is very typically Laurel & Hardy like, so fans of the two will surely enjoy watching this comedy short.

Like often was the case with Laurel & Hardy, the movie can be divided into two parts. The first halve is about the comedy duo playing in a municipal band, while the second halve is about the two coping with the fact that they are fired from the band by trying to earn some money on the street by playing. Both parts have their up- and downsides but overall the upsides overcome its lesser parts.

The movie got directed by Edgar Kennedy, who also directed the other Laurel & Hardy silent short "From Soup To Nuts". Kennedy is still best known though as an actor playing in several Laurel & Hardy movies, most often as the cop Kennedy.

Amusing, especially for the fans.

7/10

http://bobafett1138.blogspot.com/

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', released in 1928, is one of Laurel & Hardy's last silent shorts. There is no high-brow humor, no Andy Kaufman what's-he-really-doing-here angst, and the closest thing to sophisticated word play comes when Stan throws Ollie's horn under a steam roller and, after trying to get the now half-inch thick instrument to toot, Ollie deadpans to the camera and a placard announces "It's flat."

You can see the fine hand of legendary comedic actor Edgar Kennedy in his direction. Kennedy's fortes – the slow burn and intricate interactions with props – are the centerpieces here, from the fiddle bow and music sheet sequence early on to the gradual acceleration from annoyance to mayhem and utter anarchy at the end.

Stan and Ollie destroy a band concert, get fired, evicted, and fight with each other and everyone else who so much as passes by. The big finale is the infamous pants-ripping scene. "You're Darn Tootin'" is pure slapstick and low-brow humor. It's also the funniest twenty minutes ever committed to film.

Warning: do not watch this film without a change of underwear available.