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Musica classica

Titolo originale: You're Darn Tootin'
  • 1928
  • Passed
  • 20min
VALUTAZIONE IMDb
6,6/10
1338
LA TUA VALUTAZIONE
Oliver Hardy and Stan Laurel in Musica classica (1928)
ComedyMusicShort

Aggiungi una trama nella tua linguaStan and Ollie are musicians whose antics at a band concert end in their employment being terminated, and they must turn to busking to make ends meet. However, playing on street corners prov... Leggi tuttoStan and Ollie are musicians whose antics at a band concert end in their employment being terminated, and they must turn to busking to make ends meet. However, playing on street corners proves to be more perilous than they had imagined.Stan and Ollie are musicians whose antics at a band concert end in their employment being terminated, and they must turn to busking to make ends meet. However, playing on street corners proves to be more perilous than they had imagined.

  • Regia
    • Edgar Kennedy
  • Sceneggiatura
    • H.M. Walker
  • Star
    • Stan Laurel
    • Oliver Hardy
    • Wilson Benge
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    6,6/10
    1338
    LA TUA VALUTAZIONE
    • Regia
      • Edgar Kennedy
    • Sceneggiatura
      • H.M. Walker
    • Star
      • Stan Laurel
      • Oliver Hardy
      • Wilson Benge
    • 25Recensioni degli utenti
    • 8Recensioni della critica
  • Vedi le informazioni sulla produzione su IMDbPro
  • Vedi le informazioni sulla produzione su IMDbPro
  • Foto34

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    Interpreti principali19

    Modifica
    Stan Laurel
    Stan Laurel
    • Stanley - Clarinet Player
    Oliver Hardy
    Oliver Hardy
    • Ollie - French Horn Player
    Wilson Benge
    Wilson Benge
    • Musician
    Chet Brandenburg
    Chet Brandenburg
    • Manhole Worker
    Christian J. Frank
    Christian J. Frank
    • Policeman
    Dick Gilbert
    Dick Gilbert
    • Boarder
    Charlie Hall
    Charlie Hall
    • Musician
    William Irving
    William Irving
    • Musician
    Ham Kinsey
    Ham Kinsey
    • Musician
    Otto Lederer
    Otto Lederer
    • Bandleader
    Sam Lufkin
    Sam Lufkin
    • Man in Restaurant
    George Rowe
    George Rowe
    • Pedestrian
    Frank Saputo
    Rolfe Sedan
    Rolfe Sedan
    • Drunk
    Agnes Steele
    Agnes Steele
    • Landlady
    Bob Minford
    • Kicking Victim
    • (non citato nei titoli originali)
    Clarence Moorehouse
    • Musician
    • (non citato nei titoli originali)
    • …
    John M. O'Brien
    John M. O'Brien
    • Street Combatant
    • (non citato nei titoli originali)
    • Regia
      • Edgar Kennedy
    • Sceneggiatura
      • H.M. Walker
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti25

    6,61.3K
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    Recensioni in evidenza

    6JoeytheBrit

    You're Darn Tootin' review

    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.
    8wmorrow59

    Another typical day in Culver City

    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.
    10redryan64

    Reaching the Summit of "Everest"

    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.
    7Boba_Fett1138

    Amusing Laurel & Hardy silent short.

    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/
    bob the moo

    A funny and entertaining silent short that fans will enjoy

    This is the story of two musicians who played neither by note no ear, instead they used brute strength. On the night in question the orchestra leader was making his farewell appearance – something the public had been demanding for years. Fired for messing this up the pair find themselves out of their house as well as they are already 14 weeks late with the rent. On the city streets with only their instruments the pair find it hard going earning money.

    Shown as part of BBC3's generally good documentary series on silent comedy legends "Silent Clowns", this Laurel and Hardy short is one of the very few silent films of theirs I have seen. I do love their "talky" short films and looked forward to this. It took a minute or two to get used to the lack of audible jokes and the short does demonstrate that this was something they wanted, because the title cards are mostly funny and not solely used to describe plot. Naturally though the vast majority of this is physical comedy, which for fans will be just fine because they still deliver this really well.

    It is impressive how the pair do so much with very basic routines and obvious gags. The opening orchestra scene is funny and, after a bridge scene, the streets produce some good laughs leading up to the famous sidewalk chaos bit. Newcomers might not see what the fuss is about (this is always the risk – some viewers just watch L&H and think "all been done before", missing the point that no, it has all been done since) but fans will take to it despite the lack of sound. As always Laurel and Hardy work really well together, trading laughs off one another and delivering their parts equally well. Kennedy's directorial approach is wisely to pretty much just point and shoot.

    Overall an enjoyable and funny silent short that Laurel and Hardy fans will lap up even if, like me, those accustom to sound will feel its absence.

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    Trama

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    Lo sapevi?

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    • Quiz
      Filmed at the start of 1928, Stan's and Ollie's characters had now come into their own, and story ideas began flowing. Early in January, one of the gag men had seen some musicians performing in a park bandstand and mentioned it to Stan, and soon they were filming what was called 'The Music Blasters'; this title was changed just before its release. It was filmed almost in sequence in 10 days with the shin kicking and pants tearing sequence taking 2 days. Due to an existing still, it's known that one gag was filmed and then dropped. This featured an elderly lady about to give some money to the Boys who are street musicians but pulls a face at hearing their 'music' and turns away. The gag where Stan loosens the top of the salt and pepper shakers was reused in Lavori forzati (1929) a year later. Ham Kinsey, who was billed as a musician, was also Stan's stand in.
    • Blooper
      In the course of the escalating tiff on the street between Stan and Ollie, there are multiple instances of Ollie punching Stan in the stomach, followed by Stan kicking Ollie in the shins. After a few of these, tactics change to ripping handkerchiefs, removing or shredding ties, etc. After the latter takes place, the handkerchief and tie are seen lying on the ground. Then, a couple of shots are inserted of more stomach punching and shin kicking, which were actually shot earlier and show the boys' ties and handkerchiefs still intact.
    • Citazioni

      Title Card: The orchestra leader was making his farewell appearance - The public had been demanding it for years...

    • Connessioni
      Edited into Cavalcata della risata (1957)

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    Dettagli

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    • Data di uscita
      • 21 aprile 1928 (Stati Uniti)
    • Paese di origine
      • Stati Uniti
    • Sito ufficiale
      • Official Site
    • Lingue
      • Nessuna
      • Inglese
    • Celebre anche come
      • You're Darn Tootin'
    • Luoghi delle riprese
      • Culver City, California, Stati Uniti
    • Azienda produttrice
      • Hal Roach Studios
    • Vedi altri crediti dell’azienda su IMDbPro

    Specifiche tecniche

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    • Tempo di esecuzione
      20 minuti
    • Colore
      • Black and White
    • Mix di suoni
      • Silent
    • Proporzioni
      • 1.33 : 1

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