Andiamo a lavorare

Laurel and Hardy are destitute – living by the river in a tent and their car. When Laurel manages to destroy most of their few remaining possessions they are forced to beg door to door for food. A misunderstanding with a kindly old lady leads the duo into a kind act that ultimately leads to a division between them.

This film has no one major strong scene that stuck in my mind, but it does have a consistently funny tale that made me laugh the whole way through. The plot starts with the usual `down on their luck' set up that works very well – Laurel playing with fire is well done. The actual plot device used to create the main story is a little contrived but it is played so well that it doesn't really matter.

All though the short there are lots of nice touches.- Hardy's looks are as good as ever. Some fans may feel that this is more low key than they expected due to the lack of a big sequence, but the smaller, consistent jokes work well to produce a short that lacks a major peak, but then manages to have no dips either.

The cast are good. The little old lady is a little clichéd and James Finlayson has little of value to do, but Laurel and Hardy are both good. Here Laurel keeps his usual character but he also adds a tougher edge. In other shorts he has tended to be one or the other (often being tougher in later films) but here he gets the mix right (apparently due to Laurel wanting to let his daughter see her dad stand up for himself onscreen). Hardy is as good as always.

Overall this lacks peaks but makes up for it by being consistently funny from the opening campfire sequence right through to logs a-flying!

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 'One Good Turn' as one of their best and a bit disappointing compared to their late 1928 and the best of their 1929 efforts, which were among their best and funniest early work. It is still very good and has much of what makes Laurel and Hardy's work as appealing as it is.

The story is slight, though more discernible than most Laurel and Hardy shorts at this point. and the first part takes a little bit too time to get going.

Did appreciate its more gentle approach and it was touching to see a sympathetic side to Laurel and Hardy.

When 'One Good Turn' does get going, which it does do quite quickly, it is great fun, not always hilarious but has enough amusing parts. It is never too silly, it doesn't lose its energy and the sly wit is 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. The unexpected and wonderfully strange ending here is the highlight.

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 'One Good Turn' and on the most part from 'Two Tars' onwards we are far from robbed of that. Their comic timing is impeccable, especially Laurel's though Hardy at the end is one of the pleasures here.

'One Good Turn' looks good visually, has 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. 8/10 Bethany Cox

I've always loved Laurel & Hardy, no matter which of their films I'm watching. Their best movies are delightful, and even in their lesser efforts I find that their impeccable teamwork and special idiosyncrasies usually carry the day. Over and above the comedy it's their relationship I savor, and for that reason I've always found One Good Turn a rather disturbing short. If you care about Stan and Ollie as buddies this one can even be a somewhat traumatic experience, for in this film the pressure of unemployment and homelessness put a serious strain their friendship, causing not just the usual knockabout quarreling, mind you, but a genuine crisis that leads to a misunderstanding, hurt feelings and, worst of all, a rift in their partnership that is left unresolved at the end. When I first saw this short as a kid it left me upset, and watching it again today I remember why.

Normally at the beginning of an L&H comedy we find a fairly stable situation: the boys are workers of some sort, or suburban husbands who've assigned themselves a home fix-it project. Gradually, of course, and despite their best efforts, things unravel. But when One Good Turn opens their situation has all but unraveled already. Stan and Ollie are homeless and broke, though they still own a car, and it appears that the car and a pup tent are their only shelter. They're camping in a field, and right off the bat Ollie is irritated with Stan, who is cooking their soup and hanging up their laundry. Within minutes Stan has managed to ruin the soup, wreck their clothes and destroy the pup tent, so the guys are reduced to going door to door, begging for a handout. At the first home they visit a nice old lady answers the door, and Ollie explains that they are "victims of the Depression" and asks her for buttered toast.

The guys were often broke and struggling to get by in their movies, starting with their earliest appearance as a team in Duck Soup back in 1927, but outright panhandling is not typical of them, and the blatant appeal for sympathy in citing the Depression is even more unusual, not to mention dicey. (Topical references of any sort are rare in their films.) The old lady is receptive and quick to oblige, which makes the boys' subsequent behavior all the more exasperating. Ollie offers to work for their meal but is plainly unhappy when Stan volunteers his friend's services as a wood cutter. They accomplish very little, and to make matters worse, when they sit down to the meal the old lady has kindly provided they quarrel and wind up in a childish food fight. Any laughter the sequence provokes is tempered by our awareness of that wasted food. Did viewers laugh at this in 1931? As it happens, the old lady is active with the local community theater group, and when she rehearses a scene in the next room with a colleague (an enjoyably hammy Jimmy Finlayson) Stan and Ollie mistakenly assume that the dialog they overhear is real, and that she is going to be evicted from her home. Happily, at this juncture the boys' good-hearted spirit reasserts itself, and they venture into the nearby town to sell their car, and raise the cash to save their benefactress from financial ruin. But due to a misunderstanding Ollie jumps to the conclusion that Stan has stolen the old lady's money, and so he marches his "one-time friend" back to her house to make a full confession. When the mistake is revealed, the worm turns as Stan exacts a violent revenge on his embarrassed, remorseful ex-pal.

Wow, that's kind of a heavy storyline for a Laurel & Hardy two-reeler. I guess it's a testament to the skill of the cast and crew that One Good Turn has its funny moments despite the dark atmosphere. Thematically this film reminds me a little of L&H's silent short Early to Bed, in which Ollie inherits a fortune, Stan becomes his butler, and Stan finally rebels against Ollie's relentless abuse. That one leaves me a little queasy too, but there it's the sudden arrival of unexpected money that causes Ollie's bad behavior, and in the end, the boys reconcile. Here, it's the LACK of money and shelter that sours the mood. The tone is harsh from the outset: Ollie is irritable with Stan even before he destroys what little they have, everything deteriorates from that point, and in the end they haven't reconciled at all. Laurel & Hardy fans will certainly want to see this film, and perhaps some will enjoy it more than I do, but if you're like me you may want to follow it up with one of their happier efforts such as Way Out West, in which the boys actually succeed at their given task and are still friends at the final fade-out.

The 1931 comedy short film "One Good Turn" is without a doubt a classic Laurel and Hardy movie, and I am glad that I had the opportunity to sit down and watch it here in 2022.

The storyline told in this movie is straight forward, and certainly is one of the more enjoyable storylines in all the Laurel and Hardy movies I've seen so far, especially since there is an aspect of being a good samaritan to it.

Of course you have all the usual witty banter and funny slapstick comedy, and that is one of the major ingredients that make these classic comedy movies so enjoyable. And it was something that Stan Laurel and Oliver Hardy had managed to get to work in perfect unison.

I had some genuinely good laughs throughout the 20 minutes that "One Good Turn" ran for. And if you enjoy comedy, then you definitely have to sit down and watch "One Good Turn".

My rating of "One Good Turn" lands on a seven out of ten stars.

I'm not sure how to take this one. Stan and Ollie have hit bottom during the depression. All they have is an old car and a tent, which is soon destroyed They are reduced to begging and an old lady gives them some food. But because they can't get along, they waste the food, throwing it at each other. When they hear a melodrama being practiced behind closed doors, they think that the old lady is being foreclosed on by Jimmy Finlayson. It is actually a rehearsal for a community play. They decide to sell their car to help the kind old lady out. Well things go south. The thing with this episode is that they end up in a confrontation that detracts form their normal relationships. It's still worth a watch with quite a surprise ending.