Ospedale di contea

There is a scene in James Parrot's short County Hospital, which stars Stan Laurel and Oliver Hardy, where, upon visiting his best friend Hardy in the hospital, Laurel sits idly, salting a hard-boiled egg and eating it. There's no joke, there's no real punchline, and there's no real purpose; it's about as literal as a scene could get. If only there was a way to tell the late writer H.M. Walker along with Parrot and Laurel that they may have fundamentally erected the popular idea/concept of anti-humor all the way back in 1932.

Although it does feature crisp sound and dialog, County Hospital is still so much a Laurel and Hardy short because of the fact it is more about situational humor than dialog-driven humor. Some readers of mine may mistake the idea that I have a disdain for situational humor, although, when I see the humor done smoothly and humorously, that couldn't be further from the truth. Laurel and Hardy knew what they wanted to accomplish and that was the concept of slapstick, silly humor. The wise-cracking, satirical humor that could make you laugh and ponder was left to Charlie Chaplin and the Marx brothers, which could arguably be why their films come to mind quicker than most Laurel and Hardy films do, on the topic of classic comedy films.

The short concerns Laurel arriving to the hospital to comfort Hardy after he received a broken leg, which already feels like the sequel to another one of their shorts gone awry. He brings hard-boiled eggs and nuts - to which Hardy replies with the sole line that essentially sums up the characters in each of their shorts - but Hardy realizes that while Laurel means well, he consistently causes trouble for the both of them. Hardy cannot remember the last time he endured such a restful experience, with two more months in a hospital bed to go, but Laurel ruins all of that with his well-meaning but trouble-causing actions.

County Hospital's only burden is its atrociously fake scene involving a sleepy Laurel trying to drive a vehicle with Hardy in the backseat, a scene that is understandable given the thought of the technological limitations of the early 1930's along with the short's budgetary issues. It's little bother; the film that was made instead was a fun piece of work, with self-referential gags and questionably pioneering ones as well.

Starring: Stan Laurel and Oliver Hardy. Directed by: James Parrot.

This is one of the Laurel & Hardy comedies that show how resourceful they could be in getting the most out of the limited resources within a confined setting. Most of the gags work well, and only a somewhat uneven finale keeps it from being among the better of their two-reel comedies.

The simple story setup has Oliver in the "County Hospital" as a patient in traction, with Stanley stopping by to visit. You would hardly expect that anyone could get into so much trouble in a confined space, but they come up with a lot of comedy ideas, from hard-boiled eggs to the traction equipment, and more, with a couple of particularly good ones.

The climactic sequence is a bit hard to figure, because the back projection so obviously does not match the main footage. It's so much out of sync that you almost wonder whether it was done deliberately for the sake of comic effect, or whether it had to be left that way due to limits on time or money. In any case, this is a funny comedy with a few bits that are quite good.

I've probably seen this Laurel & Hardy short more than any other. I watched it with my dad in the early Fifties. I have to admit, I really felt for Oliver in this one. He is really in bad shape and his good buddy comes along and ruins it for him. From the beginning when Stanley brings him a gift of some hard boiled eggs and some nuts, it's all over. Stan causes so much trouble that they are both thrown out of the hospital. After several harrowing moments, Stan sits on a hypodermic needle that contains a sedative. Of course, he has to drive Oliver home. There is a great line when Oliver asks his friend why he didn't bring a box of candy. He says Ollie never paid him for the last one.

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 'County Hospital' quite one of their very best, but it to me still very good and some of the best material is among their funniest.

Admittedly, the story is pretty thin and is pretty standard and it does run out of steam at the end complete with some very obvious back projection and sluggish editing, both of which fake-looking.

Despite that, 'County Hospital' is great fun, never less than very amusing and the best moments, being classic hilarity. It is never too silly, there is a wackiness that never loses 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. A lot happens yet it doesn't ever feel rushed or over-stuffed. The first half is terrific and one of the better first halves of Laurel and Hardy's output from this period.

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 'County Hospital' and on the most part from 'Two Tars' onwards we are far from robbed of that. Their comic timing is impeccable.

Excepting the editing at the end, 'County Hospital' 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, especially Billy Gilbert, but it's Laurel and Hardy's show all the way.

In summary, very good if not one of the best. 8/10 Bethany Cox

"County Hospital" is a perfectly fine L&H short until the final sequence. I always enjoyed the scenes where Stan roams the hospital halls looking for his buddy (trying to figure out what a "solarium" is) and accidentally wanders into the maternity ward; he's mightily relieved when he finds out he's on the wrong floor! I also very much enjoy Ollie's scenes with doctor Billy Gilbert and silly Englishman William Austin. The film is also enlivened by the nurses, played by Estelle Etterre (who laughs hysterically when she finds that Stan has accidentally injected himself with a sedative) and May Wallace (who joins in the laughter and says, "He'll sleep for a month!" -- so much for medical ethics).

Personally, I always liked the scene where Dr. Gilbert is flung out the window of Ollie's room on the top floor--it adds a little action to a film where the longest scene is a single take of Stan trying to eat a hard-boiled egg. Also, the gag with the egg dropping into an unseen container by Ollie's bed and making a metallic clunk is NOT a mistake--the joke is that we think at first the egg has dropped into a chamber pot (ask your grandparents what that is), but as Stan brings it up into view we're relieved to see it's only a pitcher. The same gag happens in the team's earlier short "Helpmates," where Stan drops an alarm clock into an unseen container under his bed.

As for the final sequence with the back projection, it's not so much the quality of the film running behind the boys as a problem of sluggish editing. If the shots had been much shorter--and if we'd had a few more cutaways outdoors than just the one of the car skidding on a wet road--the sequence might have worked. Roy Seawright, who did the special effects scenes at Roach's, was a good friend of mine and his crew generally did top-notch work-- check out the split-screen scenes in "Our Relations" and "Brats," the animated bubbles in "Swiss Miss," and all of the effects work in Hal Roach's feature "Topper."