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This was not the first film that Stan and Ollie were in the army. The first one was Blockheads (1938) which saw Stanley guard the Western Front for 20 years after the war ended. This Laurel and Hardy film was the inspiration for Abbott and Costello's Buck Privates, which did very well at the box office. After that film, Fox decided to put Stan and Ollie in the army again. Unfortunately, although funny in spots, the film does not have the nice easy flow that the Stan Laurel direction pieces had. This was a major error by the Fox studio to use some hack director in place of Stan Laurel. The plot is rather lame, but Stan and Ollie keep the film from being a flop.

This wartime comedy is one of Laurel and Hardy's first movies for Twentieth Century-Fox, so it isn't nearly as consistently funny as the ones they made at MGM. However, I found this to be very amusing and enjoyable, with many good laughs. The first half is very slow, but once they get involved with their Sergeant Hippo, it picks up a lot. Try not to laugh when Stan shoves a crow down Ollie's pants during an inspection, or when Stan and Ollie are forced to build a pontoon bridge (I liked Stan's choice of wood). All in all, this movie is ten times better than any of the comedies they come out with today and is definitely worth any L&H fans time. 8 out of 10.

Great Guns was Laurel and Hardy's first film after leaving Hal Roach Studios for which their best work was done by far. 20th Century Fox might have had a much better film had they not decided to imitate the enormously successful Buck Privates which had come out earlier in the year for Universal starring that new team Abbott&Costello. Stan and Ollie did service comedies before and good ones.

Darryl Zanuck just bent the plot a little. Dick Nelson plays the pampered rich kid like Lee Bowman in the other film. He's got two maiden aunts, Mae Marsh and Ethel Griffies, who treat him like he was in a plastic bubble and a quack doctor in Ludwig Stossel who's getting rich off their hypochondria about Nelson.

Stan and Ollie are the butler and chauffeur of the estate and they join the army to look after Nelson. Truth be told he wants to join just to get away from those aunts.

After that it's a series of a lot of gags per normal for a service comedy. I'm sure that Stan and Ollie had they been given a little more creative freedom might have come up with more original stuff. One thing that I liked was Stan's pet raven who won't leave him even though he's enlisted. It turns out Penelope the raven gives the bird to the enemy in the war games finale which also was imitating Buck Privates.

And Nelson is involved in a romantic triangle with his sergeant Edmund MacDonald over the girl with photography concession at the PX, Sheila Ryan. If you're on your toes, you'll notice that the soldier who is buying his developed films from Ryan while Nelson is waiting is Alan Ladd

Best gag in the film involves Stanley trying to ditch Penelope in Ollie's pants during inspection and the havoc it causes. Second best is Ollie spilling water all over himself when Stan asks the time and then Stan doing it to him when Ollie asks for the time. Third best is the two of them hitching a ride on a target during rifle practice.

Great Guns has its moments, but it doesn't have the sustained humor of their stuff with Hal Roach.

It's a fact that Stan Laurel and Oliver Hardy did their best works for the MGM studios. Their later works for the Twentieth Century-Fox studios aren't exactly the most classic ones around. This is one of those typical Twentieth Century-Fox Laurel & Hardy pictures, that in style and humor quite differs from their early work but still has its certain charm and entertainment value, although the movie is far from an hilarious or great one.

Once again Laurel & Hardy are in the army. This time the movie focuses on their mishaps in boot-camp. Laurel & Hardy don't really get to show the best of their qualities in this movie but the provide the movie with a couple of entertaining moments nevertheless. There are a couple of sequences that are still are of comical greatness, such as the scene in which the boys ride in a jeep during a combat exercise but like often was the case in their later movies, there are more misses than hits with its humor. The movie isn't consistently funny but yet it always remains perfectly entertaining to watch, although I would definitely had prefer some more slapstick from the two boys.

Reason why this movie still works out quite well, is due to its well written story. It makes the movie flow well and also is the reason why this movie is such a perfectly entertaining one. It makes the movie consistent and provides it with some good comical moments and dialog.

The love-story of the movie, between the Sheila Ryan and Dick Nelson characters, is quite enjoyable and not as distracting as often had been the case in other Laurel & Hardy pictures

The movie is a great looking one with good costumes and sets. It's obvious that they spend quite some money on this movie. The movie ends with quite a big battle sequences that is well fitted into the movie and makes sure that the movie ends with a blast.

Might not be so hilarious be very entertaining nevertheless.

7/10

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Under the watchful eye of producer Hal Roach, Stan Laurel and Oliver Hardy moved from silent shorts in the 1920s to feature length talkies in the 1930s to become one of the world's best loved comedy double acts. At Roach's studios Laurel in particular was given the freedom he needed to refine the duo's act, working as writer and producer on a number of films. By the end of the decade, with scores of classic shorts and features behind them, relations between the double act and Roach were strained beyond breaking point, and Laurel and Hardy left the studio - and their glory days - behind them.

Great Guns was the first proper film of the post-Roach era, The Flying Deuces with RKO something of a one-off. The move to Twentieth Century Fox in 1941 brought down these giants of comedy in four short years, assigning them to the B unit where little care was taken and little interest shown in what was being made. Their talent wasted by the talentless men who surrounded them, the Laurel and Hardy we loved were dismantled, simplified and bastardised.

In Great Guns we find them as gardener and chauffeur to a sickly rich kid drafted in spite of being allergic to everything. When the army medical proves there's nothing wrong with him he eagerly jumps into uniform, with Stan and Ollie joining him to make sure their master is well looked after.

The change in the duo is jarring, Fox's fumble immediately noticeable. Here we see not the gentle troublemakers we remember, nor the ambitious under-achievers content in their delusion that they can better themselves. As gardener and chauffeur they are servile, loyal, self-sacrificing. They know their place, and that there they belong; none of Ollie's arrogance here, no petty one-upmanship with exasperated authority figures. Gone are the childlike, naïve little strugglers, our charming anarchists replaced by simple idiots. This wasn't just a botched attempt to move them on; it was a fundamental misunderstanding of their appeal.

This isn't Laurel and Hardy. Look at how Ollie's size is now handled; with joke after joke about his waistline, we see him compared to a blimp and a weather balloon as people queue up to tell him how fat he is. In their glory days the joke was Ollie's agility in spite of his girth, his delicate finger taps and tie waving. Now the joke is his girth. He's fat. We get it. The same subtle treatment is extended to Stan's simple-mindedness. He was always in a world of his own but before all we needed was one of Ollie's withering looks to tell us so. Here people just call him an idiot, name-calling a poor substitute for punchlines. It makes their act too blatant, as if Fox wanted to assure us they understood what the boys were all about.

The Flying Deuces showed that the duo could work well enough without Hal Roach, but to do so they had to have solid writing and directing, with input from Stan Laurel. At Fox they were just actors, and actors saddled with poor scripts and no creative control. Simon Louvish's biography tells how Oliver Hardy would sit at home going over the Fox scripts, shaking his head in disbelief as his character was betrayed; a terribly sad picture to imagine. Beyond its poorly handled characterisation, Great Guns just isn't funny, with Penelope the crow an obvious example. Consider, too, the drippy romantic subplot that keeps the boys on the sidelines for scene after scene.

We don't care about it. There's no reason to.

One of the biggest problems with the boys' wartime output was the war itself. Stan and Ollie don't belong in a world with Nazism. They'd been in the army countless times before, but those were more innocent times. Here our heroes were confronted by such a unique evil that they were horribly out of place. They should be struggling with a piano and a flight of stairs, or fighting with James Finlayson because he won't buy a Christmas tree. Seeing them in the same world as Pearl Harbor and the holocaust is uncomfortable.

Given their reputation it's surprising to learn that the first few Fox pictures were modest successes, but it's easy enough to understand. In an age before television repeats, re-issues and re-mastering, the only chance to see the much-loved duo was in their new films, and even a below-par Laurel and Hardy were better than none at all. Today, when a short from the '20s is as available to us as the feature-length dross from the '40s, there's less reason to be so charitable. In Great Guns we can see the beginning of the end and that, however sad the end was, it was inevitable with material of this quality.