You're Darn Tootin'

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

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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' has Laurel and Hardy as members of a municipal band, known for causing the conductor ample amounts of grief with their incompetence and clueless way of going about things. After their antics cause them to be kicked out of the band, they come home to realize their landlady has evicted them because of their lack of employment. The men try their luck at being street musicians, scraping by by the courtesy dimes and nickles people throw into the cups adjacent to them, but to little avail, as the two consistently argue and even engage in arguments with innocent passersby.

Noted Laurel and Hardy scholar Randy Skretvedt notes You're Darn Tootin' not so much as a comedy but as a painfully honest display of friendship and helplessness. Even when Laurel and Hardy are without a job, a home, and knowledge of where there next meal will come from, they cling to each other, and even if they fight and bicker with one another, one pretty quickly realizes these two couldn't live without one another by their side. It's an paradoxical friendship that has stood the test of time and cinema, but Laurel and Hardy deserved to be bound together for eternity, through all the needless slap-fighting and goofball situations.

You're Darn Tootin' is less a comedy short and more a nimble exploration at the kind of paradoxical friendship these two characters embody. While, of course, being humorous and delightfully unpredictable, Laurel and Hardy's relationship has pals is explored in a richer sense and, with that, we get a short that embodies really what it's like to have that one friend that you can't live with but can't live without.

Starring: Stan Laurel and Oliver Hardy. Directed by: Edgar Kennedy.

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 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.