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One Good Turn (1931) - Laurel and Hardy

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Offline metaldams

http://www.lordheath.com/index.php?p=1_146_One-Good-Turn
http://www.laurelandhardycentral.com/oneturn.html
http://www.imdb.com/title/tt0022227/?ref_=fn_al_tt_2

http://www.dailymotion.com/video/x26g12n_one-good-turn-b-w-1931-laurel-hardy_shortfilms

Watch ONE GOOD TURN in the link above



      An enjoyable Laurel and Hardy film that again, I don't know if I have much to say about.  Is it me or the films?  Well, HELPMATES is coming up soon, so if I'm stumped that week, then it's me!  Well, I'm not totally stumped, I have a few things to say, anyway, and yes, I do enjoy this one.  However, it's just missing that extra something to make it a classic, and I can't point my finger as to what.

      Two things about this short are of interest to me.  One is the Great Depression setting.  Stan and Ollie are outdoors, living in a tent, washing their clothes and drying them on a line in the sun.  Stan accidentally sets the tent on fire, setting up the old warhorse of a gag of trying to put out a fire by running back and forth and throwing drinking glasses of water at it.  A gag I like that will be reprised by the likes of Joe Besser years later.  Charlie Chaplin (Anyone want to discuss his stuff?), pioneered the whole pathos thing in comedy, and this again has his influence, as Ollie laments their lack of material possessions.  I find this to be fascinating stuff.

      The ending is like watching Larry give it to Moe in THE SITTER DOWNERS, but this time, it's Stan giving a slapstick tirade to Ollie!  Ollie has to act more of a jerk than usual to get it, though, the way he accuses Stan unjustly of stealing the old lady's money.  Still the way Stan chops down the building Ollie is in and won't let Ollue leave the building without threatening to chop Ollie himself is interesting stuff, so I suppose Ollie acting the jerk is a good set up.

      Good short overall, just not one of my favorites.

8/10




- Doug Sarnecky


Offline Big Chief Apumtagribonitz

I would venture to guess that this is as broke as L&H ever got, living in the woods and begging for bread.  They were livin' large in Laughing Gravy compared to this.  The ending is good, too.  I think the problem with this one, and it's not fatal, really, is the set-up, the rehearsal of the amateur theatrical.  Too obvious, too corny.  Even dumbbells like L&H should have figured that one out.  But, like I say, not fatal, still a good watch, with a good depression-era vibe: they're literally in the weeds.  This one and some Our Gangs point out that LA in the early '30's was not necessarily a garden paradise.


Offline BeAStooge

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The ending is like watching Larry give it to Moe in THE SITTER DOWNERS, but this time, it's Stan giving a slapstick tirade to Ollie!  Ollie has to act more of a jerk than usual to get it, though, the way he accuses Stan unjustly of stealing the old lady's money.  Still the way Stan chops down the building Ollie is in and won't let Ollue leave the building without threatening to chop Ollie himself is interesting stuff, so I suppose Ollie acting the jerk is a good set up.


Produced for the benefit of Stan's young daughter Lois.  She had become wary/scared of her Uncle Babe because of the films she'd seen.  Stan worked out this plot device as a way of showing her that he was capable of taking care of himself.


Offline metaldams


Produced for the benefit of Stan's young daughter Lois.  She had become wary/scared of her Uncle Babe because of the films she'd seen.  Stan worked out this plot device as a way of showing her that he was capable of taking care of himself.

You know, I read that before but forgot to post it.  Thanks for bringing that up, it is an net resting story.
- Doug Sarnecky


Offline Paul Pain

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It was an interesting short to say the least.  It's got a full plot development and stuff.  Yeah, Ollie has to act jerky to get the works, but it was a good short overall.  I can't add much because the preceding reviews have already been excellent.  Gotta love the way Stan botches the auction and acts like a total retard (yes, shoot me PC police) when they're eating the meal the lady prepared.

8/10
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Offline Umbrella Sam

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This was certainly an interesting one, but in a good way. The beginning is pretty run-of-the-mill, though that’s not a bad thing. There are some genuinely funny gags thrown in there, notably with Laurel’s attempts to put out the fire with a small cup. The misunderstanding is actually pretty interesting and I do like the acting from both James Finlayson and Mary Carr during their rehearsal.

The ending, though, is the big standout moment. Seeing Stan get revenge on Ollie is a different change of pace, but does work in terms of the story and unlike in EARLY TO BED, it doesn’t feel like a total betrayal of character. Hardy’s a bit more mean than usual, but it’s still something I could see him doing, especially in this kind of situation, and I think Laurel has bottled up so much abuse from Hardy that this was an understandable breaking point for his character.

There’s some good comic destruction in this and it does a great job standing out, though I still think there are better shorts. Still, I’d enjoy seeing this at least a few more times in the future.

9 out of 10
“I’ll take a milkshake...with sour milk!” -Shemp (Punchy Cowpunchers, 1950)

My blog: https://talk-about-cinema.blogspot.com


Offline Tony Bensley

This was certainly an interesting one, but in a good way. The beginning is pretty run-of-the-mill, though that’s not a bad thing. There are some genuinely funny gags thrown in there, notably with Laurel’s attempts to put out the fire with a small cup. The misunderstanding is actually pretty interesting and I do like the acting from both James Finlayson and Mary Carr during their rehearsal.

The ending, though, is the big standout moment. Seeing Stan get revenge on Ollie is a different change of pace, but does work in terms of the story and unlike in EARLY TO BED, it doesn’t feel like a total betrayal of character. Hardy’s a bit more mean than usual, but it’s still something I could see him doing, especially in this kind of situation, and I think Laurel has bottled up so much abuse from Hardy that this was an understandable breaking point for his character.

There’s some good comic destruction in this and it does a great job standing out, though I still think there are better shorts. Still, I’d enjoy seeing this at least a few more times in the future.

9 out of 10
I thank that interesting parallels could be drawn between Stan's daughter Lois having complained about being scared of Uncle Babe due to his onscreen mistreatment of her father, and Stan's character finally having had enough.  To me, Stan's snapping, especially given the unjust element of Ollie's mistreatment in this instance, is most credible.

On the print that's included in The Essential Collection set, are two unfortunate elements.  One is the somewhat ragged condition of the print (Complete with image tears!) that I assume all home video versions suffer from to some degree.  However, for me, it is the garish looking original Title Card that is the negative stand out!  Was the regular title card graphics designer off sick that day, or what?  "One Good Stomach Turn" describes it for me - BLEECH!

The short itself I find to be quite enjoyable, and at the same time, appreciate its depression era references, which aren't often that overt in the Hal Roach shorts, at least verbally.  I also find Mary Carr's performance especially endearing.

For me, ONE GOOD TURN is a solid 8 out of 10!

CHEERS! [pie]

P.S.  I've included a screenshot of the original ONE GOOD TURN title card, taken from Dave Lord Heath's "Another Nice Mess" (lordheath.com) website! 



Offline Umbrella Sam

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I thank that interesting parallels could be drawn between Stan's daughter Lois having complained about being scared of Uncle Babe due to his onscreen mistreatment of her father, and Stan's character finally having had enough.  To me, Stan's snapping, especially given the unjust element of Ollie's mistreatment in this instance, is most credible.

On the print that's included in The Essential Collection set, are two unfortunate elements.  One is the somewhat ragged condition of the print (Complete with image tears!) that I assume all home video versions suffer from to some degree.  However, for me, it is the garish looking original Title Card that is the negative stand out!  Was the regular title card graphics designer off sick that day, or what?  "One Good Stomach Turn" describes it for me - BLEECH!

The short itself I find to be quite enjoyable, and at the same time, appreciate its depression era references, which aren't often that overt in the Hal Roach shorts, at least verbally.  I also find Mary Carr's performance especially endearing.

For me, ONE GOOD TURN is a solid 8 out of 10!

CHEERS! [pie]

P.S.  I've included a screenshot of the original ONE GOOD TURN title card, taken from Dave Lord Heath's "Another Nice Mess" (lordheath.com) website!

It is interesting to think that Laurel and Hardy’s real-life families were so close that Laurel’s daughter referred to Hardy as her uncle. This also makes me wonder if the on-screen personality of Moe ever made Larry or Curly’s children afraid of him.
“I’ll take a milkshake...with sour milk!” -Shemp (Punchy Cowpunchers, 1950)

My blog: https://talk-about-cinema.blogspot.com


Offline Tony Bensley

It is interesting to think that Laurel and Hardy’s real-life families were so close that Laurel’s daughter referred to Hardy as her uncle. This also makes me wonder if the on-screen personality of Moe ever made Larry or Curly’s children afraid of him.
Towards the end of his life, Stan Laurel would say that he and Babe didn't really become that close until their later post war tours in the late 1940s, but I'd say the seeds of a lasting friendship were sown much earlier.

It would be interesting to know whether any of Larry's children and Curly's oldest ever had any similar fear of Moe.  Being that Curly's younger daughter was little more than a toddler when he passed, I suspect no such fears had any chance to fester within her.

CHEERS!  [pie]


Offline HomokHarcos

I'll say this right now: the Hal Roach comedy shorts may be my favorite films in general. The only other contenders would be the cartoon shorts from Warner Brothers or Disney (yes, the short subject field is the one I'm most into). The location shooting and and Depression references are excellent. Stan and Ollie are poor and there's no way to get around that. But, I'd like to point to how they are as people: they would rather use the money they gain from the auction to help the women that they think is going to be evicted. The ending is the best part. After accusing Stan of stealing the money and bullying him, Ollie gets his comeuppance, and the usually timid submissive Stan goes after him!


Offline Dr. Mabuse

Writer-director John Hughes: "If there's a greater body of work than the Laurel and Hardy films, I haven't seen it."


Offline NoahYoung

Would you be shocked if I told you that this short was sorta/kinda remade as THICKER THAN WATER? I was shocked to discover this a few weeks ago, even though I've seen both shorts numerous times over the last 40 years or so. My L&H viewing goes back much further than that, but it wasn't easy to see any of the shorts in the 70s unless you caught a very rare showing on TV, or viewed Blackhawk Super 8 prints, like I did.


Details in the entry for THICKER THAN WATER.

As an aside, did you know that THE SPY WHO LOVED ME was sorta/kinda a remake of YOU ONLY LIVE TWICE? Even the Broccolis didn't realize it when it was pointed out to them. I don't remember the details right now -- I'd have to dig out one of my James Bond books that points it out. (I hope I got the 2 films right!)
Burt Lancaster was too short!
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Offline NoahYoung

Writer-director John Hughes: "If there's a greater body of work than the Laurel and Hardy films, I haven't seen it."

In the history of films, there haven't been that many artists who, for a fairly long run, had a consistent output (in terms of quality) and created a large body of work.

I'll restrict it to the Golden Age, since that's my favorite period, and frankly I'm not sure anything past the Golden Age would qualify in my book, anyway.

Chaplin from his start until the end of the silent era, with CITY LIGHTS squeezed in. Without debating the merits of his work after that, I'll simply say he was nowhere near as prolific after CITY LIGHTS, and for the decade prior his output was dwindling by quanity, though not quality. His most concentrated period of excellence was the 12 Mutual films, which is my favorite Chaplin period.

Lloyd and Keaton in the 20s.

L&H from 1927 - 1940.

The Stooges from 1934 until the early 40s, though re-invigorated in Shemp's early years with the team in the late 40s/early 50s.

Our Gang Roach talkies from late 1930 until 1938.

The Marx Brothers made too few films overall (13), and their best work was cramped into a very short period with just a handful of films, so as much as I love them, I'd have to leave them out.

W.C. Fields almost makes it, but again too few great films in 2 very short spurts: mid 30s at Paramount, then late 30s/early 40s at Universal.

Charley Chase at Roach -- silents in the 20s. Made some classics in the 30s but too few over a long stretch. So I reget to say I'm leaving him out -- but the strength of those silents gets him an honourable mention.

Fred Astair and Ginger Rogers at R-K-O in the 30s. People who haven't seen them will never realize how good their films were -- a can't miss even if you have just a passing interest in the Great American Songbook, and I have much more than a passing interest. Listen to some classic Sinatra albums on Capitol, and Ella Fitzgerald on Verve, then watch those movies -- you won't believe how many songs are from those films.

(I'll also restrict this to films, else Sinatra and Fitzgerald are just 2 of the artists with an enormous and amazingly consistent output over a large number of years -- though not necessarily their whole careers. I could write a book about Duke Ellington's music -- and many have!)

Abbott and Costello from 1940 until 1955! When the films started to go downhill, their TV work was still top-notch!

Hitchcock from 1934 until 1976! (OK, his 60s output was hit (PSYCHO) or miss (films like MARNIE), and he only made 2 films in the 70s, but those 2 films are well worth seeing!)

Bogart from early 40s until late 50s. Play those films again, Sam!

Cary Grant from the late 30s until the late 50s. Comedy, Drama, Suspense...Hitchcock! He could do it all!

Many other great artists in that period, but the above are my favorites. (But Jimmy Stewart's Hitchcock films are all superb!)

And I haven't even gone into Looney Tunes and Disney!

Perhaps there have been many artists who fit the bill!

That all being said, my sentimental favorites are the boys -- Mr. Laurel & Mr. Hardy.











Burt Lancaster was too short!
- The Birdman of Alcatraz


Offline NoahYoung

I also find Mary Carr's performance especially endearing.


I was shocked many years ago to find out that Mary Carr lived until 1973, having been born in 1874! An "old lady" in 1931 was still living during my lifetime! As you can see from the dates, she was still in her 50s for this short.


Burt Lancaster was too short!
- The Birdman of Alcatraz


Offline NoahYoung

  Gotta love the way Stan botches the auction and acts like a total retard (yes, shoot me PC police) when they're eating the meal the lady prepared.


Funny, my mom had a similar reaction when I first saw this one years ago. She said it was terrible to see them wasting the food!
Burt Lancaster was too short!
- The Birdman of Alcatraz


Offline NoahYoung


      An enjoyable Laurel and Hardy film that again, I don't know if I have much to say about.  Is it me or the films?  Well, HELPMATES is coming up soon, so if I'm stumped that week, then it's me!  Well, I'm not totally stumped, I have a few things to say, anyway, and yes, I do enjoy this one.  However, it's just missing that extra something to make it a classic, and I can't point my finger as to what.

Yes, it just falls short of being a classic since it doesn't have a standout scene. It moves quickly, however, and was made when the boys, and the Roach studio in general, had just made it over the hump and figured out how to make solid talkie shorts. They were no longer submitting us to endurance tests like BERTH MARKS and THE LAUREL-HARDY MURDER CASE.

      Two things about this short are of interest to me.  One is the Great Depression setting.  Stan and Ollie are outdoors, living in a tent, washing their clothes and drying them on a line in the sun.  Stan accidentally sets the tent on fire, setting up the old warhorse of a gag of trying to put out a fire by running back and forth and throwing drinking glasses of water at it.  A gag I like that will be reprised by the likes of Joe Besser years later.  Charlie Chaplin (Anyone want to discuss his stuff?), pioneered the whole pathos thing in comedy, and this again has his influence, as Ollie laments their lack of material possessions.  I find this to be fascinating stuff.

The Roach Studio did a great job of painting a detailed picture of life in the early days of The Depression in films like this, as well as in a few of the Our Gang shorts. In my mind, it's an important historical document for that reason. As I mentioned in the thread for THICKER THAN WATER, I've always felt that Roach's films probably fairly accurately reflected the general feelings and conditions of his contemporary audiences. In contrast, Chaplin often played a homeless tramp during the prosperous roaring 20s!

It is interesting that The Depression is actually mentioned by Ollie in this film.  In THE PANIC IS ON, also from 1931, Charley Chase mentions The Depression as well.

      The ending is like watching Larry give it to Moe in THE SITTER DOWNERS, but this time, it's Stan giving a slapstick tirade to Ollie!  Ollie has to act more of a jerk than usual to get it, though, the way he accuses Stan unjustly of stealing the old lady's money. 

Many people miss the fact that Ollie calls Stan a "sheep in wolf's clothing" rather than vice-versa!
Did you notice it?


      Good short overall, just not one of my favorites.

8/10

Pretty high rating you gave it, though!
 [pie]

Definitely not a film to show to someone unfamiliar with the boys -- the ending wouldn't strike a chord.

It is very unusual for Stan and Ollie not to interact with Fin when he is also in the film. That's one of the things this short needed to move it into "classic" territory. I've always enjoyed the film, though.

I'm curious what video source this youtube video is taken from -- it has Film Classics titles, but to my knowledge FC prints haven't been used since the video-tape days, and this is not a video dub. Perhaps one of the non-US dvd releases from Universal? If so, they must have corrected the PAL speed-up issue. The film source is pretty beat-up, too, with several noticeable splices.




While the Essential Collection has a relatively beat-up print, too, it was restored for The Definitve Restorations. Both of those use the original titles.

When you've been a fan for as many years as I have, you start to make some interesting observations that you never did before. Notice how Ollie's suit coat barely fits him -- he can barely button it over his belly. He therefore was given the clothes by someone. Why? With little food to eat, he certainly wouldn't have gained weight during The Depression, would he have Watson?


Burt Lancaster was too short!
- The Birdman of Alcatraz