Topic: Way Out West (1937) - Laurel and Hardy

[metaldams]

http://www.laurelandhardycentral.com/waywest.html
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      Again, great reviews by the Laurel and Hardy Central guys, down to even finding out I'm not the only guy in the world who prefers Lisa Kudrow over Jennifer Anniston - not that there's anything wrong with Jennifer Anniston, but Lisa Kudrow....

      Anywho, WAY OUT WEST is probably tied with SONS OF THE DESERT as the most famous Laurel and Hardy film and is certainly a perfect film.  There's not one negative thing I will say about it.  Even the obligatory first five minutes without Laurel and Hardy rocks.  The Lola character's song and dance number is good light comedy.  Flashing the mirror on the men in the audience she's pretending to sing to and seeing their reactions is priceless, especially the guy whose wife comes in and finds him out!  So when you get the pre Laurel and Hardy stuff right, you know the actual Laurel and Hardy stuff has got to be that much better.  Not one wasted moment and everything flows smoothly.

      There's a lot of great pantomime and silent comedy in this talking film.  Stan and Ollie's opening scene, if you'll notice, is mostly silent with a wonderful soundtrack above it (throughout the entire film, the soundtrack is strong).  It is a pleasure to see these two guys try to ford the river only for poor Ollie to always find the deep part and fall right in.  This gag is returned to at different points in the film, namely when they escape Fin and the sherif in the middle and towards the end.  Things come full circle twice.  No matter what adventure Stan and Ollie go through, they always return to the river - great storytelling.  Back to the pantomime, the editing and gazes with Stan, Ollie and Vivian Oakland in the crowded coach are fantastic.  Oliver's awkward flirting is a hoot in addition to the reactions.  Finally, Stan talking to Mary Roberts in the booth later on and pantomiming to her how they got into their present situation is another fine performance.  I love the way he acts out the tickling he went through and how the deed was taken.

      There is musical and dance stuff like most features.  After the first scene I already discussed, they all involve Stan and Ollie this time, so no unwanted couples invade our space - proof a great feature can be made with just comedians.  All the songs are wonderful and the famous dance scene may be the most famous Laurel and Hardy scene ever.  I'll put it to you this way - my Mom, not a fan, tells me she saw somebody post the scene on Facebook and it was featured heavily in the STAN AND OLLIE film.  It's a great scene.  I would not go as far as to call it my favorite, but it's a wonderful, well timed, virtuosic performance just the same that is a pleasure to watch.

      The physical comedy is also awesome.  Most people think of the dancing scene when they think WAY OUT WEST.  I think of the pulley scene.  One of those scenes that never fails to make me laugh.  Like the end of THE BOHEMIAN GIRL, another case of greatly edited high and low point of view shots being traded off.  Stan and Ollie get some nice playful revenge on each other with the rope and the donkey is the real kicker.  Stan's thumb of fire is his obligatory unusual physical thing he can do in a feature that makes Ollie jealous.  A nice payoff when Ollie is finally able to do it and completely scare himself in the process!  Other highlights include Stan's big toe protruding out of a hole on the bottom of a shoe and Ollie's head being caught in a bucket on the ground.  Both gags get milked very well.  Finally, I would like to add that along with BIG BUSINESS, this would be James Finlayson's masterpiece, his facial reactions and conniving personality are really put to good use and he gets plenty of screen time.

      One of the great Laurel and Hardy films.  If you're a Stooge fan who has never seen Laurel and Hardy, this film would not be a bad place to start.

[Big Chief Apumtagribonitz]

Yes, yes, and of course yes.  (  I hope this gets through. )  Not a missed comedy step, two heartwarming musical numbers, and, since Finlayson didn't win the Oscar for best supporting actor that year ( comedies never win anything, as we know ), I'd be curious as to who the now-forgotten impostor was.  I've said this before under different circumstances, but  I'll repeat and expand upon the original: if you don't like this one, you don't like Laurel and Hardy, and - note the expansion - you don't like classic movie comedy,  you don't recognize a masterpiece when you see it, and you have no heart.

[metaldams]

Yes, yes, and of course yes.  (  I hope this gets through. )  Not a missed comedy step, two heartwarming musical numbers, and, since Finlayson didn't win the Oscar for best supporting actor that year ( comedies never win anything, as we know ), I'd be curious as to who the now-forgotten impostor was.  I've said this before under different circumstances, but  I'll repeat and expand upon the original: if you don't like this one, you don't like Laurel and Hardy, and - note the expansion - you don't like classic movie comedy,  you don't recognize a masterpiece when you see it, and you have no heart.

Agreed and so happy to see this post went through.

[Big Chief Apumtagribonitz]

My God, it actually posted.  I'm glad I didn't say Fuck.

[Big Chief Apumtagribonitz]

I delved, and the Best Supporting Actor that year would seem to be Walter Brennan, an Oscar juggernaut.  At the site I visited, 1937 is the first of the supporting actor awards.  If I understand correctly, Best Supporting Actor at that time included extras, stunt men, and bit players, whose unions voted for their winner, of which unions Walter Brennan was a member.  The categories were tightened up later.  No offense to Walter Brennan, who was terrific in almost everything, but the award today is different than it was then, so Finlayson,  in the role of a lifetime, didn't have a prayer.

[metaldams]

I delved, and the Best Supporting Actor that year would seem to be Walter Brennan, an Oscar juggernaut.  At the site I visited, 1937 is the first of the supporting actor awards.  If I understand correctly, Best Supporting Actor at that time included extras, stunt men, and bit players, whose unions voted for their winner, of which unions Walter Brennan was a member.  The categories were tightened up later.  No offense to Walter Brennan, who was terrific in almost everything, but the award today is different than it was then, so Finlayson,  in the role of a lifetime, didn't have a prayer.

"Low" comedians never won such awards and yes, Fin was worthy here.  He's absolutely fantastic.

I forgot to add I think Sharon Lynn, the actress who plays Lola (L-O-L-A Lo-oh-la. La-la-la-luh-Lo-lah), bears a resemblance to Christine McIntyre.  She does a fine job.

[Tony Bensley]

"Low" comedians never won such awards and yes, Fin was worthy here.  He's absolutely fantastic.

I forgot to add I think Sharon Lynn, the actress who plays Lola (L-O-L-A Lo-oh-la. La-la-la-luh-Lo-lah), bears a resemblance to Christine McIntyre.  She does a fine job.

Interestingly, IMDB lists just one more subsequent film appearance for Sharon Lynn, THISTLEDOWN (1938).  Sadly, according to its Wikipedia page, the British Film Institute lists it as a lost film, so WAY OUT WEST is Sharon's last available cinematic appearance, and yes, she does a fine job, along with James Finlayson in his greatest sound era appearance!

CHEERS! 

P.S. About Thistledown, featuring Sharon Lynn:
https://en.m.wikipedia.org/wiki/Thistledown_(film)

[metaldams]

The audience score for this one on Rotten Tomatoes is 91%.  That's with over 4,500 votes.  A very high score.  Restores my faith in humanity just a tad.

[Tony Bensley]

The audience score for this one on Rotten Tomatoes is 91%.  That's with over 4,500 votes.  A very high score.  Restores my faith in humanity just a tad.

The listed 86 minute running time is WAY WAY off, though! 

[Big Chief Apumtagribonitz]

Very unfortunate name for one of Sharon Lynn's co-stars in Thistledown, one Athole Stewart.  There's a town in Massachusetts, my home state, called Athol, whose residents collect endless grief, but the added e in Athole makes it infinitely worse.

[Tony Bensley]

Very unfortunate name for one of Sharon Lynn's co-stars in Thistledown, one Athole Stewart.  There's a town in Massachusetts, my home state, called Athol, whose residents collect endless grief, but the added e in Athole makes it infinitely worse.

An Athole in Thistledown could have made for a rather "pwickly" situation!   

CHEERS! 

[Umbrella Sam]

Normally, my favorite films of classic comedians tend to not be their most famous ones. My favorite Keaton film is STEAMBOAT BILL, JR., my favorite Marx Brothers film is MONKEY BUSINESS, my favorite Three Stooges film is THREE DARK HORSES. WAY OUT WEST is an exception to this rule, so I’m going into this review knowing that I’m in the majority, and also knowing that I really can’t add much to what’s already been said by others.

WAY OUT WEST is the perfect Laurel and Hardy film. It combines an interesting story with Laurel and Hardy’s style of comedy perfectly. The attention to details in the filmmaking also stands out. Sure, this doesn’t necessarily have the budget of films like FRA DIAVOLO or SWISS MISS, but it does feel as though there was a lot of attention put into specific aspects of the film. Take for example the music. The first Laurel and Hardy scene has a great variation on the famous theme song, constantly shifting between a different keyed version and other nice cues. Although the scores in the shorts were good, they were essentially stock scores, so hearing a fresh score with this much attention to detail is very nice. Sure, the other features have fine scores, but this is the one where I actually still can remember some of the cues even after the film is over. It’s no wonder the music was nominated for an Academy Award.

For actual Laurel and Hardy moments...well, there are a lot that are noteworthy. “Trail of the Lonesome Pine,” Stan’s thumb trick, Stan’s laughing after Sharon Lynn tries to get the deed from him, Laurel and Hardy trying to get into the tavern at night. I will admit that the obvious rear projection in the dance scene does kind of bother me, but of course I understand that the budget didn’t really allow for that kind of shot, and Laurel and Hardy’s performance in it is just so wonderful that it’s easy to forgive.

As far as the supporting cast goes, it’s not quite as diverse as the cast in OUR RELATIONS, but nonetheless everyone does well in their roles. James Finlayson finally gets the chance to be the main antagonist in this film. Sure, he’s had somewhat similar roles, but they were often working for someone else or just a minor plot point. Here, he’s entirely in the spotlight and proves himself worthy of such a large role. Sharon Lynn, in her only performance with the duo, also manages to do really well in her role, taking part along with Finlayson in some of the impressive physical moments, especially when they’re all fighting over the deed.

I love the comedy, the music, the sets, the story. Just everything about this film makes me happy. This movie definitely deserves its iconic status.

10 out of 10

[metaldams]

Normally, my favorite films of classic comedians tend to not be their most famous ones. My favorite Keaton film is STEAMBOAT BILL, JR., my favorite Marx Brothers film is MONKEY BUSINESS, my favorite Three Stooges film is THREE DARK HORSES. WAY OUT WEST is an exception to this rule, so I’m going into this review knowing that I’m in the majority, and also knowing that I really can’t add much to what’s already been said by others.

WAY OUT WEST is the perfect Laurel and Hardy film. It combines an interesting story with Laurel and Hardy’s style of comedy perfectly. The attention to details in the filmmaking also stands out. Sure, this doesn’t necessarily have the budget of films like FRA DIAVOLO or SWISS MISS, but it does feel as though there was a lot of attention put into specific aspects of the film. Take for example the music. The first Laurel and Hardy scene has a great variation on the famous theme song, constantly shifting between a different keyed version and other nice cues. Although the scores in the shorts were good, they were essentially stock scores, so hearing a fresh score with this much attention to detail is very nice. Sure, the other features have fine scores, but this is the one where I actually still can remember some of the cues even after the film is over. It’s no wonder the music was nominated for an Academy Award.

For actual Laurel and Hardy moments...well, there are a lot that are noteworthy. “Trail of the Lonesome Pine,” Stan’s thumb trick, Stan’s laughing after Sharon Lynn tries to get the deed from him, Laurel and Hardy trying to get into the tavern at night. I will admit that the obvious rear projection in the dance scene does kind of bother me, but of course I understand that the budget didn’t really allow for that kind of shot, and Laurel and Hardy’s performance in it is just so wonderful that it’s easy to forgive.

As far as the supporting cast goes, it’s not quite as diverse as the cast in OUR RELATIONS, but nonetheless everyone does well in their roles. James Finlayson finally gets the chance to be the main antagonist in this film. Sure, he’s had somewhat similar roles, but they were often working for someone else or just a minor plot point. Here, he’s entirely in the spotlight and proves himself worthy of such a large role. Sharon Lynn, in her only performance with the duo, also manages to do really well in her role, taking part along with Finlayson in some of the impressive physical moments, especially when they’re all fighting over the deed.

I love the comedy, the music, the sets, the story. Just everything about this film makes me happy. This movie definitely deserves its iconic status.

10 out of 10

Thanks for mentioning the Academy Award for music, I should have mentioned it myself.  You're right, a film that actually deserves the accolades it gets.

[Dr. Mabuse]

Running an effortless 65 minutes, this immortal western satire includes some charming musical interludes courtesy of Stan Laurel and Oliver Hardy. The team's soft-shoe dance to the Avalon Boys' "At the Ball, That's All" remains one of the Great Movie Moments. Laurel oversaw the production of this 1937 classic — fondly remembered for its endless sight gags and hilarious support from James Finlayson as the villainous saloon owner. 

Simply put, "Way Out West" ranks among the finest comedies ever made. Critic Pauline Kael offered a nice summation:  "The film is leisurely in the best sense; you adjust to a different rhythm and come out feeling relaxed, as if you'd gone on vacation."

Extra Trivia:  Stan and Ollie's rendition of "Trail of the Lonesome Pine" reached No. 2 on the British pop charts in 1975.

10/10

[HomokHarcos]

When I think of comedy films from this era, I separate it into two categories. The first is for the comedian driven vehicles featuring actors like Laurel and Hardy, The Three Stooges, Wheeler and Woolsey, Mae West, Marx Brothers, W.C. Fields and Abbott and Costello. The second is the director lead group including Frank Capra, Howard Hawks, Ernst Lubitsch and Preston Sturges. Usually the latter movies are held in higher regard; they had higher budgets and featured A actors. If there is a comedian-lead film that is held in the same regard it is most likely Duck Soup. But Way Out West, in my opinion, is one of the best comedy features of the whole era. Everything flows so greatly. Jimmy Finlayson is a perfect villain, and his wife is almost as good. Stan and Ollie have a purpose and the way they act fits their character. There are great musical numbers, and the movie just has a feel-good atmosphere. Laurel and Hardy absolutely could be a good fit for features, given the right material.

[Tony Bensley]

When I think of comedy films from this era, I separate it into two categories. The first is for the comedian driven vehicles featuring actors like Laurel and Hardy, The Three Stooges, Wheeler and Woolsey, Mae West, Marx Brothers, W.C. Fields and Abbott and Costello. The second is the director lead group including Frank Capra, Howard Hawks, Ernst Lubitsch and Preston Sturges. Usually the latter movies are held in higher regard; they had higher budgets and featured A actors. If there is a comedian-lead film that is held in the same regard it is most likely Duck Soup. But Way Out West, in my opinion, is one of the best comedy features of the whole era. Everything flows so greatly. Jimmy Finlayson is a perfect villain, and his wife is almost as good. Stan and Ollie have a purpose and the way they act fits their character. There are great musical numbers, and the movie just has a feel-good atmosphere. Laurel and Hardy absolutely could be a good fit for features, given the right material.

Nearly everything about WAY OUT WEST (1937) is perfect.  No annoying hit and miss subplots, and enough gags that make this a feature that couldn't have also been properly done with different comedy teams of that era, for which SONS OF THE DESERT (1933) did fall under some mild criticism. James Finlayson is at his absolute nasty best, and Sharon Lynne's exceptional performance as Lola Marcel will make you wish she had done more similar roles in other great comedies of the era.  I also think she could have been great with The Three Stooges, for instance.  The ending always makes me grin from ear to ear, and is at least my second favorite (The ending of A CHUMP AT OXFORD just edges that of WoW for me, I think!) in the Laurel & Hardy Film Library.

CHEERS! 

[metaldams]

Was listening to the 1983 debut from British metal band Tokyo Blade.  Here’s how they close the album.

[Tony Bensley]

Was listening to the 1983 debut from British metal band Tokyo Blade.  Here’s how they close the album.

Thank you Doug, for posting this! It made me smile!! CHEERS!

[NoahYoung]

My second favorite L&H feature, right behind SONS OF THE DESERT. No flaws.

I still can't believe that they followed this with SWISS MISS. It's like Hal Roach  didn't learn a thing from this picture, that parvenu! (Look it up in the dictionary -- they have Hal Roach's picture there.)

[Tony Bensley]

My second favorite L&H feature, right behind SONS OF THE DESERT. No flaws.

I still can't believe that they followed this with SWISS MISS. It's like Hal Roach  didn't learn a thing from this picture, that parvenu! (Look it up in the dictionary -- they have Hal Roach's picture there.)

To be fair though, by the the time SWISS MISS (1938) was ready to be shot, Stan Laurel was in the midst of some serious marital issues, which no doubt was somewhat hampering his standing with Hal Roach. Plus, there was also a fairly lengthy gap between the shooting of these two L&H features.

That said, SWISS MISS is the BONNIE SCOTLAND of AIR RAID WARDENS!

CHEERS! 

[Freddie Sanborn]

You could probably map out which L&H features were dominated by Roach and which by Stan after their falling out over Babes in Toyland. Overall, Stan has the better track record.

Babes in Toyland: Stan
Bonnie Scotland: Roach
Bohemian Girl: Roach
Our Relations: Stan
Way Out West: Stan
Swiss Miss: Roach
Blockheads: Stan
Chumps at Oxford: ?
Saps at Sea: Stan

[NoahYoung]

To be fair though, by the the time SWISS MISS (1938) was ready to be shot, Stan Laurel was in the midst of some serious marital issues, which no doubt was somewhat hampering his standing with Hal Roach. Plus, there was also a fairly lengthy gap between the shooting of these two L&H features.

That said, SWISS MISS is the BONNIE SCOTLAND of AIR RAID WARDENS!

CHEERS! 

Yes, plus we all know that Roach cut out some of the best stuff in SWISS MISS that annoyed Stan to no end.
Until he finally married his soul mate, when did Stan not have marital issues?
Although it obviously wasn't his fault, Stan's worst movies were made when he finally achieved marital bliss.