Topic: Unaccustomed As We Are (1929) - Laurel and Hardy

[Tony Bensley]

Where can you find the silent version of the film?

The silent version is on one of the out of print LOST FILMS OF LAUREL AND HARDY DVD volumes, although I don't recall which volume, at the moment.

It's also currently available for viewing on YouTube:

CHEERS! 

[Tony Bensley]

For me, the UNACCUSTOMED AS WE ARE (1929) silent version is a mixed bag.  While the gag involving Mrs. Hardy (Mae Busch) and the phonograph is all but ruined (An untimely inserted dialog card doesn't help, either!), in my opinion, some of the other gags work just as well, if not better in the silent.

For several decades, up until the late 1970s, no playable copies of the soundtrack were known to exist, which meant that UNACCUSTOMED AS WE ARE only appeared on early television as a silent.  Just ponder that fact for a moment!

I'm glad that both versions exist in some form!  It's too bad that the existing silent version of their followup, BERTH MARKS (1929) has never enjoyed home video release, as I've read that for some viewers, it plays better than the sound version, especially during the lengthy and tedious upper berth sequence (I'd suspect the inserted cards might actually break up some of the monotony, in that instance? ).

CHEERS! 

[Umbrella Sam]

Well, I just watched the silent version of UNACCUSTOMED AS WE ARE and thought I’d briefly share my thoughts. If I were to pick the silent film with the most annoying use of title cards, it would come down to this and THE PATSY with Marion Davies. I give them credit for trying to make certain theaters not feel left out, but when you start off depending so much on this new technology, the silent version is naturally going to come off as weaker. The phonograph is one example, along with the fight between the Kennedys, which feels very lacking without sound.

However, I do think Tony has a point when he says that some gags still work. Stuff like setting up the table, which doesn’t require sound to make it funny, still works fine and I also think that the whole “Mr. Hardy” and “Mrs. Kennedy” bit works better in this than the sound version, since it doesn’t feel as slow and drawn out. The only other difference besides the lack of sound is the editing. It’s edited to be a bit more fast-paced in order to both be more like a silent film and downplay the importance of the sound-based gags. For example, in the end of the sound version, when Laurel falls down the stairs, Hardy runs over and we hear what results from this, whereas in the silent version, it just ends with Laurel falling and we don’t see Hardy run over to the stairs.

I’m not going to give it a rating since it’s basically just a trimmed-down version of the sound version, but if I had to pick between the two, I’d still pick the sound version. The silent version is still alright though and is the version to pick if you can’t get past the sound quality in the other version.

It's too bad that the existing silent version of their followup, BERTH MARKS (1929) has never enjoyed home video release, as I've read that for some viewers, it plays better than the sound version, especially during the lengthy and tedious upper berth sequence (I'd suspect the inserted cards might actually break up some of the monotony, in that instance? ).

Monotonous title cards or the upper berth sequence from BERTH MARKS? Both are bad, but the title cards are the lesser of two evils.

[metaldams]

The silent version....don't have much to say except I agree it's the sound version minus the sound gags and was just made to be shown in theaters yet equipped with sound.  In other words, 100% commercial, 0% art. 

Umbrella Sam, if you're you're going to participate, I'll seriously consider doing the other Laurel and Hardy films when we finish Keaton.  I'm definitely enough of a fan, it's just that participation was minimal before and combined with doing Stooge films at the time, it was too much work for too little feedback.  The last film I did was THE MUSIC BOX.

[Umbrella Sam]

The silent version....don't have much to say except I agree it's the sound version minus the sound gags and was just made to be shown in theaters yet equipped with sound.  In other words, 100% commercial, 0% art. 

Umbrella Sam, if you're you're going to participate, I'll seriously consider doing the other Laurel and Hardy films when we finish Keaton.  I'm definitely enough of a fan, it's just that participation was minimal before and combined with doing Stooge films at the time, it was too much work for too little feedback.  The last film I did was THE MUSIC BOX.

Glad to hear you’ll consider doing them, and, yes, I do intend to participate if you do. Hopefully by then I’ll be all caught up with the other shorts.

[Dr. Mabuse]

Suffering from the studio-bound stiffness that plagued many early talkies, "Unaccustomed As We Are" provides an agreeable vocal transition for Laurel and  Hardy. The Boys' effortless charm overrides a static two-reel sitcom — bolstered by the classic presence of Mae Busch, Thelma Todd and Edgar Kennedy. Rather flat without dialogue, the silent version is worth a look only for historic purposes.

7/10

[HomokHarcos]

Here we are with Laurel and Hardy's talkie debut. I've said before that the comedy film shorts have a much different feel from later TV sitcoms due to a heavier reliance on location shooting and physical comedy, but this short feels like it could have been easily filmed on a set to an audience like I Love Lucy. The whole film takes place in either the hallway, or one of the adjacent homes. Even the plot is more like a TV sitcom with the misunderstanding. Now with the sound: I did not expect Ollie's voice is be so deep at first, and Stan doesn't really say much at all. They can have good verbal routines, but oddly it seemed to be mainly used for sound effects and the other actors.

One thing Laurel and Hardy were great at is giving spotlight to the supporting cast. Thelma Todd, Edgar Kennedy and Mae Busch were all excellent. I've seen all of the Todd-Pitts and Todd-Kelly shorts, and I much prefer her supporting work. Mae Busch is memorable as the yelling and potentially abusive wife, while Edgar Kennedy is great as a cop. I liked the part where Edgar Kennedy was bragging about being with other women, where, unbeknownst to him Todd is right there listening. It's also great seeing Stan's smug look after Thelma beats him up and tries to act like it was all him, only to fall down the stairs. Usually, he's not on the receiving end of the slapstick.