While I do agree that their general output with Buster Keaton was a big downgrade in quality, I do think that MGM’s reputation with major comedians is a bit unfair, as I do like their films with Abbott and Costello and the Marx Brothers (yes, even the later ones). While, yes, these films did often involve a softening of the comic characters, they did generally have a good idea for story structure that might make these films good introductions to those who are more into dramatic films and wouldn’t even give these comedies a chance. Heck, I even recall NOTHING BUT TROUBLE being OK the one time I saw it.
Now, AIR RAID WARDENS, on the other hand, is an example of the type of film that gave MGM this reputation. Granted, I still don’t think it’s as terrible as people make it out to be, but when I first saw GREAT GUNS, this was the type of film I was expecting to see. Right away, you know something is wrong when they introduce the characters with this weird narrator and they use the odd animations of signs to express the disapproval of Laurel and Hardy entering the service. The entire world here treats Laurel and Hardy as idiots in the same annoying way that they make fun of them in PUTTING PANTS ON PHILIP, and at least that has the excuse of being made before Laurel and Hardy’s comic personas were officially established.
As far as comedy goes, it’s hit-and-miss. The meeting scene is boring and goes on for way too long. I do like the scene of them trying to help Norton, though the gag reused from BLOCK-HEADS does end up making me wish that I was just watching that instead. The scene where Stan is signing for his equipment is surprisingly slow and tedious (considering he used it to better effect in the Roach era), though the scene where they mistake the telephone for their alarm and door is amusing. Edgar Kennedy’s reaction to his puzzle falling apart is funny, but otherwise he seems a lot more tired here compared to his older Laurel and Hardy appearances (possibly the effect of age, but more likely just the result of bad direction). There are good ideas in here, but they seem forced, which they shouldn’t be considering Laurel and Hardy have done stuff like this before to great effect.
I kind of see what they’re going for with the self-pitying scenes. They do seem like a way to add more dramatic weight to Stan and Ollie’s characters, especially considering Stan, who isn’t the one to do all the talking, is the one who delivers the big speech about how they’ve been rejected by everybody. The problem is that we know that this isn’t how Stan and Ollie would react to this kind of thing. At least in NOTHING BUT TROUBLE, the self-pitying makes more sense as their run-ins with royalty were rare and generally unpleasant (even in THE BOHEMIAN GIRL, they don’t necessarily get a happy ending). However, when rejected or made fun of in the Roach films, they would pick themselves up and keep trying, very rarely feeling sorry for themselves. Heck, even in GREAT GUNS they don’t seem to mind being demoted to the sanitation department by the film’s end.
The supporting cast is...forgettable. The romantic couple is there but doesn’t do a ton. The only real noteworthy addition is Edgar Kennedy, and like I said, his appearance is underwhelming. Oh, yeah, and Stooge supporting player Phil Van Zandt is in it too.
AIR RAID WARDENS does have some funny moments, but it’s so forced and cluttered that it’s hard to recommend even as a historical curiosity. Not horrible, and I at least laughed more here than I did at BERTH MARKS, but AIR RAID WARDENS definitely shows that we are far from the golden era of Laurel and Hardy films.
4 out of 10
