Film #5 - Unaccustomed As We Are (1929)

 

 

  

Starring Stan Laurel and Oliver Hardy.

 

Featuring Edgar Kennedy, Mae Busch, and Thelma Todd.

 

Directed by Lewis R. Foster.

 

Synopsis

"Get a load of this, big boy!"

 

 

 

 

 



Stan and Ollie have been playing a bit of pool. They get hungry, so Ollie invites Stan back to his apartment so that Mrs Barbara Hardy (Mae Busch) can cook them both a nice steak with mushroom sauce.

Outside the Hardy residence, they bump into Mrs Kennedy (Thelma Todd) and pleasantries are exchanged.

Mrs Hardy is none too pleased to learn that the boys expect her to cook them a slap-up meal, so, after an argument with her husband, she grabs her coat and hat and leaves the boys alone, heading for refuge at her mother's.

This doesn't perturb the boys one bit, and with Hardy's lead, the pair set about making their own steak dinner.

Laurel fails to help in any manner whatsoever, and Hardy has trouble with the gas.

After hearing the racket that the boys are making, Mrs Kennedy enters. She very generously offers to cook for the "poor dear boys".

It turns out Mrs Kennedy isn't well-equipped for working in the kitchen; she sets her dress on fire, so Hardy tries to put out the fiery garments whilst Laurel just hits her with a cushion!

Things are resolved when Hardy rips off her dress, leaving Mrs Kennedy in her underwear (quelle surprise!)!

Stan covers Mrs Kennedy's modesty by giving her the tablecloth to wrap around herself.

She attempts to hurry back to her apartment, but, just as she opens the door, Mr Kennedy (Edgar Kennedy) is coming home! Despite Mrs Kennedy's fears that her husband will kill them all if he finds out she is in her underwear in the Hardy residence, Stan and Ollie decide the best course of action would be to tell the truth.

Hardy goes outside the apartment, only to see his wife returning! Slamming the door shut, he decides suddenly that the plan to tell the truth needs to go out of the window! A bit like Mrs Kennedy; however, they decide to shove her in a trunk instead.

Mrs Hardy is in a conciliatory mood (even bringing some nuts for Stan), but with Mrs Kennedy stuck in the trunk, Hardy must be inventive to resolve the situation and get Mrs Kennedy out of the apartment.

Telling his wife that upon hearing Stan's advice, he has decided to leave her and head to South America "to do big things", Hardy picks up the trunk containing Mrs Kennedy.

An angry Mrs Hardy is not pleased to hear that home wrecker Stan is trying to wreck her, erm, marriage. Mr Kennedy, a policeman by profession, hears the argument, and enters the Hardy residence.

Kennedy learns that there is a woman in the trunk. He sympathises with the boys, and tells Mrs Hardy that he will go and give Stan and Ollie a good talking to outside so that all will be patched up (and importantly, at his request, the trunk will be put in his apartment).

Inside the safety of his apartment, Kennedy laughs and jokes with the boys, telling them that they need to be careful if they are going to make whoopee by having extramarital affairs. He invites them both out on his rounds, so that they can see his technique of flirting with women without his wife being any the wiser.

Mrs Kennedy, none too pleased to hear of such things from her husband, glowers inside the trunk.

Kennedy promises to let "that cluck" out of the trunk after escorting Stan and Ollie back to the Hardy's apartment. With the three men out of the way, Mrs Kennedy climbs out of the trunk and hides in the living room, shutting the lid on the way.

Back in his apartment, Kennedy is surprised to open the trunk and find no one inside! Off-screen, a seething Mrs Kennedy throws a variety of household items at her wayward husband.

A battered and bruised Kennedy knocks on the door of the Hardy residence. He beckons Ollie outside, and off-screen, punches him on the nose.

Hardy returns inside and shows off his red nose to Stan. A frightened Stan is beckoned outside by Kennedy.

Once he gets outside, Kennedy tells him to shut his eyes. Laurel does so, and misses Mrs Kennedy appear with a giant vase and smash it over her husband's head!

An unhurt Laurel walks back into the Hardy residence and bids the couple farewell. A shocked Hardy hurries outside to find the unconscious Kennedy on the floor.

 

Laurel bids goodnight to Mr Hardy. After doing so, he trips and somersaults down the stairs.
 

Review

"Well, you look like a peanut!"

 

"Unaccustomed As We Are", as you're probably aware, was the first Laurel and Hardy "talkie".

It's a great little comedy with plenty of slapstick moments, and marks the first time that viewers will hear Hardy's catchphrase of "Why don't you do something to help me?"

As would be expected, there are plenty of marvellous "Laurel and Hardy moments" epitomising precisely what made the partnership so special, but the film is arguably such a laugh-fest because the supporting cast is so strong. Mae Busch, Thelma Todd, and Edgar Kennedy have all secured their places in the 'Laurel and Hardy' legend, and rightly so. In fact, as I'll discuss later on in this post, in my opinion, it might even be Edgar Kennedy who steals the show in this particular film with his lecherous, bungling ways.

Once Stan and Ollie enter the Hardy residence, the comedy really gets going. Ollie has made such a big deal of what a lovely wife he has, that her off-screen grunt of "What do you mean, yoo-hoo?" is made all the funnier by Stan's perfectly timed query: "Are we in the right apartment?" This wasn't what he was expecting!

In the past, it's been noted by some (read: George) that I'm not the biggest fan of Mae Busch, but I do like her performance in this film. In a couple of places, her voice lacks a bit of clarity - probably, to do Mae justice, because she's meant to be the grumbling wife - and although her voice isn't as clear as Thelma Todd's or Edgar Kennedy's, her argument with Ollie is good fun.

I particularly like the moment where Hardy puts on the record player, and Mae Busch starts shouting in time to the music, before smashing the record over Hardy's head. But the previous argument where Hardy and Mrs Hardy shout over the top of each other is a bit of a mess - arguably, rightly so, because they're having an argument, right? - but as a first talkie, the sound recording isn't marvellous, so it does sound a bit ear-splitting and it's overly long.

We're left, like Stan, watching in awkward silence.

And of course, Mae Busch leaves us laughing on her way out of the apartment when she insults Stan by saying that he looks "like a peanut!"

When the boys are left alone to their own devices, their comedy is often at its funniest, and it's certainly the case in this film. Only Stan could make laying a table difficult, what with Hardy tripping over his outstretched legs a couple of times and falling through the table thanks to Stan's bungling. Hardy takes quite a bump falling through part of the table!

There are also moments in this film where the boys' trademark "silence speaks louder than words" motto is used to good effect, particularly in the moments after Hardy drags himself up from the floor after falling through the table. His glare at Laurel is priceless!

Likewise, Hardy's look of despair at the viewer after he is launched through the kitchen door is hilarious.

Things certainly get quite risqué when Mrs Kennedy enters, and in the process of attempting to cook dinner for the boys, sets her dress on fire.

It's good fun seeing Hardy trying to be effective in putting out the flames - whilst in reality doing nothing - and Stan just whacking Thelma Todd with a cushion after his attempts to blow out the smoking dress fail.

And yes, this means it's another opportunity for Thelma Todd to appear on screen in her underwear (something that seems to happen fairly frequently - especially in the Todd/Pitts/Kelly shorts). At least they eventually get her a tablecloth to cover her modesty - until it comes off in the trunk.

In fact, on this blog, I'm going to keep a tally of how many times in films Thelma Todd appears in her underwear:

Thelma Todd déshabille: I

Are you making a note of the score? Good. Let's continue.

When the madness really begins with Mrs Hardy's unexpected return, you can't help but have a good chuckle when Ollie orders Mrs Kennedy into the trunk, only for Stan to start climbing in! Classic!

And trust Stan to confuse burning bridges with britches.

It's nice to see Mrs Hardy let off some steam at Stan's expense, after hearing that he was behind her husband's decision to go to South America. It's a pity that Mae Busch keeps her hat on during the argument, as you can't see her face very clearly at all - although that's the fault of the director, not Mae Busch, of course.

In my opinion (which is never much valued or asked for but the only one you get on this blog), Edgar Kennedy is the star of the film. Yes, you read correctly! Kennedy is the star as he tries to fix it; the Hardy marriage, that is.

His bravado in boasting to the boys about his success with women is genuinely hilarious, keeping in mind how uncomfortable Stan and Ollie look the whole time. Thelma Todd's facial expressions are also very funny, as she learns directly from her husband about his salacious ways.

Kennedy's attempts to coax "that cluck" out of the trunk are equally side-splittingly funny: "Your dickie-bird is waiting!" To see Thelma Todd scowling away in the background makes the moment one of the best in the film.

One of my favourite moments in the whole film is when Kennedy turns round after opening the now empty trunk and spies his wife standing there staring at him. Emitting a Homer Simpson style shriek, Kennedy's palm against his face and visible unease are terrific!

You won't be able to stop laughing when a battered and bruised Kennedy appears in the Hardy's doorway and calls Ollie outside.

After Ollie receives his punishment, Stan's exaggerated whimpering makes you smile. His confident air after escaping a beating thanks to Mrs Kennedy's intervention is short-lived, tripping down the stairs.

It's a nice way to end a funny film. "Unaccustomed As We Are" will probably never be your favourite Laurel and Hardy talkie, and the second half of the film is definitely funnier than the first, but it certainly has many memorable moments.

What do you think of "Unaccustomed As We Are"?

 

Watch it

"So, little dickie-bird is waiting, is he?"

 

 

"Unaccustomed As We Are" is available on DVD as part of Universal's Laurel and Hardy Collection. It is on Disc 7 - Block-Heads.

 

Here's the link: Laurel and Hardy Collection DVD

 

Film #4 - Should Second Husbands Come First? (1927)

 

 

Starring Max Davidson.

 

Featuring David Butler, Lillian Elliott, and Spec O'Donnell.

 

Directed by Leo McCarey.

 

Synopsis

"Mother put Paris green in his pea soup!"

 

 

 



A widow of forty (Lillian Elliott) is in love, and is making plans to marry Ethan Wattles (Max Davidson). The widow's elder son (David Butler) spies her fooling around and informs his younger brother (Spec O'Donnell). They believe that their mother has gone cuckoo.

When they confront her, she informs them that she is due to marry Mr Wattles and that he'll make an excellent papa for them.

Mr. Wattles arrives at the house and the sons spy on him. They take an instant dislike to him, joking with each other that he looks like an Airedale.

They immediately set about trying to think of a plan to dissuade Mr. Wattles from marrying their mother.

The elder son comes up with a plan...

Wrapping himself up in his coat and covering his face, he goes outside the family home and to a window, close to where Mr. Wattles is sitting on the sofa. Throwing a cushion at Mr. Wattles to get his attention, the elder son leaves a note for the husband-to-be to read.

The note warns Mr. Wattles that the widow's sons are "dizzy in their domes" and that he should avoid marrying her.

A shocked Mr. Wattles is evidently upset as his bride-to-be returns to the sofa to show him the family photo album.

As the widow shows him the photos, Mr. Wattles catches sight of her two sons over his left shoulder. They both act as if they are bonkers, pulling funny faces at him and performing silly walks. Their mother can't see any of what is going on, but Mr. Wattles feels more and more uncomfortable...

The sons continue their attempt to scare off Mr. Wattles: the sons jump around on pogo sticks and use a variety of tricks involving their clothes to appear as a giant and a dwarf. They even pretend to row a boat across the floor!

With the widow out in the kitchen preparing dinner, the sons enter, with the elder son leading in the younger one on a leash acting like a monkey - complete with mask on the top of his head.

I *think* it's a monkey mask; it's hard to tell...

They clown around until their mother returns. She gives them a good telling off before disappearing back into the kitchen.

The sons continue to annoy Mr. Wattles; inspecting his clothes, playing with his hair, even pulling hairs out of his beard.

Mr. Wattles walks over to the fireplace and spies a picture of the boys' father. He asks them how he died. The elder son informs the hapless Wattles that his mother poisoned him by putting Paris green in his soup! 

Dinner is served, and out of sight of the others, the elder son puts gasoline in Wattles's soup.

They all sit down to dinner, and Mr. Wattles takes a mouthful of his soup. He can tell that something doesn't taste right, but the elder son claps him on the back and he swallows a mouthful of gasoline/soup.

Mr. Wattles's foot kicks against the gasoline can that is under the table, and he realises the game that the elder son has been playing with him.

Getting his own back, Mr. Wattles throws some of his soup into the fire which is behind the elder son, and a giant flame erupts out of the fire, scorching the son's backside!

Mr. Wattles does this twice more before the son shoves his would be step-father's head in his plate of soup. Mr. Wattles chastises the elder son, but in doing so, his beard catches fire from one of the candles on the table.

The sons put out the smouldering beard by whacking Mr. Wattles in the face with cushions.

The wedding day arrives with guests and presents aplenty. The sons concoct an elaborate scheme to prevent the wedding from taking place. The elder son dresses up in disguise as the father to a young woman (played by the younger son in disguise). The young woman has supposedly had a baby recently, fathered by Mr. Wattles. They crash the ceremony in disguise, informing the guests that Mr. Wattles is the father of the young baby.

The guests are horrified until the elder son's fake moustache falls off and the baby's clothes slip revealing the young baby to be black. With their plans ruined and their disguises shed, the sons apologise and run upstairs to fetch their wedding day present for their new step-father.

It's a box which springs open to reveal a harlequin making a rude gesture!

 

Review

"Mother planned the wedding day - Her sons planned assault and battery"

 

"Should Second Husbands Come First?" gives you everything that you'd want from a Max Davidson comedy: Max's trademark facial expressions of bewilderment, fear, and disappointment; lots of riotous slapstick; and the acting talents of Spec O'Donnell.

It's thanks to my old pal George that I started watching Max Davidson's comedies, and frankly, Max's silent shorts constitute some of the best work that the Hal Roach studios were producing in the late 20s.

A lot of this is thanks to Max Davidson himself: A talented actor born in Germany who emigrated to America, and the star of the shorts, playing the long-suffering head of a Jewish household. Max is a terrific actor with a bevy of hilarious facial expressions that will leave you laughing until it hurts. His comic timing is impeccable, and even though the surviving film footage of "Should Second Husbands Come First?" is fragile, it's marvellous to see Max's many side-splitting grimaces as he is on top form as a gulled suitor.

Seeing Max react to the goings-on with his trademark scowl and scratch of his beard as Ethan Wattles is all the funnier when the titles in the film reveal that Mr. Wattles has "It" - a direct reference to "It-girl" Clara Bow, whose film "It" was released the same year as "Should Second Husbands Come First?".

I might have to set up a new poll: Who has more of "It" - Max or Clara?...

David Butler as the elder son and Spec O'Donnell as the younger son also make this film the hilarious laugh-fest that it is. Their immediate hostility towards Mr. Wattles, which is tinged with playfulness throughout - suggesting that their step-father looks like an Airedale terrier, for example - is well-matched by both actors speciality in performing madcap shenanigans.

In fact, I owe Spec an apology...

The first time that I saw Spec was in "Call of the Cuckoo" (1927), where he plays Max's ineffective and feckless son. I don't know why, but the character of the feckless son annoyed me, and I stupidly transferred that disdain to Spec O'Donnell, the actor.

What a mistake I made! Spec O'Donnell is the perfect foil for Max Davidson in the surviving shorts, with plenty of his own scene-stealing moments. He's an incredibly versatile and laugh-out-loud funny actor. So, Spec, I apologise for my rash judgement - what a cuckoo I am!

David Butler and Spec work well together. The scene where they both desperately try to think of a plan to stop the wedding is marvellous, with David creating some wonderfully comic faces as he racks his brains to think of a plan. Spec's innate ability to look gawky just makes the moment even funnier.

But Max is the king of the funny face, just look at his open-mouthed horror as he receives the note that the widow's sons are crazy. Grimacing, and touching the side of his face with his open palm in confusion: Hilarious!

The real comedy begins when both sons pretend to be crazy in eyeshot of a concerned Mr. Wattles.

It's hard not to laugh at David Butler's facial expressions as he torments Max, and likewise, you carry on laughing at Max's own expressions in response to the thought of marrying a widow who has crazy sons! This is possibly the best scene in the film.

My own favourite moment from the brothers' performance of madness is when David and Spec make as if they are rowing a boat across the floor of the hallway. That's just amazing!

And to see Max tearing at his hair and gnashing his teeth in a response that reveals his own madness is very funny indeed. The sons have already driven him mad and he hasn't even married the widow yet.

The slapstick madness continues when David enters the living room with Spec on a leash pretending to be a monkey. Spec's clowning around the room - leaping, rolling, even performing -huge- jumps thanks to special effects wizardry, are uproarious and continue the light-hearted 'attack' on Mr. Wattles that the film showcases.

As is so frequently the case in Max Davidson comedies, it is Max's reactions to events unfolding that can give the viewer the biggest laugh. Just look at his bewildered expression as he reacts to Spec leaping around like a monkey - it's priceless.

The bullying of Mr. Wattles becomes a bit more extreme when he learns falsely from the sons that their father died of poisoning at the hands of their mother. Cue David Butler, out-of-sight, pouring gasoline into Max's pea soup. Max is the star of the show at the dinner table as well, with impeccable comic timing and expression as he swallows the first mouthful of "poisoned" soup, right up to his vacant and far-away look as he sees the painting of the widow's first husband move and communicate with him right before his very eyes.

But this is a Max Davidson comedy, so Max doesn't take things lying down! Flinging a spoonful of his soup into the fire to burn the elder son's backside is funny, if slightly obvious, comedy.

The final section of the short uses a hilarious mixture of "flashbacks" to support the brothers' wild story that Max has a habit for impregnating women and marrying them before doing a runner!

David Butler dons a wig and moustache as an angry gun-wielding father who attempts to defend the honour of his daughter, left behind by Max.

Spec almost steals the entire film with his performance of the wronged young woman. In drag, complete with wig, skirt, and lipstick, Spec gives a masterclass in parodying melodrama. (And, in fact, this wasn't the first time that he'd donned women's weeds in a Max Davidson comedy...)

But all's well that ends well, and Max triumphs over his new step-sons - well, until they give him a wedding present! All in all, it's a great light-hearted short with a lot of decent gags. It's not as bonkers as some Max Davidson comedies (such as "Don't Tell Everything") but it's also a lot better than others (such as "Why Girls Say No", for example). Finally, Lillian Elliott does a great job in playing the lovesick widow in what, admittedly, is little more than a bit-part in the film.

It's worth noting that like a lot of Max Davidson's comedies, we're lucky that a copy even survives (even though this particular copy must have originally been quite grainy and damaged until restoration). It's a shame that so many other Max Davidson films are "lost", but I still remain hopeful that one or two more may resurface over the years.

What do you think of "Should Second Husbands Come First?"

What's your favourite Max Davidson comedy?

 

Watch it

"Mr. Wattles - he has 'It'"

 

"Should Second Husbands Come First?" is available on DVD, restored by the German Filmmuseum as part of their "Max Davidson Comedies" set.

 

Here's the link: Max Davidson Comedies DVD