HAVING MADE SOME real progress after their almost accidental teaming as members of what was called THE HAL ROACH ALL-STARS, most of the now familiar L & H situational comedic routines had been established. THEIR PURPLE MOMENT does a lot in defining their eternal struggle with "the Wives."
IN A DRAMATIC SORT of departure from what they had been doing, Stan is called "Mr. Pincher" (for 'penny pincher' we presume); but Ollie retains his own name. This is a kind of throwback to pictures such as PUTTING PANTS ON PHILLIP and DO DETECTIVES THINK?, in which their own names appeared only in the credits.
THERE ARE DEGFINITE symptoms of a maturation of not the LAUREL & HARDY characters; but rather of the HAL ROACH style. The comedies became more and more slow-paced, methodically developed and much more "believable." The Title Cards, most ably written by Roach regular, H.M. Walker, were as witty and clever as ever. But there was none of the going for the laugh outside of the existing story on he scene; as was the practice over at Mack Sennett's KEYSTONE Studios.
THE TYPICAL INTERPLAY that the boys are brought into are typically L & H type of double-edged gag and tit for tat back and forth "Bow & Fiddle", back and forth developing and milking of each gag to its greatest potential. Reliance on Stan's dim-wittedness and Ollie's slow burn were not only appreciated by this point, but rather they were now anticipated.
THE ACTION IN the first three quarters of the picture builds and serves as exposition of both the storyline; as well as the boys themselves. Although they are always the same twosome, there is very little continuity of situations from one short to another.*
IF THERE WOULD be any area of criticism that we could be the ending; which atypically leaves things just a little flat.
BUT SCHULTZ THINKS that this is a minor shortcoming. And Schultz's compadre, this writer, whole heartedly agrees.
NOTE: * In all of their shorts, only the sound comedy two-reelers TIT FOR TAT and THEM THAR HILLS makes mention of the earlier of the two movies and references having met both Charlie Hall and Mae Bush as previous protagonists.
IN A DRAMATIC SORT of departure from what they had been doing, Stan is called "Mr. Pincher" (for 'penny pincher' we presume); but Ollie retains his own name. This is a kind of throwback to pictures such as PUTTING PANTS ON PHILLIP and DO DETECTIVES THINK?, in which their own names appeared only in the credits.
THERE ARE DEGFINITE symptoms of a maturation of not the LAUREL & HARDY characters; but rather of the HAL ROACH style. The comedies became more and more slow-paced, methodically developed and much more "believable." The Title Cards, most ably written by Roach regular, H.M. Walker, were as witty and clever as ever. But there was none of the going for the laugh outside of the existing story on he scene; as was the practice over at Mack Sennett's KEYSTONE Studios.
THE TYPICAL INTERPLAY that the boys are brought into are typically L & H type of double-edged gag and tit for tat back and forth "Bow & Fiddle", back and forth developing and milking of each gag to its greatest potential. Reliance on Stan's dim-wittedness and Ollie's slow burn were not only appreciated by this point, but rather they were now anticipated.
THE ACTION IN the first three quarters of the picture builds and serves as exposition of both the storyline; as well as the boys themselves. Although they are always the same twosome, there is very little continuity of situations from one short to another.*
IF THERE WOULD be any area of criticism that we could be the ending; which atypically leaves things just a little flat.
BUT SCHULTZ THINKS that this is a minor shortcoming. And Schultz's compadre, this writer, whole heartedly agrees.
NOTE: * In all of their shorts, only the sound comedy two-reelers TIT FOR TAT and THEM THAR HILLS makes mention of the earlier of the two movies and references having met both Charlie Hall and Mae Bush as previous protagonists.