Stanley and Oliver try unsuccessfully to keep their pet dog, "Laughing Gravy" hidden from their grumpy landlord, who throws the pooch out into the snow. The rescue and further attempts to hide the dog result in mayhem, which is interrupted by the arrival of a registered letter informing Stanley that he's inherited a fortune from his rich uncle. There's one catch, though: he has to renounce his friendship with Oliver, who the uncle characterizes as a "nitwit." Written by
Paul Penna <email@example.com>
This film, along with Be Big! (1931), were simultaneously produced in Spanish language versions, and the two shorts were edited together into one continuous film Los calaveras (1931). Laurel and Hardy read their lines from cue cards on which Spanish was written phonetically. At the time of early talkies, dubbing was not yet perfected. The same was done for a French language version, Les carottiers (1931). See more »
When the boys are on the snow-covered roof, something gets Laughing Gravy's attention and he walks off the set-up out of camera range. After a brief cutaway to Charlie Hall, he's back right next to the boys. See more »
[Referring to Laughing Gravy]
Watcha gonna do with him?
You know my rules about dogs. I'm going to throw him out!
On a night like this?
See more »
Laurel and Hardy are still together despite having one empty pocket book between them. They have a reasonable room in a hostel but have to keep their dog, Laughing Gravy, hidden from the landlord else they'll be put out on the street. One winter's night, Gravy's constant barking threatens to expose them so they take action to keep him hidden with limited success.
As always, the Laurel and Hardy shorts are perhaps less important for their plot than they are for the often wonderful sequences that the plot device allows for. Here the plot device is an `illegal' (in terms of contract) dog. The ways they try to hide the dog and the consequences of their actions are funny without being wonderful. As usual Hardy's (and a lesser extent, Laurel's) looks to camera make it all better than it actually is.
Unusually for their shorts, the conclusion of the story allows for a scene of touching honesty between the two, as Hardy becomes quite vulnerable with Laurel. This was a refreshing addition to the mix which, while not tear jerking, was unexpected. As always (for me anyway) Hardy steals the show with his looks to camera but Laurel is as subtle as ever. Charlie Hall is making a bit too much effort but is OK.
Overall this isn't the greatest of their work but it is a good example of everything I love about them as a duo. Their talents make this short better than it probably should be.
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