Oliver's house is in a shambles after a wild party, and his wife is due home at noon. He calls Stanley to help him fix the place up, and the typical catastrophies ensue. Somehow, however, ... See full summary »
It's 1938, but Stan doesn't know the war is over; he's still patrolling the trenches in France, and shoots down a French aviator. Oliver sees his old chum's picture in the paper and goes to... See full summary »
Chimney sweeps Stanley and Oliver go about their job, reducing Professor Noodle's living room to a shambles in the process, while the mad doctor works in his laboratory perfecting his "... See full summary »
Oliver is heartbroken when he finds that Georgette, the inkeeper's daughter he's fallen in love with, is already married to dashing Foreign Legion officer Francois. To forget her, he joins ... See full summary »
Stan and Ollie take a trip into the mountains ('the high multitude') so that Ollie can recover from gout. Bootleggers have dumped their moonshine in the well from which the boys sample ... See full summary »
Mrs. Hardy is irate that her husband Oliver spends more time with his friend Stanley than with her. Oliver decides to adopt a baby, hoping that it will keep his wife occupied so that he and... See full summary »
The Laurel & Hardy Moving Co. have a challenging job on their hands (and backs): hauling a player piano up a monumental flight of stairs to Prof. von Schwarzenhoffen's house. Their task is complicated by a sassy nursemaid and, unbeknownst to them, the impatient Prof. von Schwarzenhoffen himself. But the biggest problem is the force of gravity, which repeatedly pulls the piano back down to the bottom of the stairs. Finally, the irate Professor explodes in fury to discover the "mechanical blunderbuss" in his home, not knowing it was a surprise birthday present from his wife. Written by
Paul Penna <firstname.lastname@example.org>
According to a 1960s interview with Billy Gilbert for the Blackhawk Films catalog, the object Stan Laurel and Oliver Hardy had to carry up the stairs was changed from a washing machine (in the earlier silent version, Hats Off (1927)) to a piano because a piano, while heavy and massive, is also delicate. Gilbert also said that several dummy pianos were made up for the film, and a number of them were completely destroyed. He used a German accent in the film to avoid confusion with James Finlayson and Edgar Kennedy, who also played comic villains in Laurel and Hardy movies. See more »
When Oliver Hardy starts walking down the steps to see the policeman, and the piano crate starts sliding down the steps after him, the shadows of the camera and crew can be clearly seen on the side of the crate as it passes by them. See more »
L&H are without doubt the best comedy double act of all time regardless of media format. Its amazing that their best movies are now 70 years old and yet remain timeless in their humour and inventiveness.
I've had the pleasure of seeing most of their movies - shorts & full format - and all of them have their own individual quirky qualities that other comedians still can't fathom.
The Music Box won them a well-deserved Oscar and although it is an excellently choreographed movie I personally don't think its their very best.
However, my opinion doesn't matter because any L&H fan will regard this movie as their favourite. The story is so simple yet so inventive and full of kinetic & emotive energy.
Stan & Ollie have to deliver a Piano to a highly strung guy who can't stand pianos. But just to make life a little interesting the guy's home just happens to be perched on a hill with the longest flight of steps in history to whit S&O have to push & pull their awkward delivery.
Some of the gags we've seen many times before but it doesn't matter because the added sparkle derives from the human emotions & expressions delivered with such panache from Stan & the long suffering Ollie - the way he looks-to-camera in a pleading kind of way just drives me wild with laughter & sympathy.
I can't find a single fault with this movie short, except that it just flies by so quickly. How I wish today's contemporary comedy writers could spend a few hours in a dark room watching how the masters of comedy produce such wonderful scripts. It proves that there is no need to have cheap & vulgar language, innuendo & explicit violence to make any audience, young or old, laugh with mirth.
The Golden Age of comedy is dead, long live the Golden Age; long live Laurel & Hardy!!!
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