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 »
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 »
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 »
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 »
Ordered out of town by angry Judge Beaumont, vagrants Stanley and Oliver meet a congenial drunk who invites them to stay at his luxurious mansion. The drunk can't find his key, but the boys... See full summary »
Stan and Ollie give evidence which convicts vicious gangster Butch. They plan to leave town and advertise for a traveling companion to share expenses. Butch's girl replies to the advert and... See full summary »
Barbershop owners Stanley and Oliver both answer a personal ad from a rich widow seeking a husband. Oliver hides Stanley's reply and mails just his own. When Oliver receives a proposal of ... See full summary »
Ollie is running for mayor when an old flame (Mae Busch) tries to blackmail him with a old photo ('just the same old apple-cheeked boy'). Stan's attempts to help Ollie keep the blackmailer ... See full summary »
In need of funds, Hardy happens to meet an old friend, now a boxing promoter, and volunteers "Battling Laurel" as the team's prizefighter, only to discover their opponent in the ring is a fearsome old nemesis.
Laurel and Hardy are in the fish business. They drive around town seeing if they can sell any. Stan suggests they catch their own fish and could keep all the profits when selling them to people. Ollie likes the idea so they buy a boat at the junk yard and try, sometimes unsuccessfully, to fix it up. When the boat is finally fixed up, the whole operation goes south. Written by
Dylan Self <email@example.com>
The film that became "Towed in a Hole" was scheduled to start shooting on October 17, 1932, but was postponed for two weeks while Stan Laurel and his gag writers struggled to come up with a workable story. Director George Marshall described how he found the way out of this impasse: "I drove to the studio one morning, and in Culver City I passed one of these little fish wagons; and this fellow was touting his wares with a long horn as he drove down the street. So I thought, 'Well, maybe that could be the answer, with the boys selling the fish, but to make more money, catching their own fish'. I had about that much when I came to the studio. Stan was sitting in his room. I told him about the idea and he said, 'Yeah, that just might work'. The script developed from there. Filming began on November 1 and lasted ten days. The result is considered one of Laurel & Hardy's finest short comedies. See more »
When Stan is sawing the mast, the sawing sound is slower from inside the boat than the fast sawing sound from the outside shot of Ollie up painting the mast. See more »
[Seeing Ollie covered with paint]
What did you put that stuff on your face for?
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THE SELF SUFFICIENCY of the L & H team is presented here in the best example possible. The slow and deliberate method of working a gag to its maximum was very handily put to good use in these shorts. Whereas most all other comedians opted for an array of fast paced comic situations, being rapidly dispatched at sometimes break-neck pace, L & H worked each slowly and deliberately doing their own reactions to whatever. (As a true antithesis to this Hal Roach/Leo Mc Carey style, see some of comedian Larry Semon's silent screen work.)_
ANOTHER SINGULARLY UNIQUE feature of this short subject is that it is all Stan & Ollie. Other than the brief appearance of Billy Gilbert at the beginning, the boys have this one all to themselves. They play out their shtick against the backdrop of their seagoing reclamation project. The now familiar routines of Laurel messing up Hardy's work, Hardy's reaction, stare at the camera and his slow burn are meticulously combined with Laurel's crying to great effect.
ALONG WITH SUCH other titles as ME AND MY PAL. OUR WIFE and THE MUSIC BOX, we have what we like to call "quintessential Laurel & Hardy".
AS IS THE norm, all is lost in the end; bu we know that there will be other moments to come.
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