SONS OF THE DESERT WEEK REVIEW REPLAY: THE LAUREL-HARDY MURDER CASE (1930)

In honor of the 18th annual Sons of the Desert (the International Laurel & Hardy Appreciation Society) convention happening this week, I’m reprinting some of my Laurel & Hardy reviews. You can learn more about the organization by clicking here. And you can read this review of a Laurel & Hardy classic below:



RATING: *** out of ****

PLOT: Out of work and out of options, Stan Laurel and Oliver Hardy while away their time fishing at the dock. They can’t even catch fish right, of course! When Ollie notices the newspaper meant for fish-wrap contains a little classified ad summoning the “heirs” of the three million dollar Ebeneezer Laurel estate to the reading of the will, it appears the boys’ fortunes may soon change. Change they do… but not necessarily for the better. A spooky old mansion filled with eccentric help and even more eccentric relatives, the matter of the inheritance is sidetracked when it’s revealed that old man Ebeneezer was murdered! Now everyone’s on lockdown and Stan and Ollie aren’t sure what they’re afraid of most: the dark shadows, the bats flying through the house, ghostly bed sheets levitating over their heads… or their own shadows!

PREFACE: It’s not often that I precede a review with a special note, but I must do so in this case. This film was the favorite Laurel & Hardy film of my dear, departed friend Allen Schottenfeld. A member of the same “Sons of the Desert” tent to which I belong (for the uninitiated, the “Sons of the Desert” is the International Laurel & Hardy appreciation society), Allen often cited “The Laurel-Hardy Murder Case” as his favorite Stan and Ollie romp. In fact, he was videotaped at least once making that same declaration. Allen referred to this film as “a wonderful spoof,” and it is to Allen that the book version of “Scared Silly” will be dedicated.

REVIEW: Laurel & Hardy had only been a little over a year into their talkie careers when they decided to revisit the scare comedy antics they delivered in their silent classics, “Do Detectives Think” (1927) and “Habeas Corpus” (1928) As many of the boys’ films were at this time, “The Laurel-Hardy Murder Case” is a mix of brilliant comedy with some awkwardly-timed moments (the team hadn’t yet fully hit their stride in sound films, although they very shortly would).

It is telling that when Stan and Ollie have the screen to themselves (as in the first scene at the docks as well as some later scenes in the bedroom) they shine much more than those scenes they have to share with the supporting cast. Perhaps it was just that they were so comfortable with one another that they knew exactly how to play their bits of business and could certainly improvise their way through a scene. This was much harder to do when interacting with the supporting casts, having to read the lines straight so the others would know their cues.

This is also one of the first Laurel & Hardy films where Stan & Ollie had to interact with a number of other characters simultaneously, as opposed to a stock situation like the duo directly taking on one of their regular foils like James Finlayson, Billy Gilbert or Walter Long. A good example is the silent classic, “Big Business.” Once the tit-for-tat war begins between the team and Finlayson, the three are the sole focus. There are onlookers to the wanton destruction but they are not active participants. In “Murder Case” the scenario is a little more complex, and naturally so being a more precise mirror of then-recent films that would influence what would come to be known as being in the “Old Dark House” genre (including early film adaptations of Charlie Chan and Philo Vance detective stories as well as more blatant horror-comedy fare such as the original silent versions of “The Bat” and “The Cat & the Canary”). The film it resembles most though may be “The Old Dark House” – which is amazing in itself because “The Laurel-Hardy Murder Case” predates James Whales’ classic feature by two years! If a viewer didn’t know the release dates, they would swear the Laurel & Hardy short is a direct spoof of “The Old Dark House!” Instead, it merely paid good attention to those above-mentioned drawing room murder mystery stories that had been proliferating in both books and on the stage and slowly made their way into cinema. To spoof such material properly, screen time has to be given to the other characters in addition to Stan and Ollie. More often than not, these detours in “Murder Case” slow the film down.

Having said that, this short starts off with pure Laurel & Hardy magic, with a funny and charming scene at the dock. One of the great H.M. Walker title cards gets things started with “Mr. Laurel and Mr. Hardy decided that they needed a rest – they had been out of work since 1921.” The site of Ollie sleeping against a dock post while Stan gleefully fishes is enough to bring a smile to the face of any long-time Laurel & Hardy fans. Ollie’s rest is of course soon disturbed by Stan, who has placed the fish he just caught beside him, where it flails wildly beneath Ollie’s backside, waking him up! I’ve seen quite a few of their films with audiences, and they are two of the few performers I’ve witnessed get laughs simply by being on screen. Of course, it’s much more than that, since it’s the personalities that elicit the laughter. When Stan snags Ollie’s hat on the fish hook and sends it into the bay, Ollie is especially flustered (especially after getting a face full of water). Of course, these little bits of business also serve the purpose of setting the plot into motion. When Stan crumples up the newspaper he’s been using as fishwrap and tosses it out, the wind blows it right into Ollie’s face, where he reads the “legal notice” that “the heirs to the $3,000,000 estate of the late Ebeneezer Laurel” are being summoned to Laurel Mansion for the reading of the will (the classified ad is attributed to “L.A.H.” – .an in-joke evoking “Laurel and Hardy,” of course).

Using only Stan’s surname as his proof, Ollie ascertains that Stan must be one of the heirs. A hilarious early example of how the Stan and Ollie characters adapted to sound follows (you can read the dialogue below in the “Best Dialogue Exchanges” section). Ollie’s vocal intonations underscore his high opinion of himself. As Hardy (the actor) once explained, Hardy (the character) is “the dumbest kind of dumb guy there is… the dumb guy who thinks he’s smart!” Ollie’s voice indicates that he his pleased with himself and his (alleged) intellect in determining Stan is in line for an inheritance. Meanwhile, Stan’s speech patterns and dialogue are a combination of whimsical innocence, blank confusion and the occasional attempt to be bold. While hardly news to most of those reading this review, the duo’s ability to find “the perfect voices” for their characters not only made their transition to sound easier than the reigning silent comedians Chaplin, Keaton and Lloyd but actually enhanced their comedy. Consequently, their popularity was enhanced and they were catapulted into international superstardom. All the while, the duo held a reverence toward the physical comedy tricks they learned in the silents. They utilized sounds and dialogue as necessary but just as often their talkies contained stretches where no dialogue was spoken. The sound served to make their characters even more full-blooded than they already were, but was not the main component of what endeared them to the public.

After the whimsical opening bit we get down to horror business. An establishing shot of the mansion, standing forebodingly in the middle of a thunderously frightening rain and wind storm (of course) sets the tone. Inside the home, a cast of suspicious characters has gathered in all their Earl Derr Biggers-inspired drawing room glory, anxiously awaiting the reading of the will. They include an old man and woman, an ingénue, a dapper young man and a stern middle-aged fellow. Also on hand are a creepy old butler and a matronly maid who just seems a little bit “off.” Last but not least, a derby wearing detective and his men are on the scene. When the old woman asks what time the will is scheduled to be read, the detective answers, “sorry to disappoint you old dear, but there ain’t gonna’ be no reading of no will!” When further pressed as to why they’re all there if the will won’t be read, the detective proclaims, “You’re here because Ebeneezer Laurel didn’t die a natural death… HE WAS MURDERED!”



The detective must be singled out here. In this short, Laurel & Hardy receive great support from the rest of the cast, but one performer in particular is a standout: Fred Kelsey. Kelsey’s role as the gruff detective on the case actually became an archetype. He would play the role again several times in both straight horror films (“The Invisible Ghost” with Bela Lugosi) and horror-comedies (The Three Stooges’ “If a Body Meets a Body,” a semi-remake of “The Laurel-Hardy Murder Case”). His character traits became so identified with a certain type of detective that soon others began imitating him and master animation director Tex Avery even did a direct spoof of Kelsey (in the classic cartoon, “Who Killed Who?” from 1943). His character was personified by wearing a suit complete with timepiece in pocket, a derby upon his head and two thumbs with which he often tugged at his lapels. Sometimes he chomped on a cigar; often he shouted out pronouncements of guilt with little or no facts to go by; always he had his bravura on display! In addition to his pronouncements, Kelsey had a way of pausing during his statements that was very comical. For example:

“Now get this, folks (PAUSE) I’ve got a hunch that Ebeneezer Laurel was murdered (PAUSE) By a relative (PAUSE) So that said relative (PAUSE) will come into all his dough!”

His visual flourishes matched his approach to dialogue. When a burst of wind blows through the window and knocks over a piece of furniture and a lamp. Kelsey does a wonderful, startled take and then locks the window shut. He also knew how to combine the verbal and visual to convey a “is that so?!” style – for example, when one dapper relative tries to leave the mansion citing “two theater tickets” the detective takes the tickets, rips them in half and asks his deputy to “show this gentleman to his seat!”

Making the trio a quartet is Frank Austin as the butler. Austin had a lengthy career doing character parts in films of all genres (playing in everything from “The Mystery of the Wax Museum” to “Mr. Deeds Goes to Town/Mr. Smith Goes to Washington,” as well as appearing alongside such other comedy legends as W.C. Fields, The Three Stooges and Olsen & Johnson. He popped up in several Laurel & Hardy shorts and features including an uncredited part in “Babes in Toyland” (aka “March of the Wooden Soldiers”) playing the justice of the peace who thinks he’s marrying Barnaby to Bo Peep (really Stan in disguise). His pliable face, cragged with a dour expression made him the perfect “mysterious” character whether being played straight-up or for laughs. He often played butlers, and in “Murder Case” he pulls out all the stops – a menacing laugh, a twisted facial expression and an ominous tone all combined to send shivers down Stan and Ollie’s spines… and sent moviegoers into fits of laughter!

When Stan and Ollie arrive at the mansion, they are no more above suspicion than the motley crew of Laurel relatives already gathered there. Told that they can’t leave, Ollie protests that the detective can’t possibly think he and Stan had anything to do with the murder. “I’m not saying,” the detective replies, “…but I believe that the criminal always returns to the scene of the crime,” he underscores. This is of course delivered in the stock blustery Fred Kelsey manner as described above, along with the imposing warning, “Don’t any of ‘ya try that escape stuff, ‘cause the house is surrounded!”

Before being beset by the detective, the butler and the scares that await them, Stan and Ollie show that they are their own worst enemies. The first sign of trouble is revealed in this exchange:

OLLIE: What a beautiful home, and what luxury! And to think, it’s all ours!
STAN: Whaddaya’ mean “ours” – it’s mine!
OLLIE: There you are – just like all the rest of them. Sitting on top of the world and turning down your best pal – your benefactor!

Ollie makes a pompous show of being dejected and feigns resignation, going through the motions as if to leave. His desired result is of course to guilt Stan into keeping the partnership intact and to make certain that Ollie “gets half of everything that’s coming” to Stan. Initially, it doesn’t work.

“Are you really going?,” asks Stan. When Ollie answers affirmatively Stan gives him his umbrella so he won’t get too wet on his way home!

The above theme of Stan & Ollie grieving over the possibility of splitting up because one or the other comes upon good (or bad) fortune would be a running gag not just throughout this short but also in other Laurel & Hardy shorts and features. For example, when released outside of America, the two-reel short “Laughing Gravy” was extended to three reels with the addition of a sequence that was almost exclusively about Stan coming into money and considering leaving Ollie behind. The bit comes off a bit more developed in “Laughing Gravy.”

Stan and Ollie are brought to a room where they are to spend the night. Everything in the room is covered by a sheet, and when Ollie asks the butler why, he gets the ominous response: “This is the room where the old man was murdered,” the butler sinisterly and gleefully reports. (Of course, astute viewers of classic comedy know the real reason for the sheets is to set up some ghostly gags later where the boys can mistake innocent inanimate objects for hostile spirits). To further unnerve our heroes, he points to the closet and dramatically adds, “His body was found in that cupboard!”

Stan and Ollie are visibly scared by the butler’s revelation, and it’s these little moments in all Laurel & Hardy films that show how special the team is. They don’t use dialogue, they’re not even using a wild take here, they are just showing that they’re scared using their facial expressions while at the same time staying completely in character. This ability to inhabit their characters 150%, to be fully immersed in “Stan” and “Ollie” is a trait that even some of their classic comedy peers of the ‘30s and ‘40s couldn’t match, And then, just as the butler has the boys where he wants them he delivers this killer coda: “Goodnight, gentlemen. I hope you have a nice, looooonnnngggg sleep,” he menacingly intones.

Well, they’re doing anything but sleeping as they encounter what are only the first of a series of scares they’ll face throughout the short. Typically, they begin by scaring each other. When Stan looks under the bed sheet, Ollie thinks it’s a ghost. When Ollie gets tangled in a bed sheet, he thinks a ghost is out to get him. Their self-scaring shenanigans are interrupted by a mysterious rapping…

A hand is seen on the edge of Stan and Ollie’s bedroom door creepily (and creakily) opening it from the outside. It is revealed to be that of the butler. He eerily asks, “Is everything all right?” The butler is simultaneously comical and creepy in the best horror-comedy tradition… and then becomes downright unnerving when he bares his long bottom row of teeth as if he’s half horse or donkey!



More scares follow. Among them are unsettling scratching sounds, screeching black cats hiding in closets, their eyes glowing in the dark; and a painting of the Grim Reaper with a scary skull’s face, revealed when a sheet covering the canvas comes down. This last bit is pretty startling and effective; it’s easily the most unnerving image ever to appear in a Laurel & Hardy film.

After these initial scares, we are brought back to the running gag about Ollie wanting half of what Stan has coming to him. It seems Stan’s been so rattled he’s had a change of heart: instead of Ollie getting half of everything, Stan says he can have it all! It is one of those “comes the dawn” moments that the Stanley character occasionally has – here he knows full well that being a Laurel is not the safest thing to be at the moment!

There’s an interesting contrast in the use of the expression “dead men.” Ollie, trying to reassure Stan there’s nothing to fear says “dead man can’t hurt you.” The villains of the piece, justifying their decision to do away with Stan and Ollie (whom the butler refers to as “those shabby gentlemen”) reason that “dead men tell no tales.”

We are treated to an extended sequence of Stan and Ollie being scared witless. Many horror-comedy trappings are trotted out as well as a plethora of funny gags. They really are best experienced seen and heard rather than read about here, but I’ve done my best to sprinkle the details throughout the review and in the “Best Visual Gags” section. It is these delightful moments of Stan and Ollie in full-on terror mode that make this short a much-see and make up for its slow, dull patches.

Some real menace rears its head again when the butler tells the man with the theater tickets that he’s “wanted on the phone… downstairs in the library room.” We see the man enter the room, take a seat and lift the receiver and the… the lights go out and the man screams! When the detective runs into the room to check it out, the man is gone! This sends everyone into a panic, including the detective who can’t figure out what happened. Stan tells Ollie he’s going back home because he “can’t relax” but when he sees the others holed up in the hallway he gets scared (as do they) and all go running back into their rooms. Stan’s pounce back onto the bed (where Ollie is cowering under the covers) sends the mattress to the floor, leading to further hysterics!

The butler continues to send various guests down to the library room with similar results – a blackout, a scream, and then the disappearance of the guests. Ollie, in a moment of bravery says he’s “had enough of this” and declares that he’s “gonna’ find out what it’s all about!” Stan follows along and this leads to one of the short’s most hilarious moments, as Stan’s belt becomes entangled on the cord from a lamp obscured by a white sheet. Naturally, when he walks, the sheet-covered lamp follows his every move like a ghost! Ollie sees it and gets tangled with it, too. As Stan runs down stairs ensnared Ollie follows and the two come crashing to the bottom. It is an extended, hysterical sight gag as Stan is certain he’s either on the trail or being followed by ghosts!

Typically for a Laurel & Hardy short, the audience is only given a brief respite to catch their breath from all the laughter, as no sooner are Stan and Ollie sent back to their room than more craziness occurs. A bat flies into the bedroom and under the bed sheet. When Stan and Ollie get under the covers the sheet goes flying up like a ghost, levitating above them! Needless to say this sets off pandemonium as the boys once again run out of the room, into the hall and down the stairs. The detective and all his deputies run up the stairs to check out the commotion but when they see the sheet seemingly flying on its own, they run right back down the stairs again!



The ending is one that fans have often debated. Or rather, the endings, plural. Stan and Ollie actually (accidentally) do something right for a change: investigating the desk and phone in the library room, they discover that the phone activates the trap door… but instead of Ollie being deposited wherever everyone else has been dumped the chair malfunctions and simply rises back up with Ollie in it. The duo are then besieged by the the maid, and during their tussle they rip off the maid’s wig, exposing the “she” as a “he.” But then… we dissolve into Stan and Ollie on their fishing pier, newspapers in hand, wrestling each other. It was all “just a dream!” Your ability to go with this is really dependent upon how you feel about dream endings in general. Fans of b-movie horror and horror-comedy films such as “The Corpse Vanishes” and “Sh! The Octopus” have bemoaned their “only a dream” endings as unimaginative copouts. Somehow, in the hands of Laurel & Hardy, it somehow feels okay, especially after the general wackiness that takes place for most of “Murder Case”’s running time. The duo would revisit the “dream ending” much less successfully in their later horror-comedy, “Oliver the 8th.”

This short is peppered with a lot of little touches that Laurel & Hardy fans love – Stan’s cry and whimsical way with words and concepts, Ollie’s blustery pronouncements (“why don’t you be careful!”) and heightened histrionics (“get the light… get the light!”) and in general, the duo’s ability to draw from a vast collection of facial expressions and body language to express everything from anger to fear, confusion to certainty (albeit often mistaken certainty) and so much more. It also features the first instance of Ollie uttering what would become one of his most-imitated trademarks, “well, here’s another nice mess you’ve gotten me into!” It provides an early showcase for comedienne Dorothy Granger who would go on to appear in several Laurel & Hardy shorts and also co-star with everyone from W.C. Fields to The Three Stooges to Leon Errol to Abbott & Costello (she also had a featured role in the Walter Catlett horror-comedy short, “One Quiet Night”). Fans can also enjoy erstwhile Chaplin and Laurel & Hardy foil Tiny Sanford in “Murder Case.”

With all of the above going for it, it is interesting then that many of those same fans as well as Laurel & Hardy historians generally have a lower opinion of this short. It is true that “The Laurel-Hardy Murder Case” isn’t flawless, but I have had opportunities to see it with a group and it has always played well in that setting. Considering that it was intended from the start to be seen with a group perhaps that is how it should be judged – on its ability to please an audience of more than one.

SPOTTED IN THE CAST – Lon Poff specialized in playing old men… for over 20 years! However, his full career in movies actually spanned 34 years, having started in silent. 1930’s old man role in “Murder Case” was one of his first septuagenarian gigs. He made his final appearance in 1951’s “Father’s Little Dividend”… playing an old man! Like famed comedian Andy Clyde, he ultimately, naturally grew into the role with little or no makeup required. Notable credits included such silent classics as “Dante’s Inferno” and “The Man Who Laughs” (with Conrad Veidt’s title performance cited as an influence on Bob Kane’s Batman-nemesis, The Joker) along with such sound-era fare as “Tom Sawyer,” “House of the Seven Gables,” “Sullivan’s Travels,” the “Flash Gordon” serial and “Joan of Arc.” On the comedy front he appeared with Laurel & Hardy previously in “Two Tars,” with Charley Chase in a trio of shorts including “Isn’t Life Terrible,” “Long Fliv the King” and “Calling All Doctors;” and with Wheeler & Woolsey in “Diplomaniacs” and “The Rainmakers.”

BEST DIALOGUE EXCHANGES:

By default the memorable piece of dialogue has to be the first use of “Well, here’s another nice mess you’ve gotten me into” but there are of course other gems here:

OLLIE: Where were you born?
STAN: I don’t know.
OLLIE: Fancy not knowing where you were born!
STAN: Well I was too young to remember!

OLLIE: Didn’t you once tell me that you had an uncle?
STAN: Sure I’ve got an uncle. Why?
OLLIE: Is he living?
STAN: No. He fell through a trap door and broke his neck.
OLLIE: Was he building a house?
STAN: No, they were hanging him!

STAN (after reading what the Laurel estate is worth): Three million dollars. Is that as much as a thousand?
OLLIE: Well man alive it’s twice as much!

(great dialogue underscores the Ollie character dynamic – as Hardy himself often explained, his character was “the dumbest kind of guy there is – the dumb guy who thinks he’s smart)!

DETECTIVE: Say you – where were you on the night of November the 15th?
STAN: The day before Christmas?
DETECTIVE: No, the day after Christmas! November the 15th!
STAN: November? (thinking out loud) Septober, Octember, Nowonder…

OLLIE: Well, here’s another nice mess you’ve gotten me into!
STAN: Whaddaya’ mean I got you into?
OLLIE: Well your name’s Laurel, isn’t it?
STAN: Well only on my mother’s side.

BEST VISUAL/VERBAL COMBO GAG:

DETECTIVE: Are you sure you’re a Laurel?
OLLIE (pointing to painting on wall): Why sure? Sure? Why, can’t you see the family resemblance?
DETECTIVE: Yeah, that happens to be General Grant!
OLLIE: Why of course it’s General Grant! His son and I belong to the same alma mater! Meaning Delpha Phi Delta. Rah rah rah, rah rah rah, sis boom rah!

BEST VISUAL GAGS:

Stan snags Ollie’s derby on the fishhook and sends it into the water. Pulling it back up, Ollie angrily snatches the hat from Stan and puts it back on his head… water and all!

Stan and Ollie arrive. Stan tries to close the umbrella but only opens it inside out!

Stan’s places his quivering hand on Ollie’s shoulder and Ollie gets frightened by it.

Stan accidentally drops a lit candle down the back of Ollie’s pajamas.

Stan lifts his nightshirt over his own head and gets stuck, flailing about in comical fashion.

BEST COMBO VERBAL/VISUAL GAGS:

DETECTIVE: Are you sure you’re a Laurel?

OLLIE (pointing to painting on wall): Why sure? Sure? Why, can’t you see the family resemblance?

DETECTIVE: Yeah, that happens to be General Grant!

OLLIE: Why of course it’s General Grant! His son and I belong to the same alma mater! Meaning Delpha Phi Delta. (Ollie does cheerleader style motions): Rah rah rah, rah rah rah, sis boom rah!

FURTHER READING: There are so many great Laurel & Hardy books out there that it’s a shame to pare down the list, but as far as “The Laurel-Hardy Murder Case” is concerned there are two that stand out. One is a handsome coffee table book simply called "Laurel & Hardy" by John McCabe and Richard W. Bann that I borrowed from my local library on nearly a continuous basis as a child. The book is loaded with both production and promotional stills from nearly all of Laurel & Hardy’s shorts and features, with a synopsis of each film and in some cases interesting background information. If more detailed background information is more your thing, then you’ll want to move directly to Randy Skretvedt’s essential, impeccably researched “Laurel & Hardy: the Magic Behind the Movies.” Both books have entries on “The Laurel-Hardy Murder Case,” as does this entry which was part of a fantastic overview of the majority of Laurel & Hardy’s horror-comedies from the Missing Link website.

BUY THE FILM: Well, after years and years of Laurel & Hardy fans pining for the best of the boys to be released on DVD, the wait is over! The “Essential Laurel & Hardy Collection” is just that, collecting the majority of the duo’s shorts and features that were produced at the hal Roach Studios, including “The Laurel-Hardy Murder Case.” You can order it when you click here.

If you still have a working VHS player you can get “The Laurel-Hardy Murder Case” and a few other classic Laurel & Hardy horror-comedies together in one videotape collection called THE LAUREL & HARDY SPOOKTACULAR. You can buy it here:














WATCH THE FILM: Since this is a short, there isn’t a trailer available but you can enjoy a brief sequence right here:

SONS OF THE DESERT WEEK REVIEW REPLAY: DO DETECTIVES THINK (1927)

In honor of the 18th annual Sons of the Desert (the International Laurel & Hardy Appreciation Society) convention happening this week, I’m reprinting some of my Laurel & Hardy reviews. You can learn more about the organization by clicking here. And you can read this review of a Laurel & Hardy classic below:



RATING: *** out of ****

PLOT: When Judge Foozle (James Finlayson) sentences “The Tipton Slasher” (Noah Young) for his heinous crimes, the murderer vows revenge. When The Slasher escapes prison, the Judge hires two private detectives (Laurel & Hardy) to guard him. The pair must survive an encounter in a graveyard on the way to the judge’s house, and then must face the judge’s butler – who has been knocked out and replaced by The Slasher! Can Stan & Ollie bring this killer to justice without being scared to death?

REVIEW: “Do Detectives Think” is probably one of the more contentious entries in this project. It is rarely mentioned in discussions of Laurel & Hardy’s horror-comedies, and there is some debate on whether it is truly an out-and-out horror-comedy. I am on the side of those that declare it a horror-comedy. While it is true that only about 6 & ½ minutes of its 19 minute running time are devoted to specifically “spooky scenes” (multiple scares in a graveyard plus some quick bits at the end evoking beheadings and ghosts), there is an overall tone of terror due to the villain of the piece being a “throat slasher” out for revenge against the judge who put him in jail on a dark and scary night. Like the Our Gang short “Shootin’ Injuns” and the classic Wheeler & Woolsey feature “The Nitwits,” the spooky material is so memorable and well done that it overpowers the non-spooky material in each and catapults each over the “horror-onable mention” wall. Additionally this film features a villain who inspires such dread over the entire proceedings – much like Harry Lime (Orson Welles) from “The Third Man” (total screen time: less than 15 minutes) and Hanibal Lechter (Anthony Hopkins) from “Silence of the Lambs” (total screen time: less than 17 minutes) – that the fear factor is palpable throughout. Finally, with its mystery, suspense and dread as The Slasher stalks our victims through the house in the dead of night, it does take on a legitimate “old dark house” atmosphere.

This film is a watershed entry in Laurel & Hardy’s canon. In this film, the boys, who had been tentatively teamed in previous shorts (since many of those entries merely co-starred the duo without actually pairing them) are actually partnered as detectives. Additionally, they are wearing traditional detective uniforms – suits and derbies! It is a look Laurel & Hardy would ultimately adopt (with some modifications to the suits) and utilize throughout their careers. Additionally, a few scenes in “Do Detectives Think” (as well as in their short “Duck Soup” released a few months prior, and not to be confused with the Marx Brothers’ classic) highlighted some of the personality traits that would become standard for the pair. There would be a few missteps to follow but ultimately the team would build upon the promise of this entry and develop both their “look” and relationship further to become the inseparable team of “men-children” that audiences would come to know and love over the years.



As with most of the silent comedies produced by Hal Roach Studios, the humor didn’t rest entirely on the shoulders of the actors. Title card writer H.M. Walker was a witty fellow indeed and would often open these rib-ticklers with a great line, setting the tone for what was to follow. His opening card in “Do Detectives Think”:

“This story opens with a lot of people in court – most of them should be in jail.”

Additionally, Walker makes sure to pepper the title cards with appropriate gallows humor – as when he mentions that the accused had killed two men “both seriously.”

The first character we see is Judge Foozle (and another pointed joke as the title card reads that he charged the jury – “he always charged everything”), played by the inimitable James Finlayson. The use of “Fin” as a “third banana” in Laurel & Hardy shorts would also become a standard motif. Finlayson plays his patented authoritative but high-strung character here.

When the jury finds the defendant (“The Tipton Slasher,” played by the formidable and quite intimidating Noah Young) guilty, they recommend to “bump him!” The Slasher’s reaction is one that also became a classic device in comedy shorts and features, particularly those starring Laurel & Hardy. The device: he vows to escape and get even through some gruesome act. Here the object of the revenge is the judge but in other films it is usually Stan & Ollie themselves, as in “Pack Up Your Troubles,” “Going Bye Bye,” “The Bullfighters” and others.

We learn that The Slasher has escaped while the judge is having breakfast with his wife. As she reads the newspaper, the headline on the front page about The Slasher’s escape is in full view to the audience… and to the judge. Finlayson does a brilliant spit-take, his coffee practically spilling out into the theater audience! Finn quickly calls the local detective agency where the boss summons “Ferndinand Finkleberry – the second worst detective in the whole world” (Laurel) and “Sherlock Pinkham – the worst” (Hardy).

(It’s interesting to note that in this first scene that Laurel is presented as being smarter and more on-the-ball than Hardy, but when the scene changes it doesn’t take long for Hardy’s typical “take charge” attitude to set in).

As soon as their boss tells Stan and Ollie they have to guard the judge and that he lives “just beyond the Whitechapel Graveyard,” our heroes do a nervous double take. It doesn’t help that the boss adds, “This ‘Tipton Slasher’ will probably kill you – but you’ll be buried like heroes.” However, the boss is almost buried first as Stanley’s pistol goes off while he loads it, barely missing the head detective!

We are then treated to the wonderful scene of Stan and Ollie in the graveyard. What makes this particular scene remarkable is that it almost appears to have been dropped in from a later film, after their personas had already been perfected. The character deviances evident in their initial scene at the detective agency (such as the boys’ cigar-chomping and bravura) are gone – here in the graveyard we have the full-fledged duo that would become familiar to and beloved by audiences worldwide.

The scene in the graveyard is one for the books. As the boys walk past the cemetery’s open gate a forceful wind knocks their hats off and into the cemetery. Unlike the earlier scene where Stan is clearly smarter and in charge, in this scene Laurel exhibits some of the scared little boy traits – frightened facial expressions and tentative steps – that would become hallmarks of the “Stanley” character. As Stanley timidly reaches for the hats he sees the shadow he’s thrown on a mausoleum wall and runs back out to the sidewalk. Ollie’s familiar “take charge” pomposity, also missing from the earlier scene is evident when a title card has him yelling at Stan, “ Get them hats – I hate a man that’s scared!”

Laurel’s clever solution is to dive down onto the ground to get the hats – that way his shadow won’t be cast onto the wall! This leads to the introduction of a routine that would become a hallmark for the boys: the “mixed-up hats” routine. In this routine, Stan and Ollie keep handing each other what they think are each other’s hats… only to find when they put the hats on that they’ve gotten the wrong hat once again! This bit never fails to generate laughs and was “fall-back” shtick for the duo when in situations where they had no other material prepared, such as when newsreel photographers ran into the team on tours or on vacation and even in the Laurel & Hardy episode of “This is Your Life,” which caught the boys totally off-guard. The hats routine is capped by a goat wandering into the graveyard and casting a shadow that looks like Satan on the wall!



…and just like that, the “true” Laurel & Hardy exit… literally… as the pair uncharacteristically run out of the graveyard at top speed, a silent film comedy trope more appropriate for the likes of The Keystone Kops than for our more nuanced friends Stan & Ollie.

Overall key Laurel & Hardy character traits on display in the graveyard scene: both have a naïve childlike innocence, Ollie has an inflated opinion of himself and is deluded that he is “the smarter of the two” (when in reality he is just as dumb if not dumber than Stan), Stan treats Ollie like an older brother who will protect him (jumping into Ollie’s arms), Ollie is insistent on having Stan do his dirty work (forcing him retrieve their bowlers from the graveyard), Stan does his famous “cry” that would become a trademark throughout his career, as well as various childlike facial expressions and body language that would become standard for the “Stanley” character.

What Stan and Ollie don’t know is that The Slasher and his henchman have jumped the judge’s new butler (as he walks to the judge’s home for his first day on the job) and The Slasher is now masquerading as the family servant. The scenes where The Slasher tries to exact his revenge on the judge are simultaneously horrifying and hysterical. The Slasher gives the judge a drink from behind (so that the judge can’t see him) and as the judge indulges, The Slasher pulls out an absurdly long knife and threatens to do away with the judge, but quickly re-pockets the weapon and ducks out of the room when he hears the judge’s wife coming. The Slasher is truly scary in this scene, but both the ridiculousness of his knife and the fancy flourishes that the judge employs in the enjoyment of his drink acts as humorous counterbalance to the terror.

In typical fashion for a Hal Roach comedy, this bit is punctuated by an unexpected gag: it is the wife that the judge is frightened by, exuberantly and exaggeratedly throwing his drink into the air when she walks up behind him and places her hand on his shoulder.

Stan and Ollie arrive at the judge’s home and are let in by the faux butler. They have reverted back to being the wise-guy detective characters from the scene in the detective agency, chomping their cigars and acting with authority, as if they actually know what they’re doing.

This is short-lived, and soon enough the more recognizable Stan and Ollie are back. This is exemplified by a very Laurel & Hardy-esque gag where Stan has helped himself to mouthfuls of crackers and ends up spitting the crumbs in Ollie’s face as he answers his partner’s questions! Another Laurel & Hardy evergreen gag is a tit-for-tat exchange where the pair kick one another and step on each other’s feet like feuding children. The extra layer here is that they act as if nothing is wrong whenever the judge and his wife turn toward them. Yet another typical gag has the boys not noticing the obvious, as they stare at The Slasher’s photo in the newspaper but don’t immediately make the connection that he looks exactly like the butler.

The climax is a dizzying frenzy that finds The Slasher creeping in on the Judge’s wife in the bedroom while the judge limbers up in the rest room before his bath. Her screams rouse Stan and Ollie from their beds and the judge from his soapy tub. The Slasher moves into the restroom in search of the judge, but the judge ducks into the tub water to hide. A clever gag has his foot accidentally tugging the drain cap string, releasing all the water, but he still manages to go unnoticed by The Slasher.

As you’d expect, a wild chase ensues with The Slasher chasing everyone through the house, particularly Stan and Ollie. As was so often the case in Hal Roach films, the smaller laughs are only there to lead up to the bigger laughs. Earlier the absurdity of The Slasher’s long knife elicited chuckles; now the laugh is topped by The Slasher removing a gargantuan Arabian Nights-style sword from the wall to threaten our heroes.

From this point on the short brings in a couple more horror elements. First The Slasher finds Stan hiding behind a curtain and runs off into the distance after him. When they come back to the foreground, both Ollie and the viewing audience sees a headless Stan – he has ducked his head into the neck of his suit for protection! This of course evoked memories of the classic Washington Irving story “The Legend of Sleepy Hollow,” which may have still been fresh in audiences' minds due to its first film adaptation (with popular humorist Will Rogers as Ichabod Crane) being released just five years earlier.

The next and final horror element occurs when the judge’s wife’s gun accidentally goes off and startles her husband, sending him hurtling down the stairs. The husband had just emerged from the bath wrapped in a white towel. Just as he’s about to reach the bottom, his flailing legs knock a tribal mask from the wall and it lands on the back of his head! The Slasher’s chase ends when he trips into the room to see the white-shrouded judge with the scary mask on and mistakes him for a ghost! The Slasher surrenders to Stan, who locks him in the closet where Ollie is hiding. Stan is then momentarily scared by the judge who approaches him with mask and sheet still on.

This is followed by a rather abrupt ending wherein a police squad arrives to take the Slasher away and Ollie gives Stan some black eyes to match those The Slasher gave to him. The boys then leave the judge’s home, but not before putting their derbies back on… which they’ve mixed up once again!

The supporting work here from James Finlayson, Noah Young, Viola Richard and Frank Brownlee is so strong that it’s debatable whether to label it “support” or to consider this short an “ensemble piece.”

Finlayson is familiar to long-time Laurel & Hardy fans (who affectionately refer to him as “Finn”). Over the years his numerous run-ins with the boys made him their number one foil, a role he perfected. His specialties were double takes, slow burns and his cry of “D’oh!” that cartoon voice-over actor Dan Castellaneta later appropriated for his role as Homer Simpson. Finn had a lengthy career running from the silent movie days (including a 1925 horror-comedy short, “The Haunted Honeymoon”) up through the early 1950s. Other comedy teams he ran up against included Wheeler & Woolsey, Olsen & Johnson and Clark & McCullough. He also appeared in the Jack Benny classic, “To Be or Not to Be” and acted in at least one “straight” horror film, “She-Wolf of London.”

Noah Young was an ex-champion weightlifter (In 1905 at the age of 17 he was declared a “weight-lifting prodigy” and in 1915 was named “The Strongest Man in the World”). He was rejected by the Navy for not having enough teeth, but welcomed by Hal Roach Studios as a hulking “heavy” (villain) for their shorts and features. While Young appeared in a handful of Laurel & Hardy and Snub Pollard films, he was used most frequently as a foil for the legendary comedian Harold Lloyd, including Lloyd’s classic silent horror-comedy “Haunted Spooks” and his talkie curio “The Cat’s Paw,” which isn’t a horror-comedy per se but does contain a scene that elicits great chills. While his size would appear to make him typecast, he developed his own style of facial expressions that enhanced his screen villainy.

Viola Richard as the judge’s wife is her usual vivacious self, yet also exhibits a flair for comedy and dramatics. The actress had a very short career in movies and one brief detour to Broadway. Her film work as we know it consists entirely of appearances (mostly uncredited bit parts including some mere walk-ons) in Hal Roach comedies, and mostly silent ones at that. Stars Richard appeared with included Laurel & Hardy, Our Gang (the Little Rascals), Charley Chase and Max Davidson. “Do Detectives Think” gave Viola more to do than many of her other films, and she took advantage of her screen time to make the most of her character.

Frank Brownlee also has a short but memorable turn as the head of the detective agency. He appeared in several Laurel & Hardy films both before and after “Detectives,” most often playing law enforcement and military officials. When he wasn’t seen cavorting with Stan & Ollie he could be found cantering his way through countless westerns. What makes Brownlee especially memorable here is that his whole look and how he carries himself reflects the archetype of the detective in “old dark house” comedies, particularly hotel detectives. Fred Kelsey would be the one to perfect this act (most notably in the short “The Laurel-Hardy Murder Case) and homages to it can be seen in everything from the classic Tex Avery animated short “Who Killed Who?” to Bud Abbott’s role as hotel dick Casey in “Abbott & Costello Meet the Killer, Boris Karloff.”

Ultimately, there’s not much plot in “Do Detectives Think” and the Stan and Ollie characters are still finding their way but everything is performed by the boys and their supporting cast with such gusto that’s its easy to overlook this film’s shortcomings. Further, there is no denying that this film represents a historical entry in the careers of Laurel & Hardy, not just for featuring so many of their hallmark characteristics and really showing them as a team for the first time, but also as the first official Laurel & Hardy horror-comedy.

BEST DIALOGUE EXCHANGES: In addition to the courtroom and detective agency dialogue mentioned within the review, there are several other funny lines:

JUDGE (after sentencing The Slasher to hanging): ...an' I hope you choke!

JUDGE: Are you men good shots?

OLLIE: We come from a family of shooters – William Tell is my uncle!

OLLIE: You can go to bed – you’re as safe from danger as we are!

THE SLASHER (pretending to be the butler and tucking Stan and Ollie into their beds): I’ll leave you to a long, long sleep.

BEST GAGS: Without question the best horror-comedy gags come in the graveyard and are mentioned within the review, but there are other great visual gems to be had here as well:

Following up on the William Tell dialogue, Ollie decides to demonstrate his shooting skills by placing an apple on Stanley’s head and firing his pistol. He not only misses the apple but ends up toppling a statue from its pedestal… several feet away from Stanley!

In fact, Stan and Ollie prove to be terrible with guns throughout this short and often shoot off their guns in the wrong direction, at the wrong time or merely while pointing or loading their guns!

When the detectives realize The Slasher is in the house, Stan repeatedly jumps on Ollie’s back in fear, preventing him from leaving the bedroom. When Ollie finally manages to get the door open Stan ends up missing Ollie’s back and jumping right through the door and on top of the judge’s wife!

As Stan and Ollie tangle with The Slasher at in the hallway, Stan is seen scurrilously trying to slap handcuffs around The Slasher’s wrists. He pops a cigar in his mouth, confident that he has succeeded, only to see Ollie has risen with his hands shackled! This bit of “mistakenly subduing the wrong person” was a staple in film comedy and would later be used to great effect by teams including The Three Stooges and Abbott & Costello.

SPOTTED IN THE CAST: Wilson Benge plays Finn’s butler in “Do Detectives Think”… and played a butler and other servile roles (waiters, doormen, valets, etc.) in over 95% of his other movie, shorts and serial appearances. Of interest to genre fans are his appearances in Bela Lugosi’s “The Death Kiss” and one of the versions of Mary Rhinehart’s comedy horror template “The Bat” (a straight horror version called “The Bat Whispers”), roles in a few “Bulldog Drummond” and “Sherlock Holmes” mysteries, and the serials “The Adventures of Captain Marvel,” “The Green Hornet” and “Captain America.” He also appeared in some bona fide classics including “The Palm Beach Story,” “The Adventures of Robin Hood” and “Mr. Smith Goes to Washington.” In addition to appearing in several Laurel & Hardy films, he appeared in a variety of Three Stooges shorts and also made a brief appearance in “Abbott & Costello Meet Dr. Jekyll & Mr. Hyde.”

Will Stanton plays the Slasher’s henchman, an uncredited role in a career filled with uncredited roles. He is actually quite effective and comical in his own right (but I guess in the old days of brief credits on single title cards it just wasn’t cost efficient to credit everyone). A glance at his filmography shows that Stanton had the fortune of appearing in both several Laurel & Hardy films and in a couple of Abbott & Costello films (“It Ain’t Hay” and “Lost in a Harem”), too. He also acted in Charles Laughton’s friendly ghost tale, “The Canterville Ghost” and his final role was as a cab driver in the classic Tracy-Hepburn romcom, “Adam's Rib.”

BUY THE FILM: “Do Detectives Think” appears on DVD along with other classic Laurel & Hardy silent shorts on “The Lost Films of Laurel & Hardy Volume One,” which you can order here:














FURTHER READING: The best review you’ll find online is Cliff “Laughing Gravy” Weimer’s on his wonderful “In the Balcony” site. Cliff doesn’t share my fondness for this film’s spooky elements but he does have excellent insights, which you can read when you click here.

There are a lot of books about Laurel & Hardy that have been published over the years, but most offer an overview of their careers or specific facets (for example, you can buy books on the boys’ solo films, their 1940s films, their final film and their live tours) without any one being solely dedicated to their silent film work. In that regard, I’d have to give my highest recommendation to Walter Kerr’s seminal work, “The Silent Clowns” which you can order by clicking on the title below:

The Silent Clowns

WATCH THE FILM: As this is a short there is no trailer, but you can enjoy the graveyard scene right here:

SPOOK TO ME (1945)

RATING: 2 & ¾ out of ****



PLOT: Andy Clyde takes his ersatz Boy Scouts outfit, the “Bloodhounds” camping for the troop’s one year anniversary. Only trouble is, the campsite is walking distance from an allegedly haunted house! Andy and his valet, Dudley Dickerson investigate and encounter one frightful scare after another. Is the house truly haunted, or are its occupants up to something more sinister?

REVIEW: Here’s another two-reel short subject from Columbia. It’s rather standard in general but a few novel scenes and the seasoned antics of its stars, Andy Clyde and Dudley Dickerson raise it to “above average” status.

Andy Clyde was an interesting comedian in that he had a “shtick.” His persona was one of an old man, equally genial and doddering (and occasionally cantankerous). Clyde played the character going back to silent movie days and was so popular for so long – forty years to be exact – that ultimately he scarcely needed to use his trademarked “old man” makeup! Clyde had character parts in features including several westerns but it was his starring series of two-reel shorts for Columbia that remain most fondly remembered.

Of course, we’ve encountered Dudley Dickerson before here at Scared Silly and we all know how much of a riot he could be.

As so many horror-comedy shorts do, especially those from Columbia, this one hangs its laughs on just the barest of plots. It all begins at the Clyde home where Andy is handing out awards to his “Bloodhounds” troop. This Boy Scouts-like group seems even more survival-oriented than the real Boy Scouts - they practice self-defense and clever escape tactics that would make MacGyver look like an amateur.

The awards scene is brief, no doubt used just to set up how resourceful the kids are. There are some mildly funny touches. As one boy explains how he exterminated a skunk from under a schoolhouse Andy cuts him off mid-sentence. Another kid demonstrates how he stopped a prowler and crunches Andy’s hand so hard that Andy goes flying into the wall!

When Andy announces to the kids that he’s taking them camping as a reward for all their hard work, Andy’s wife provides the next bit of plot-revealing exposition: “That’s fine, Andy – but won’t you be too close to that haunted house,” she asks.

Andy disregards his wife’s comment and the group soldiers forth.

Once at the camping site, it’s the kids that stumble upon the old deserted house and cajole Andy into investigating (it’s hard to tell initially whether the do this for sport or if they really think the house is haunted, but either way soon enough the kids do start to believe it may very well be haunted).

When Andy enters the house he is greeted by people in sheets and suits of armor but he doesn’t notice…. even when he trips into the lap of one of the would-be ghosts. When the armored mystery person throws a battle ax past Andy’s head, he exclaims “bats!,” mistaking it for the winged creature.

Dudley Dickerson enters the film as if he’s always been part of the story (he may have been cut from an earlier scene – or I may have viewed an incomplete print) and we quickly learn that he’s a driver for Andy. In a bit reminiscent of the ending of “Tall, Dark and Gruesome,” Dudley zooms past Andy who slows him down to get an explanation. Dudley explains that his car levitated as he drove by the “haunted house.” Now the kids think it’s haunted for real and call the police.



Dudley and Andy then explore the house together, and have additional encounters with suits of armor and men in sheets. It’s all very standard stuff, except that both Andy and Dudley are quite hysterical with their animated scare takes.

Things quickly take an upswing as a door behind Andy opens to reveal a skeleton… and Andy reaches back behind him to knock on the skull’s head, not looking at what he’s doing. It’s a very funny little shot helped along by the typical wood block sound effect as Andy pounds away.

As Andy and Dudley back into each other there is more taking off screaming. Andy runs down the stairs and hears a disembodied voice, “This is your last warning, foolish mortals. This is the abode of the spirits. Why are you trespassing here?”

Andy awkwardly tries to answer, “I’m a dog catcher… I mean I’m a bloodhound master!”

“You defile the sacred precincts with your earthly presence. Leave while the breath of life is still in you!”

The next bit follows through on the promise of the skeleton scene by offering something lively and unexpected. A weird animal head is mounted on the wall. It resembles a dog except for its unusual ears begins growling at Andy. Andy is scared at first, but realizing it’s mounted and can’t chase him, Andy begins to fight back. His first move isn’t too bright – taunting the animal by waving his finger by its mouth and whipping it away before it can bite him… until it does! This leads to Andy slapping it in the face as if he’s Moe Howard. It’s obviously a puppet and yet at the same time it’s so odd that it’s simultaneously goofy and creepy.

After Dudley has his own unnerving experience with the disembodied voice, he backs up to the wall where a fellow in a sheet pulls him into a back room.

Meanwhile, Andy is trying to get out and asks a headless fellow in a tuxedo for directions (although he’s not looking at the man when he asks the question so he has no idea the man is headless). The humor here is that the headless man initially answers Andy in a very nonchalant, way. When Andy realizes the man is headless and asks if he’s living, suddenly his voice turns sonorous as he delivers a multi-syllabled “Noooooooo!”

As Andy runs further amok, he stumbles into a room that (pardon the pun) gives up the ghost: it’s a room full of counterfeiting equipment! Andy’s initial reaction when he finds all the money is to exclaim that he’s “rich” and to start allocating the funds (“this is for a new car”… “this is for income tax”…).

This leads to a funny gag where the crooks come into the room and Andy starts stuffing the money into their pockets to share. When he gets his hand stuck in one of the pockets, he pulls out a gun. “A gun, huh? Been hunting,” Andy asks before the truth becomes obvious.

We are then treated to a standard chase finale with the Andy and Dudley on the run from the crooks. Caught, our heroes are tied to a table to face a death-gimmick the likes of which are usually seen in serials and reruns of “Get Smart” and “Batman.” The crooks have rigged a huge blade above the table, suspended by ropes held down by weights. They light a candle to burn through the rope that will do away with Andy and Dudley in rather gruesome fashion (especially for a horror-comedy) by lopping off their heads!

Fortunately, the Bloodhounds have entered the house and are doing a little rigging of their own. They knock out one of the thugs with some bottles tied overheard and then trip others with some rope. Ultimately, one of the boys, Pee Wee unties Andy and Dudley in the nick of time while the others go get the police to arrest the crooks.

The police reveal to Andy that there’s a thousand dollar reward but Andy protests that that isn’t enough and starts unloading his pockets of all the counterfeit bills! Andy still thinks the money is real but when the policeman tells him otherwise he pretends he knew it all along.

As Andy goes to leave, he starts saying goodbye to everything: “Goodbye old house… goodbye funny chairs… goodbye old solider,” this last a wave to the suit of armor. When the suit of armor waves back, Andy flips its visor to reveal a beautiful girl inside. He goes to kiss her but the visor slams shut on his nose leading right into the end credit.

The supporting cast is serviceable but unremarkable. For Violet Barlowe, this short was only one of three film appearances. As Andy’s wife she’s barely on film but she does get to deliver the key setup line about “the haunted house.” It’s no wonder Barlowe didn’t have too many film credits – she was too busy entertaining the troops, having appeared in over 400 USO shows during World War 2 (including emceeing an entire Hollywood Canteen show).

As Blackie the chief crook, actor Frank Hagney doesn’t make much of an impression. His dialogue is stilted as if he didn’t take time to memorize it or just couldn’t get into the rhythm of the proceedings. It must have just been an “off” day for him though as he was readily employed during a lengthy career playing characters on both sides of the law in both movies and TV shows. Among the actors and characters he rubbed shoulders with were Laurel & Hardy, Abbott & Costello, Harold Lloyd, Dick Tracy, Superman, the Invisible Man and many more.

And the kids? Well, they’re uncredited. Most of them are just fine, with Pee Wee a standout. It’s worth pondering if Columbia could have fashioned their own Our Gang/Little Rascals-esque series utilizing these kids. Worth pondering until you find out the studio actually did shoot a kid shorts pilot nine years after this short that failed miserably. They named the kid group, “The Mischief Makers” and according to Ted Okuda and Ed Watz, authors of the essential “Columbia Comedy Shorts” book it was “unquestionably the worst two-reel comedy in the history of the department, bar none.” Perhaps Columbia should have tried nine years earlier with Andy’s Bloodhounds gang instead.

Also worth pondering is whether Andy Clyde had any influence in the story setup for this short. At this stage of his career, when not subjecting himself to Columbia’s breakneck pace of shorts production (something he would do for another eleven years after “Spook to Me!”), he appeared in several outdoor adventures and westerns (including a stint as Hopalong Cassidy’s sidekick, California Carson). The “Bloodhounds” motif of outdoor scouts could possibly have been inspired by Clyde’s experiences filming frontier adventures.

As mentioned upfront, this short is full of typical horror-comedy gags and would be unremarkable if not for its trio of unexpected gags (the skeleton knock, the mounted dog head and the headless man) as well as the comedy expertise of Clyde and Dickerson. The pair are masters of timing and scare takes, and help make this worth a look.



SPOTTED IN THE CAST: One of the two henchmen was played by Wally Rose. Like Violet Barlowe, his on-screen credits are sparse and typically he’s playing a henchman or guard or some other burly character. More notably, though he was a founder of both the Screen Actors Guild and the Stuntmen's Association of Motion Pictures.

BEST DIALOGUE EXCHANGES:

ANDY (after his wife mentions the haunted house): Haunted house? There isn’t any such thing! Just because the Bancroft family disappeared overnight doesn’t mean it’s haunted.

DISEMBODIED VOICE TO DUDLEY: “Where do you think you’re going? You’ll be sorry you came here!”
DUDLEY: “Brother, I’ve been sorry a long time!”

ANDY: “Say that’s a durn bright idea. The candle burns the ropes, the weights fall… if this works good I’ll tell the Bloodhounds.”
DUDLEY: “If this works good, boss we ain’t gonna’ tell anybody but us angels.”

BEST VISUAL GAGS:

Nothing in the short tops the aforementioned gags of Dudley speed-running, Andy knocking on the skeleton’s skull as if it’s a block of wood, and Andy’s encounter with the mounted dog head and headless man.

FURTHER READING: Ted Okuda and Edward Watz wrote an indispensible book called “The Columbia Comedy Shorts” and Leonard Maltin wrote one called “The Great Movie Shorts” (also known as “Selected Short Subjects”). You can order them here:

Selected Short Subjects: From Spanky to the Three Stooges (Da Capo Paperback)












I also encourage you to visit The Columbia Shorts Department – Greg Hilbrich’s excellent site dedicated to the fun and frolics of this studio that gave the world The Three Stooges and so much more.

WATCH THE FILM: Here’s an opportunity to view a short clip containing some of the best gags from “Spook to Me” – enjoy!

THE SPIRITS OF '76 - 2012 EDITION!

NOTE: This is an encore edition of a post I originally wrote in 2010:

Here’s a film that will be going into the “horror-onable mention” section of my book. It’s not a “horror-comedy” per se – it’s more of a fantasy-romance, but it does involve ghosts (albeit friendly ghosts) who take the opportunity to put a good scare in some folks as needed. For me, Abbott & Costello’s “The Time of Their Lives” is every bit as classic a movie as “Abbott & Costello Meet Frankenstein;” even if it has more in common with “Topper.”

It’s also tied into the American Revolution, hence this post falling on America’s Independence Day. The film’s script is very well written. It tells the tale of Horatio Prim (Costello), a bumbling but masterful New England tinker in 1780 who longs to marry Nora, the housemaid of wealthy estate owner Tom Danbury. To that end, Horatio procures a letter of commendation from General George Washington in hopes of obtaining permission to marry Nora from Tom. Unfortunately, Horatio has a rival for Nora in butler Cuthbert (Abbott), who causes him trouble no end. But the real trouble comes from Danbury himself, who is secretly a traitor out to aid Benedict Arnold. Both Nora and Danbury’s fiancé, Melody (the luminous Marjorie Reynolds) learn of Danbury’s plot. Nora is captured and Danbury confiscates the commendation letter from her (she had been holding it for Horatio) and hides it in the mantelpiece clock, but Melody manages to escape on horseback in an effort to warn George Washington. She soon encounters Horatio, and the two are framed as traitors, executed and dumped into a well.

It’s here that the fantasy element kicks in. Horatio and Melody are now ghosts who haunt the grounds of the estate and will continue to do so until they can prove their innocence. They just need to somehow get the letter into the hands of the authorities who can rewrite the history books so the truth can be known. This becomes a more hopeful quest 166 years later when the estate is restored to its original condition, and that includes the original furniture. When the restoration is complete, the new owner invites some guests for the weekend to celebrate. Among the guests are psychiatrist Dr. Ralph Greenway, a descendent of Cuthbert (also played by Abbott). Horatio and Melody decide to have some fun “scaring” the guests. Horatio takes particular delight in spooking Greenway. A séance is held wherein the identity of the ghosts and their plight is revealed, resulting in the living doing what they can to help set Horatio and Melody free.

The film has grown in status over the years and has quite a following (and may have even inspired a line in the classic Gordon Lightfoot song, "If You Could Read My Mind"). In fact, while embraced by many Bud & Lou fans, it’s also been touted as “the Abbott & Costello movie for people who hate Abbott & Costello movies.” This is due to the exceptional dramatic acting of both Lou and Bud that full-bloodedly brings their well-written roles to life. They are both so good in this that it’s hard to say whether one outshines the other (although I might give the slight edge to Abbott whose rarely used talent for character acting is on full display here). It stands out from the majority of the team’s other films which primarily feature a variation on their con man/patsy burlesque characters. It’s one of the few films where the team stretched beyond their usual archetypes and managed to pull it off (for examples where this departure from the norm didn’t work in my opinion, catch “Little Giant” and “Dance With Me Henry.” Or don’t). It also includes a wonderful supporting cast, including horror-comedy stalwart Gale Sondergaard as the maid of the restored estate who definitely believes in ghosts. And it features beautiful sets, wonderful costume designs and marvelous special effects - a top-notch production all around.

If you haven't guessed by now, I consider "The Time of Their Lives" a wonderful film to watch on Independence Day... or any day, for that matter! Here’s the trailer for your enjoyment:

A MUSICAL INTERLUDE...

Scared Silly fans – what can I say – June has just been a killer month for my schedule and I was simply unable to devote time proper to writing a movie review this month. I will do my best to get back on track in July.

In the meantime, I hope you will enjoy this musical interlude from The Brian Sisters – a singing teen trio popular in the 1930s and ‘40s (you can learn more about them by clicking here). Here from a public domain “Soundie” they sing a great Halloween-themed tune called “The Boogie Woogieman” – stick with this, some great spooky imagery as it rolls along – ENJOY!

HELP KEEP HORROR-COMEDY ALIVE - SUPPORT LEA HERNANDEZ' "THE GARLICKS!"

Hey Scared Silly fans - I have an extra-special request of you: if you love horror-comedies (and you wouldn't be here if you didn't), please consider supporting writer-cartoonist Lea Hernandez' Kickstarter fundraiser to help get her wonderful web-comic series, "The Garlicks" published as a graphic novel.

Hernandez is a veteran who has written, edited, lettered, and colored comics for the likes of Marvel, DC, Dark Horse, Oni, Disney & Image. She's also previously published five graphic novels, re-written and lettered several manga products and won a few awards. You can read more about Lea when you click here and here.

Now Lea brings the world The Garlicks, a fun and funny series for young adults and up that provides a new twist to vampire lore, presenting adolescent and teenage vampires in a whimsically inventive fashion.

Here is the description of the series from Lea's official site:

"The Garlicks is told from the point of view of Pandora, a vampire with zero vampire abilities and the big sister of baby Pamila (who’s usually called Ham), who seems to have gotten everything Pandora didn’t, like being able to shapeshift into an adorable flying fish and eat meat.

Pandora turns to her passion, making comics, and chooses her family as her muses: the exhausting Ham, her father Vourdain, (a flower-eating barista), her mother Olive (who is butcher), and their house/business, Orange Espresso and Meats."

Rounding out the cast are Maxim, a boy who can see monsters, and "three rock-stupid but very dangerous demon hunters."

So how can you help? Easy, just donate to the Kickstarter fundraiser - you can find out how by clicking here.

You can can donate any amount you'd like (although I'd recommend the $25 level - that gets you an autographed copy of the printed graphic novel plus your name published in the book's acknowledgments, among other nifty goodies.

Now enjoy this video that will tell you a little more about the project:

THE TRAUMA OF IT ALL!

Hello, Scared Silly fans! Just a quick note to inform you that Unkle Lancifer of the blog Kinder Trauma was kind enough to interview me for his ongoing segment, "It's a Horror to Know You." Just click here to read it.

You may be saying to yourself, "So what - you've read one Paul Castiglia interview, you've read them all!" Ah, but this one is different. I'm known for waxing rhapsodic over films from the 1920s through the 1960s, but in this interview, you'll get to hear me sing the praises of films from the 1970s, '80s and today as well!

One of the films I single out for special mention is that of my fellow Jerseyan and one of my favorite directors, certainly an influence on my sense of humor, the great Joe Dante and his underrated film, "The 'Burbs." I only just saw it for the first time recently.

Remember my essay, "The Old Dark Anachronism" where I theorized that it may be just about impossible to do a plausible "old dark house" film set in contemporary times without it feeling like a throwback? Well, turns out Dante pulled it off in 1989.

If all goes as planned, next up from me will be a review of a more traditional horror-comedy short from 1945 that may not break any new ground but manages to pull out all the stops due to its leads, Andy Clyde and our old friend Dudley Dickerson - look for a review of "Spook to Me" here soon.

...and right now, look for the trailer to Joe Dante's deserving-of-rediscovery horror-comedy, "The 'Burbs":