This is a Laurel and Hardy short film from 1931, so almost 85 years ago already. Wow. It is in black-and-white, not silent anymore and runs for slightly under 20 minutes and looking at how the whole thing is basically only about a single misunderstanding, I have to say they did a good job with keeping that storyline intact and not letting it drag too much. Laurel gets his revenge in the end and boy I had no idea he was such a violent fella. Of course, it also backfires at him again too. The duo mistakes a theater play recital for an actual conversation and they believe an old woman is about to get evicted from her home. They try their best to prevent this from happening for the rest of the film. As always, chaos ensues. Director Horne and writer Walker worked on several L&H film, so they knew exactly what they were doing to make two of the biggest stars at that point appear as interesting as ever. Finally, just a little scene I found funny: The landlord says at some point that he will get his minions to clear the place and I immediately had to wonder if he was the villain the yellow little creatures from 2Despicable Me" were hanging around with back in the 1930s. Anyway, if you haven't seen the film, you will probably have absolutely no idea what I am talking about. Oh yeah, and aging makeup was very popular back then as well. The actress who played the old lady was a lot younger. Then again, Méliès made himself look considerably older in the 1890s already. "One Good Turn" could have been five minutes shorter maybe for a better viewing experience, but it is still a decent watch. Recommended.

The comedy short One Good Turn stars Laurel and Hardy as victims of The Great Depression, more specifically, poor beggars trying to live life in the middle of nowhere. They cook their own poorly-prepared food, they wash the two pairs of clothes they have, and they simply try to make it to the next day alive and well. The two manage to muster up the courage to ask a friendly old lady for some food, and she kindly provides food for the both of them. While inside, eating at her kitchen table, Laurel and Hardy overhear the woman talking to the landlord, who threatens to throw her out of her home if she cannot pay her mortgage. However, the lady was robbed and doesn't have the funds to pay for overdue bills. Feeling the need to repay the woman for her kindness, Laurel and Hardy attempt to sell their automobile in town square.One Good Turn functions more like a Three Stooges skit than one featuring the comic talents of Laurel and Hardy, featuring more of an emphasis on slapstick humor than verbal wit and situational escalation. This is especially surprising given the presence of director James W. Horne, who finds inventive ways to conjure up situations for Laurel and Hardy to haplessly fall into. The humor of One Good Turn is present on occasion, but one finds it treading far too close to familiar territory that is often explored by the aforementioned comedy troop. Our senseless heroes are always fun to spend time with, but here, it feels as if they are forcing themselves into a box they can't quite fit into.Starring: Stan Laurel and Oliver Hardy. Directed by: James W. Horne.

****SPOILERS****YOU WERE WARNED****Another great from Stan and Ollie's salad days.We find the boys, as usual, down on their luck. Of course, this was filmed during the Great Depression, when it wasn't uncommon for able-bodied men to beg meals. One of the qualities I've always respected about The Boys is that, no matter how depressing their circumstances, they never played it for maudlin sympathy. A movie about two men with no homes, no jobs and nothing to eat is kind of hard to envision as a comedy, on the surface, but The Boys pull it off grandly. Most of the great comedians of this era at least occasionally portrayed characters in dire straits - Chaplin did it almost constantly. I find it interesting to look at their disparate approaches to the same type of character.For instance, Chaplin, 'The Little Tramp', WAS a tramp. He could be sneaky, and would even steal if need be. Harold Lloyd could always be counted on to rise from poverty by his own brashness and go-getter personality. Keaton's character was half-sleepwalker, often stumbling into what he needed through a combination of bluff and sheer luck. I wonder how each of these characters would have faced the situation the boys find themselves in, when they discover that the nice old woman is apparently about to be put out on the street.Laurel and Hardy, they of the sincere, childlike ways, resolve to help the lady by selling their car, their last possession on earth. This, also could have been played up for schmaltz and sympathy, but instead the film takes this touching gesture and uses it as the springboard for the farce to follow.The film contains some of The Boys' trademark physical comedy, not slapstick or pantomime, but a dialogue of sight gags without a single word spoken. Two that come to mind are the sandwich-eating scene in the kitchen, and right after Stan manages to set their tent on fire. For me, the biggest laugh in the film was seeing a more and more-concerned Ollie watch Stan rush out of the bushes, grab a teacup full of water and rush back, again and again, until finally the tragedy is revealed.A real gem.

Laurel and Hardy are destitute – living by the river in a tent and their car. When Laurel manages to destroy most of their few remaining possessions they are forced to beg door to door for food. A misunderstanding with a kindly old lady leads the duo into a kind act that ultimately leads to a division between them.This film has no one major strong scene that stuck in my mind, but it does have a consistently funny tale that made me laugh the whole way through. The plot starts with the usual `down on their luck' set up that works very well – Laurel playing with fire is well done. The actual plot device used to create the main story is a little contrived but it is played so well that it doesn't really matter.All though the short there are lots of nice touches.- Hardy's looks are as good as ever. Some fans may feel that this is more low key than they expected due to the lack of a big sequence, but the smaller, consistent jokes work well to produce a short that lacks a major peak, but then manages to have no dips either.The cast are good. The little old lady is a little clichéd and James Finlayson has little of value to do, but Laurel and Hardy are both good. Here Laurel keeps his usual character but he also adds a tougher edge. In other shorts he has tended to be one or the other (often being tougher in later films) but here he gets the mix right (apparently due to Laurel wanting to let his daughter see her dad stand up for himself onscreen). Hardy is as good as always.Overall this lacks peaks but makes up for it by being consistently funny from the opening campfire sequence right through to logs a-flying!