Interesteg What makes it different from others?

Lidia Draper Great example of an old-fashioned, pure-at-heart escapist event movie that doesn't pretend to be anything that it's not and has boat loads of fun being its own ludicrous self.

Quiet Muffin This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

Jerrie It's a good bad... and worth a popcorn matinée. While it's easy to lament what could have been...

Steve Pulaski James Parrot's short film The Hoose-Gow opens with Laurel and Hardy being trafficked to prison after being mistaken for involvement in a hold-up. The two spend their days digging ditches, cutting down trees, and doing the hard manual labor in prison with the comedic longevity expected from two of the greatest masterminds in silent/talkie comedy. The two manage to get themselves into enough physical pain and trouble that makes up for their false prison sentence, but the two push on and try to pay their dues, even if it results in grave injury.This is one of the first times I've seen where slapstick really works for Laurel and Hardy. The Hoose-Gow doesn't make much of an effort to incorporate a lot of verbal wit, and instead, emphasizes the physical elements. For some reason, perhaps the result of a mood-change or an unconscious desire, I was pleased by the slapstick here, especially during the scenes when Hardy is attempting to cut down a tree and Laurel keeps getting in the way, nearly missing the sharp blade of the pickaxe. Scenes like that provide for slapstick that almost seems improvisational rather than a copout for screen writing.One can tell, however, this is an early sound-short because of the lack of formal dialog. The Hoose-Gow could've really been a silent short and simply had the timely luxury of being able to be produced with sound. My only assumption to the lack of real conversation was writers at the time, in this case, H.M. Walker, who wrote most of Laurel and Hardy's short films, was just getting used to screen writing with audible dialog, making the early sound-shorts lack the kind of leisurely- paced dialog that would be present in Laurel and Hardy's later shorts. It's not a particular flaw, just a difficultly in adapting on part of the short's crew, but it would've made for a more witty short.Yet The Hoose-Gow accomplishes a feat I never really thought possible with Laurel and Hardy shorts, which is make them more slapstick driven than dialog driven and have them turn out successful. For that, the film deserves a huge plus, and the fact that this is the most active I've seen both men in any project only adheres to their credibility has fantastic physical performers.Starring: Stan Laurel and Oliver Hardy. Directed by: James Parrot.

Jackson Booth-Millard Stan Laurel and Oliver Hardy are the most famous comedy duo in history, and deservedly so, so I am happy to see any of their films. A police patrol car pulls into a prison, and all new inmates get out, with Stan and Ollie in amongst them fidgeting over each other. Getting out, they explain that they were only watching the raid that got them in this situation, and a little kick fight (started by Ollie trying to shut Stan up) gets the Warden (Tiny Sandford) a kick too. Then Ollie explains a secret plan he has made with another prisoner, involving oranges thrown over the wall to get a rope ladder. The Warden spots these oranges, gets the boys to get rid of them, and the last in Stan's mouth is swallowed with a hard pat on the back. An orange is thrown over the wall, and the rope ladder is dangled, and the Warden chases the danglers outside the door away, and with the door open the boys run to escape, only to return with powder burns on their backsides from a gun shot. Next we see the boys on the side of the road with pickaxes, with Stan continually sticking his in Ollie's coat, and still he gets hit when he gives Stan a spade. The bell rings for a food break for all prisoners, and when the boys have nowhere to sit, they mistakingly get the Warden's table, have some pepper trouble, and are shouted away. The only way to get their food is to get loads of wood for the chef, and they find a tree to cut down, which they don't realise has a Treetop Lookout post and guard (Charlie Hall) at the top, so both fall into the below gazebo. Then everyone gets back to work with the Governor (James Finlayson) coming to inspect, and when Ollie gets his coat ripped again, he manages to throw Stan's pick-axe into the Govenor's car radiator. To stop the leak of gas a prisoner suggests filling it with rice, and this seems to work until the car starts to drive and the radiator erupts with this gas/rice mixture. The Warden pushes Stan in the mound of mixture as lesson, and Stan throws some in his face, and throwing back the Warden manages to hit the Governor. So the Governor accidentally hits Ollie, and soon enough everyone including the two women in the car, other prison staff and all the inmates are throwing this mixture at each other. With this chaos going on, the boys run away, and the Warden and Governor decide to get the Manager to stop the whole thing, and they reverse a car into a cart carrying barrels of white paint, which spills on the boys hiding in the back of the car. Filled with wonderful slapstick and all classic comedy you could want from a black and white film, it is an enjoyable film. Stan Laurel and Oliver Hardy were number 7 on The Comedians' Comedian. Good!

Theo Robertson As some people have already pointed out on this page THE HOOSE GOW isn`t by any means the best of the L&H shorts , and when I saw it last week BBC 2 made the error of showing it after THE LAUREL AND HARDY MURDER CASE which is my all time Stan and Ollie short Not to be too negative the action starts with a van arriving at a prison and thus we arrive at the start of the story . This is a better opening than a few other of these shorts where Stan and Ollie bumble around for a few minutes in a scene that has nothing to do with the rest of the story . I could be cruel and point out the character interaction is somewhat confusing since a fellow prisoner tries to get Stan and Ollie out of the clink then plays a practical joke on them with the warders table , but like I said that would be cruel and when you stop to think about it maybe the worst thing that could happen to someone in the American penal system in the 1920s is having Stan and Ollie as cellmates . Imagine Chris Keller and Vern Shillinger from OZ walked into this Laurel and Hardy story !

rsyung An early Laurel & Hardy talkie, `The Hoose-Gow' is strongest in its first half…the pathetic attempts at escape, the sheer terror on Stan's face as he tries to dislodge the apple from his mouth, the absolute fear and despondency of two child-souls set down amongst a hardened prison population. Also priceless: Ollie's guileless explanation to guard Tiny Sanford: "Honest, officer, we were only watching the raid." Somehow, coming from Stan and Ollie, the statement rings of truth. In the work camp, things settle into the traditional Stan and Ollie mealtime gags. When they chop down the lookout's post it's another of those gags of anticipation which was such an integral part of their humor. And it's to their credit that most of the film is shot on location, something uncommonly problematic for the early sound technology of the late 20s. There is also something wistfully nostalgic about those Arcadian, windswept eucalyptus-lined locations of southern California, so unpopulated in 1929. Once they get involved in the creamed rice fight at the end, it descends into rather standard fare.