Foreign Language Version

After sound came in, alternate versions of some of the movies were made in different languages for the foreign market.


Harry Langdon and Thelma Todd in front of a blackboard on which their dialogue has been written.

 

Sound Truck At The Roach Studio

From the Laurel and Hardy Archive on facebook.


STAN LAUREL, sound engineer ELMER RAGUSE and OLIVER HARDY on board of the new sound truck
1929
(from the Craig Raguse collection)

With the gang.

Standing-SC Baden, Warren Doane, Stan, Babe, James Harrison. Kneeling on truck-James Greene, Elmer Raguse, Jack Whitaker, Dip Nece

The truck, btw, was bult on an REO Speedwagon chassis.


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Harry Langdon At The Roach Studio

Harry Langdon's career went into a decline after the coming of sound. In 1929 he made a series of two-reel comedies for Hal Roach, but it didn't last and he soon moved on to other studios, later returning to Roach as a gagman.


Reblogged from http://cablecarguy.blogspot.com/2013/08/harry-langdon-heart-trouble-in_2.html

Scenes from the short promotional film Hal Roach made to announce that Harry Langdon would be working for his studio. Thelma Todd also appeared in this film.

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Thelma Todd And Charley Chase

From the Hal Roach Studio on facebook.

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Ad For The Hollywood Girls Series

Here is an ad for the "Hollywood Girls" series from Educational.

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Thelma Todd And Charley Chase Photo

Thelma Todd and Charley Chase frequently worked together in two-reel comedies at the Hal Roach studio. Here we see them in a publicity picture from Chase's 1929 short SNAPPY SNEEZER.

Special thanks to Jorge Finkielman for providing us with this picture.



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UNACCUSTOMED AS WE ARE Photo

UNACCUSTOMED AS WE ARE was Laurel and Hardy's first talking picture*. The story involved Thelma Todd losing her dress due to an accident with the oven, leading to attempts to hide her in a trunk and then to trouble with her husband, played by Edgar Kennedy.

This particular publicity photo shows Stan Laurel in the trunk, a scene that I do not remember being in the actual movie.

*Hence the title, which is a reference to speakers appearing before a group and prefacing their efforts with an announcement that they are unaccustomed to public speaking.




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Talkies Come To The Hal Roach Studio

From the Hal Roach Studio page on facebook.




Laurel and Hardy with microphones.







Jack Taylor:
A Page from the Trades
Sound comes to the Hal Roach Studios. (Exhibitor's Daily Review - October, 1928







Also from the same paper.









Ron Hutchinson:
Here's another article, from sound engineers Charles Althouse's scrapbook that I now own.....

















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Thelma Todd Photos

                                An early publicity photo of Thelma as a one-girl band.

                                                  George P. Hommel photograph, 1929

 

 

 

 

With Zeppo and Harpo Marx in HORSE FEATHERS

 

 

 

CALL HER SAVAGE 1932

 

 

 

 

 

LIGHTNING STRIKES TWICE 1935

                                                         THE BOHEMIAN GIRL  1935

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HELL'S ANGELS

The making of HELL'S ANGELS took a lot of time and money. But in the end it was a huge success.

Hell's Angels (film)

From Wikipedia, the free encyclopedia

        

Hell's Angels
theatrical poster
Directed by	Howard Hughes James Whale (uncredited) Edmund Goulding (uncredited)
Produced by	Howard Hughes
Written by	Harry Behn Howard Estabrook Joseph Moncure March (uncredited)
Starring	Jean Harlow Ben Lyon James Hall
Music by	Hugo Riesenfeld (uncredited)
Cinematography	Tony Gaudio Harry Perry
Editing by	Douglass Biggs Frank Lawrence Perry Hollingsworth (uncredited)
Distributed by	United Artists
Release dates	November 15, 1930 (1930-11-15)
Running time	127 minutes
Country	United States
Language	English
Budget	$3,950,000
Box office	$8,000,000

Hell's Angels is a 1930 American war film, directed and produced by Howard Hughes and starring Jean Harlow, Ben Lyon, and James Hall. The film, which was produced by Hughes and written by Harry Behn and Howard Estabrook, centers on the combat pilots of World War I. It was released by United Artists and, despite its initial poor performance at the box office, eventually earned its production costs twice over.^[1] Controversy during the Hell's Angels production contributed to the film's notoriety, including the accidental deaths of several pilots, an inflated budget, a lawsuit against a competitor (The Dawn Patrol), and repeated postponements of the release date.
Originally shot as a silent film, Hughes retooled the film over a lengthy gestation period. Most of the film is in black and white, but there is one color sequence - the only color footage of Harlow's career. Hell's Angels is now hailed as one of the first sound blockbuster action films.

 

• 1 Plot
• 2 Cast
• 3 Production
• 4 Reception
• 5 Impact
• 6 See also
  • 6.1 Other World War I flying films
• 7 References
  • 7.1 Notes
  • 7.2 Citations
  • 7.3 Bibliography
• 8 External links

Plot

Roy (James Hall) and Monte Rutledge (Ben Lyon) are very different British brothers. Strait-laced Roy loves and idealizes the apparently demure Helen (Jean Harlow). Monte, on the other hand, is a womanizer. Their German friend and fellow Oxford student Karl (John Darrow) is aghast at the idea of having to fight England when World War I breaks out.
Meanwhile, the oblivious Monte is caught in the arms of a woman by her German officer husband (Lucien Prival), who insists upon a duel the next day. Monte flees that night. When Roy is mistaken for his brother, he goes ahead with the duel and is shot in the arm.
Karl is conscripted into the German Air Force, and the two British brothers enlist in the Royal Flying Corps (RFC), Monte only to get a kiss from a girl at the recruiting station.
When Roy finally introduces Monte to Helen, she invites Monte to her flat. Monte tries to rebuff her advances for his brother's sake, but gives in. The next morning, however, he is for once ashamed of himself.
Meanwhile, Karl is an officer aboard a Zeppelin airship sent to bomb Trafalgar Square, London. As the bombardier-observer, he is lowered below the clouds in a spy basket. He deliberately guides the Zeppelin over water, where the bombs have no effect. Four RFC fighters are sent to intercept the Zeppelin. Roy pilots one, with Monte as his gunner. To gain altitude more quickly, the airship commander (Carl von Haartman) orders everything possible be jettisoned. When that is not enough, he decides to sacrifice Karl by cutting the cable that secures his pod. He then accepts the advice of another officer; the officer and other crewmen obediently leap to their deaths "for Kaiser and fatherland". German machine gunners shoot down three aircraft; Roy and Monte survive a crash landing. After his machine guns jam or run out of ammunition, the last British pilot aloft dives his fighter into the dirigible, sending it crashing in a blazing fireball. The brothers narrowly avoid the debris.
Later, in France, Monte is branded a coward for shirking his duty when his replacement is shot down in his place. When a Staff Colonel asks for two volunteers for a suicide mission, Roy and Monte step up. They are to destroy a vital enemy munitions depot their squadron had tried to blow up for days. They will sneak in using a captured German bomber the next morning so that a British brigade will have a chance in their otherwise hopeless afternoon attack.
That night, Roy discovers Helen in a nightclub with Captain Redfield. When he tries to take her home, she turns on him, revealing that she never loved him, that she was, in fact, not the young innocent he believed her to be. Devastated, Roy joins Monte for some carousing. Monte decides not to go on the mission and nearly persuades Roy to do the same, but in the end, Roy drags Monte back to the airfield.
The raid on the German munitions dump is successful. However, they are spotted in the act by a flight of German fighters from the Flying Circus, led by Manfred von Richthofen. Monte defends the bomber with a machine gun until their squadron arrives, and a dogfight breaks out. Their buddy "Baldy" shoots down the one German who is still targeting the bomber, but then von Richhtofen swoops in and shoots the brothers down. They are captured.
They are given the option of talking or facing a firing squad by none other than Roy's old dueling opponent. Monte decides to save his life. Unable to change his brother's mind, Roy convinces Monte that he should speak with the German general alone. He offers to tell what he knows on condition that there is no witness to his treason. The general is persuaded to give him a pistol (with one bullet) to kill Monte. Roy fails to get Monte to do the right thing, and has no choice but to shoot his brother in the back. Afterward, Roy is executed. The British attack gets off to a successful start.

Cast

(in order of film credits)

Actor	Role
Jean Harlow	Helen (as Jean Harlowe)
Ben Lyon	Monte Rutledge
James Hall	Roy Rutledge
John Darrow	Karl Arnstedt
Lucien Prival	Baron Von Kranz
Frank Clarke	Lt. von Bruen / double for von Richthofen in combat scenes
Roy Wilson	"Baldy" Maloney
Douglas Gilmore	Capt. Redfield
Jane Winton	Baroness Von Kranz
Evelyn Hall	Lady Randolph
William B. Davidson	Staff Major
Wyndham Standing	RFC squadron commander
Lena Melana	Gretchen, waitress
Marian Marsh	Girl selling kisses
Carl von Haartman	Zeppelin commander
Ferdinand Schumann-Heink	First Officer of zeppelin
Stephen Carr	Elliott
Thomas Carr	Pilot
Rupert Syme Macalister	Pilot
J. Granville-Davis	Pilot
Hans Joby	Von Schlieben
Pat Somerset	Marryat
Wilhelm von Brincken	von Richthofen

Production

Clarke and Roy Wilson flying an S.E.5A (front) and a Fokker D.VII (back) in the movie Hell's Angels.

Hell's Angels had been originally conceived as a silent, with James Hall and Ben Lyon as Roy and Monte Rutledge, and Norwegian silent film star Greta Nissen cast as Helen, the female lead, and was to be directed by Marshall Neilan. Principal photography began on October 31, 1927 with interiors shot at the Metropolitan Studio in Hollywood.^[2] A few weeks into production, however, Hughes' overbearing production techniques forced Neilan to quit. Hughes first hired Luther Reed, on loan from Paramount but still was in conflict over directing roles before hiring a more pliable director, Edmund Goulding, but took over the directing reins when it came to the frenetic aerial battle scenes.^[3]
Midway through production, the advent of the sound motion picture came with the arrival of The Jazz Singer. Hughes incorporated the new technology into the half-finished film, but Greta Nissen became the first casualty of the sound age, due to her pronounced Norwegian accent. He paid her for her work and cooperation, and replaced her, because her accent would make her role as a British aristocrat ludicrous. The role was soon filled with a teenage up-and-coming star found by Hall in a review, and hired by Hughes himself, Jean Harlow.^[4]
When Hughes made the decision to turn Hell's Angels into a talkie, he hired a then-unknown James Whale, who had just arrived in Hollywood following a successful turn directing the play Journey's End in London and on Broadway, to direct the talking sequences; it was Whale's film debut, and arguably prepared him for the later success he would have with the feature version of Journey's End, Waterloo Bridge, and, most famously, the 1931 version of Frankenstein. Unhappy with the script, Whale brought in Joseph Moncure March to re-write it. Hughes later gave March the Luger pistol used in the famous execution scene of the film's ending.^[5]
One talking scene filmed in Multicolor but printed by Technicolor, provide the only color film footage of Jean Harlow. (Multicolor was not prepared to print the number of inserts needed for the wide release Hughes wanted.) The inexperienced actress, just 18 years old at the time she was cast, required a great deal of attention from Whale, who shut down production for three days while he worked Harlow through her scenes.^[6]
During principal photography, Hughes along with pilot Harry Parry, designed many of the aerial stunts for the dogfighting scenes. Pioneering aerial cinematographer Elmer Dyer filmed many of the aerial scenes with Paul Mantz flying as the principal stunt pilot, leading the team of actual World War I pilots hired by Hughes. Hughes, himself an accomplished aviator, personally directed the aerial scenes from overhead, using radio control to coordinate the flying maneuvers.^[7]
Mantz considered the final scene where an aircraft had to make a steep pullout after a strafing mission, too dangerous and reported that his pilots would not be able to do the maneuver safely. Hughes piloted the aircraft himself, but as Mantz had predicted, however, he failed to pull out, crashed and was seriously injured with a skull fracture.^[8] He spent the next few days recuperating in the hospital, where he underwent facial surgery.^[2] Three other aviators and a mechanic were not as fortunate, having been killed during the film's production.^[9] Pilot Al Johnson crashed after hitting wires while landing at Caddo Field, near Van Nuys, California, where most of the location filming took place. Pilot C. K. Phillips crashed while delivering an S.E.5 fighter to the Oakland shooting location. Rupert Syme Macalister, an Australian pilot, was also killed, and mechanic Phil Jones died during production after he failed to bail out before the crash of a German Gotha bomber, piloted by Al Wilson, which had been doubled by Igor Sikorsky's Sikorsky S-29-A, his first biplane built after his arrival in the United States.^[10]
Due to the delay while Hughes tinkered with the flying scenes, Whale managed to entirely shoot his film adaptation of Journey's End and release it a month before Hell's Angels was released; the gap between completion of the dialogue scenes and completion of the aerial combat stunts allowed Whale to be paid, sail back to England, and begin work on the subsequent project, making Hell's Angels Whale's actual (albeit uncredited) cinema debut, but his second film to be released.^[5]
With the majority of the film shot and in editing, Hughes realized a similar film, Darryl F. Zanuck's The Dawn Patrol, would become a competitor at the box office.^[11] After attempting to lease all available period aircraft to stall his competitor, Hughes brought a lawsuit through the Caddo Company and the Gainsborough Corporation, that alleged that the screenplay of Hell's Angels was plagiarized.^[12] The lawsuit resulted in The Dawn Patrol being rushed through post-production in order to be in theaters before Hell's Angels. In late 1930, Warner Bros. and Zanuck won the suit.^{[12][N 1]}

Reception

Hell's Angels received its premiere at Grauman's Chinese Theatre in Hollywood on May 24, 1930. All the stars and makers of the film attended, as well as Buster Keaton, Dolores del Río, Norma Talmadge, Mary Pickford, Billie Dove, Douglas Fairbanks, and Charlie Chaplin with his girlfriend Georgia Hale. A program with leather cover was designed for the premiere by famed aviation illustrator Clayton Knight. Reviews were universal in acclaim for the flying scenes but the mundane plot and maudlin characterizations were also noted. The Hell's Angels screening revealed many traits of pre-code Hollywood. In addition to some fairly frank sexuality, there was a surprising amount of adult language (for the time) during the final dogfight sequence, e.g. "son of a bitch", "goddamn it", and "for Christ's sake", along with the words "ass", "hell", and a few uses of "God" in other scenes.^[13]
While Harlow, Lyon and Hall received mixed reviews for their acting, Hughes was praised for his hard work on the filming and aircraft sequences. Mourdant Hall, reviewer for The New York Times was especially critical about Harlow's performance, saying, "his film is absorbing and exciting. But while she is the center of attraction, the picture is a most mediocre piece of work."^[14]
Hell's Angels went into general release on November 15, 1930 in the United States and did quite well at the box office, earning nearly $8 million, about double the production and advertising costs. After inflation, this is roughly equivalent to $113 million as of January 1, 2010.^[15]
Hell's Angels received one Academy Award nomination, Best Cinematography (Tony Gaudio and Harry Perry).^[16]

Impact

Like many other classic films, Hell's Angels has been re-released on VHS and DVD formats by Universal Studios, which in later years acquired the rights to the film. In its original British release, the censor cut more than 30 minutes from the film.^[17]
In 1962, film director Stanley Kubrick cited Hell's Angels as one of his 10 favorite films that influenced his later career.^[18] The 1977 TV film The Amazing Howard Hughes has one passage where Hughes (Tommy Lee Jones) directs the Zeppelin segment over and over in non-stop takes: although he did repeated takes, Hughes, in reality, shot the Zeppelin scenes and left the partially shot footage untouched except for adding sound. According to film experts, he did not do any retakes of the Zeppelin sequence. Martin Scorsese's The Aviator, a 2004 biopic of Hughes, during the opening act portrays the making of Hell's Angels and later its premiere at Grauman's Chinese Theatre.^[19]
The involvement of Howard Hughes in this film has spawned a fascinating niche within enthusiasts in entertainment, aviation and militaria collectibles groups.^[20] Aviation enthusiasts regularly reference the quality and authenticity of World War I aviation in the film.^{[21] [N 2]}

See also

• Jet Pilot (1957)
• List of early color feature films

Other World War I flying films

• Wings (1927)
• The Dawn Patrol (1930)
• The Dawn Patrol (1938)
• Lafayette Escadrille (1958)
• The Blue Max (1966)
• Darling Lili (1969)
• Von Richthofen and Brown (1971)
• Zeppelin (1971)
• The Great Waldo Pepper (1975)
• Aces High (1976)
• Flyboys (2006)
• The Red Baron (2008)

References

Notes

1. Jump up ^ Hollywood legend has it that the two tycoons settled their differences over a game of golf.^[11]
2. Jump up ^ The Luger pistol used in the final scene has generated some recent publicity due to its public auction in 2011.^[22][23]

Citations

1. Jump up ^ Robertson 2001, p. 33.
2. ^ Jump up to: ^{a b} Barlett and Steele 2004, p. 63.
3. Jump up ^ Barlett and Steele 2004, p. 62.
4. Jump up ^ Barlett and Steele 2004, p. 66.
5. ^ Jump up to: ^{a b} Curtis 1998, p. 86.
6. Jump up ^ Curtis 1998, p. 45.
7. Jump up ^ Brown and Broeske 1996, p. 87.
8. Jump up ^ Brown and Broeske 1996, pp. 88-89.
9. Jump up ^ Farmer 1990. p. 20.
10. Jump up ^ Farmer 1990, pp. 70–71.
11. ^ Jump up to: ^{a b} Smith, Richard Harland. "Articles: The Dawn Patrol." Turner Classic Movies. Retrieved: August 27, 2012.
12. ^ Jump up to: ^{a b} "Notes: The Dawn Patrol." Turner Classic Movies. Retrieved: August 27, 2012.
13. Jump up ^ "Harlow Before the Code." UCLA Film & Television Archive and the Hugh M. Hefner Classic American Film Program, 2011. Retrieved: August 27, 2012.
14. Jump up ^ Hall, Mourdant. "Hell s Angels (1930)." The New York Times, August 16, 1930.
15. Jump up ^ "Notes: Hell's Angels." Turner Classic Movies. Retrieved: August 27, 2012.
16. Jump up ^ Osborne 1994, p. 25.
17. Jump up ^ "Hell's Angels." bbfc.co.uk, BBFC reference AFF207125, The British Board of Film Classification. Retrieved: May 11, 2009.
18. Jump up ^ Baxter 1997, p. 12.
19. Jump up ^ Nixon, Rob. "Articles: Hell's Angels." Turner Classic Movies. Retrieved: August 27, 2012.
20. Jump up ^ Hardwick and Schnepf 1989, p. 57.
21. Jump up ^ Van Wyngarden, Greg. "Hell's Angel's photographs." theaerodrome.com, Retrieved: July 11, 2011.
22. Jump up ^ "Howard Hughes Hells Angels Luger pistol." ammoland.com. Retrieved: July 11, 2011.
23. Jump up ^ "Luger owned by Howard Hughes Movie Used." cgmauctions.com. Retrieved: July 11, 2011.

Bibliography

• Barlett, Donald L. and James B. Steele. Empire: The Life, Legend and Madness of Howard Hughes. New York: W.W. Norton & Company, 1979. ISBN 0-393-07513-3, republished in 2004 as Howard Hughes: His Life and Madness.
• Baxter, John. Stanley Kubrick. New York: Da Capo Press, 1997. ISBN 978-0-7867-0485-9.
• Brown, Peter Harry and Pat H. Broeske. Howard Hughes: The Untold Story. New York: Penguin Books, 1996. ISBN 0-525-93785-4.
• Curtis, James. James Whale: A New World of Gods and Monsters. Boston: Faber and Faber, 1998. ISBN 0-571-19285-8.
• Dolan, Edward F. Jr. Hollywood Goes to War. London: Bison Books, 1985. ISBN 0-86124-229-7.
• Farmer, James H. "Howard & Hell's Angels". Air Classics',' Volume 26, Number 12, December 1990.
• Hardwick, Jack and Ed Schnepf. "A Viewer's Guide to Aviation Movies". The Making of the Great Aviation Films, General Aviation Series, Volume 2, 1989.
• Orriss, Bruce. When Hollywood Ruled the Skies: The Aviation Film Classics of World War II. Hawthorne, California: Aero Associates Inc., 1984. ISBN 0-9613088-0-X.
• Osborne, Robert. 65 Years of the Oscar: The Official History of the Academy Awards London: Abbeville Press, 1994. ISBN 1-55859-715-8.
• "Production of 'Hell's Angels' Cost the Lives of Three Aviators." Syracuse Herald, December 28, 1930, p. 59.
• Robertson, Patrick. Film Facts. New York: Billboard Books, 2001. ISBN 0-8230-7943-0.

External links

• Hell's Angels at the Internet Movie Database
• Hell's Angels at the TCM Movie Database
• Hell's Angels at AllMovie

                                                    *                        *                     *


There are different stories about Thelma Todd's association with this movie.  A newspaper article dated July 25, 1928 states that the film was nearing completion and that Greta Nyssen and Thelma Todd would both be in it, but in the end neither was. Jean Harlow got the feminine lead and all the fame that came with it. She went from bit parts in Laurel and Hardy comedies to stardom in famous feature films.

HELL'S ANGELS had some similarities to WINGS, another film about flyers in the first World War. In both cases, the story was really focused mainly on the war and the men who fought it, although the girl in the story was emphasized by the publicity. I suppose the resemblances would have been greater without the coming of sound, which caused a number of changes.

There were a number of fatalities in the making of these movies, and scenes of aerial combat would later be filmed primarily with models as a result of these experiences. As the making of movies progressed, their making also became safer.



Ben Lyon with Greta Nyssen in the silent version.

 

 

 

Greta Nyssen.

 

Jean Harlow in HELL'S ANGELS.

 

 

 

Poster

 

 

 

Jean Harlow and Howard Hughes at the premiere of HELL'S ANGELS.

A number of movie stars may ben seen in this film of the premiere, including Wheeler and Woolsey, Buster Keaton, Joe E. Brown, Sally Eilers, and Hoot Gibson.





Watch the complete movie at https://archive.org/details/HellsAngels1930JeanHarlow


HELL'S ANGELS:
http://news.google.com/newspapers?nid=950&dat=19280725&id=O99PAAAAIBAJ&sjid=l1QDAAAAIBAJ&pg=4158,5050864

http://www.nytimes.com/movie/review?res=9904E7DF1338E433A25755C1A96E9C946194D6CF


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TALKING SCREEN 1930

TALKING SCREEN was a movie magazine that was named for the talkies. Here are a few Thelma Todd items from TALKING SCREEN in 1930.

 

Again we see Thelma Todd's height being given as five foot six.  Usually it was given as five foot four, but during the grand jury investigation they said five foot three.

 

 

 

 

 

 

 

 

 

 

 

Thelma Todd mentioned as being seen at the Coconut Grove with Harvey Priester. Dorothy Sebastian is also mentioned. She worked with Buster Keaton.

 

 

 

 Sharon Lynn was in WAY OUT WEST with Laurel and Hardy in 1937.

 

 

 

 Fatty Arbuckle is mentioned as working as a gag man. This was during the period that he was barred from acting in the movies due to the scandal of the twenties.

 

 

 

 Thelma Todd is mentioned as being in FOLLOW THROUGH.

 

 

 

HER MAN also had Thelma Todd in the cast, although that isn't mentioned here.



FOLLOW THROUGH:
http://benny-drinnon.blogspot.com/2012/06/follow-through.html

HER MAN:
http://www.imdb.com/title/tt0020966/







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UNACCUSTOMED AS WE ARE was Laurel and Hardy's first talking picture. And it had Thelma
Todd in it.

Unaccustomed As We Are

From Wikipedia, the free encyclopedia

        

Unaccustomed As We Are
Theatrical poster
Directed by	Lewis R. Foster Hal Roach
Produced by	Hal Roach
Written by	Leo McCarey (story) H. M. Walker
Starring	Stan Laurel Oliver Hardy Edgar Kennedy Mae Busch Thelma Todd
Cinematography	John MacBurnie Len Powers Jack Roach George Stevens
Editing by	Richard C. Currier
Distributed by	Metro-Goldwyn-Mayer
Release dates	May 4, 1929 (1929-05-04)
Running time	18' (silent) 20' 58" (sound)
Country	United States
Language	English Also silent version with English intertitles

Unaccustomed As We Are is the first sound comedy short film starring Stan Laurel and Oliver Hardy released on May 4, 1929.

• 1 Plot
• 2 Production notes
• 3 Cast
• 4 References
• 5 External links

Plot

Ollie brings Stan home for dinner, a very unwelcome surprise for Mrs. Hardy (Mae Busch) who storms out in a huff. Mrs. Kennedy (Thelma Todd), a neighbor from across the hall, offers to help the boys cook dinner; they, in turn, help to set her dress on fire. Mr. Kennedy (Edgar Kennedy), a cop, returns home and the boys hide the slip-clad Mrs. K. in a trunk. Unaware that his wife is within earshot, Mr. Kennedy starts bragging to the boys about his extramarital liaisons.

Production notes

Unaccustomed As We Are is notable for being Laurel and Hardy's first sound film (the title was drawn from the popular cliché "Unaccustomed as we are to public speaking ..."). The soundtrack was lost for 50 years until it was traced on disc in the late 1970s. A silent version, with intertitles, was also released, as well as a Victor disc hybrid (featuring a synchronized music score and sound effects).^[1]
This is the first film in which Hardy says to Laurel, "Why don't you do something to help me!" which became a catchphrase, repeated in numerous subsequent films. Also heard for the first time is Stan's distinctive, high-pitched whimper of distress.^[1]
The plot of Unaccustomed As We Are was expanded into the feature film Block-Heads in 1938. In addition, the gag of the spaghetti ending on Ollie's lap was originally conceived for their 1928 silent film Habeas Corpus, but was left unfilmed.^[1]

Cast

• Stan Laurel - Stan
• Oliver Hardy - Ollie
• Edgar Kennedy - Officer Kennedy
• Mae Busch - Mrs. Hardy
• Thelma Todd - Mrs. Kennedy

References

1. ^ Jump up to: ^{a b c} Skretvedt, Randy (1996). Laurel and Hardy: The Magic Behind the Movies. (2nd ed.) Anaheim, California: Past Times Publishing Co. ISBN 0-940410-29-X.

External links

• Unaccustomed As We Are at the Internet Movie Database
• Unaccustomed As We Are at allmovie
• Unaccustomed As We Are at Rotten Tomatoes

UNACCUSTOMED AS WE ARE:











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