Christopher Reid This is the first Laurel and Hardy movie I've seen. Of course, I might judge it differently after I become more familiar with them. But that's the thing with watching classic movies - I'm constantly jumping in the deep end and there's always more to learn and understand. For now, I've got to trust my feelings and interpretations as they stand.I didn't like Stanley Laurel at all. I found his character overly stupid. A complete and utter moron but not in a funny way. His existence is unrealistic. He doesn't learn from his mistakes and he's unlikable (he eats fruit without asking and he's clumsy and useless). He always has a fake, blank expression on his face. As a performer, he is too one-dimensional and obvious. He didn't make me laugh once.On the other hand, I warmed up to Oliver Hardy pretty quickly. By halfway through, I was laughing at many of the things he did. His character is not an idiot. His acting is very natural and not too over- the-top. I enjoyed most of the times he fell or got hurt because they didn't look put on and his reactions were realistic.It's funny seeing someone get frustrated as things go wrong for them. Hardy opens a prank cigarette pack and then jumps when something suddenly pops out. He looks annoyed at the camera as he settles his nerves and then gives a fake smile and laugh to the person that pranked him. He also joins in on a prank call and the look on his face when he realises who he's talking to is priceless. I also love the look of curiosity/apprehension/confusion on his face as he watches his wife gathering all their plates and bowls in the kitchen.I think the material with the wives is quite dated. Aspects of it are funny. The idea that the men can't stand up for themselves is amusing. But the violence and anger of the women is too much and distracts from the otherwise innocent comedy that's going on.About 20 minutes into Son of the Desert, I was worried that it was going to be another huge disappointment similar to Duck Soup (I was excited for that movie but then found out that I abhor the Marx Brothers). But it picked up and Hardy kept me entertained. Laurel left a lot to be desired - his character is a cardboard cut-out and his comedic style is tired and obvious. I look forward to seeing some of their other films and finding out if my assessment of them will change or grow.

Cyke 097: Sons of the Desert (1933) - released 12/29/1933, viewed 6/28/07.DOUG: We've kept up on some of the Laurel & Hardy shorts, both silent and sound, leading up to this, 'Sons of the Desert,' their first full-length feature. Can't remember who's who? It's easy: Ollie is the one with the head shaped like an "O." Ollie is basically the dumb guy who thinks he's smart, while Stan is the dumber guy who doesn't know the difference but is a lot nicer for it. Their routine was quite different from the Marx Brothers, who relied on both physical comedy and verbal sparring; this duo sticks mostly with the physical stuff (going back to their silent roots), although there are a few choice bits of dialogue. Also, while the Marx boys took situations and MADE them crazy, these two try to be normal, and crazy things end up happening TO them (not to mention the situations they cause with their own idiocy). Just one thing bugged me: we never really learn anything about the secret society that Stan and Ollie are a part of. What is their purpose? What is the meeting for? How do Stan & Ollie's silly antics in the movie affect them, if at all? They never really play a big role in the story other than setting up our guys for the comedy situations. All the same, very good laughs, definitely recommended for fans of classic comedy.KEVIN: The first feature-length Laurel & Hardy adventure on the list is sheer delight. The pair is a few years behind the Marx Brothers when it comes to features, but Stan and Oliver manage to make a much more impressive debut. The comedic beats are some of the best from the pair, and even though I felt that they were drawing it out sometimes, I still laughed. The story is slightly above average, centering around the pair trying to weasel out of their marital obligations in order to attend an annual fraternity convention. The crud hits the fan when the two idiots must explain why they weren't on a cruise to Honolulu that was hit by a typhoon (while they lied to their ladies and went to the convention). Stan's character, who struck me as somewhat inept and nonchalant in past shorts, here seems functionally retarded. To me, the real stars are the wives, played by Dorothy Christy and Mae Busch. What they do and say in putting up with their moronic hubbies (especially Busch) is inspired.Last film: Queen Christina (1933). Next film: Design for Living (1933).

wes-connors Stan Laurel and Oliver Hardy want to go to their 87th annual "Sons of the Desert" convention in Chicago, which no member has ever missed. But, domineering wives Mae Busch (as Lottie) and Dorothy Christy (as Betty) have other ideas. The women want to vacation in the mountains. While Ms. Christy gives permission for Mr. Laurel to attend the convention, Ms. Busch isn't so accommodating. So, Mr. Hardy decides to play sick, which (somewhat inexplicably) earns he and Laurel a trip to Hawaii (Chicago), without the wives.Laurel & Hardy perform the old story smoothly; this film surely earns them the plot's patent. Clever scripting (Frank Craven) and direction (William A. Seiter) keeps things moving, and bits are well chosen. The slapstick hits a little too hard, sometimes; with the coming of sound, some of the physical comedy would look better in moderation (with a silly sound effect). Busch is one of the best Laurel & Hardy "wives". The duo's convention appearance, with the riotous Charley Chase is fantastic -- it includes a great theme song, "Honolulu Baby", performed by Ty Parvis and his hilarious hula dancers. Oh, lei!

ALauff Although this is considered Laurel and Hardy's greatest feature, the comic promise of their clandestine getaway isn't fulfilled until the boys return from Chicago and have to convince their wives that they're survivors of a shipwreck. Stan and Ollie were clearly at their expressive peaks, with Laurel's sudden crying fits, malapropism, and head-scratching proving hilarious once their ruse is up, and Hardy's trademark, dainty finger wave and pedantic diction coming across as an effortless personality quirk. My favorite moment is Stanley's sudden burst of articulate speech in the attic—Oliver's wide-eyed surprise and put-out gaze into the camera is priceless. In fact, the last 20–25 minutes are best-ever material, but it isn't as compelling for its entire length as Way Out West or their best shorts, such as Tit for Tat and The Music Box.