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Messages - PresidentWardRobey

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As we come to the end of an era of Stooge history in the weekly discussions, I thought it would be fun to relive some of those wonderful moments in this thread.  First of all, I would like to thank everyone who has participated in the weekly discussions.  Though I knew quite a bit about the Stooges before signing up to this website, I am learning even more as the weeks go by and have enjoyed reading everybody's unique perspective and insight.  With that in mind, please feel free to set your own criteria as to your favorite Curly shorts, scenes, quotes, etc.

As for me, I decided to choose 5 shorts that gave me the most "bang for the buck" in terms of Curly's performance and his ability to make me laugh at his antics.  In alphabetical order, these are my Top 5 Curly shorts:

An Ache In Every Stake
Dutiful But Dumb
Loco Boy Makes Good
Violent Is The Word For Curly
We Want Our Mummy

A recurring theme for me in my list of shorts, and one of the biggest reasons I like Curly, is his ability to interact with inanimate objects.  Whether he's shaving some ice or wrestling with an air hose, Curly was a unique talent who never ceases to put a smile on my face.  So let the good times roll and share your favorite Curly moments!

General Discussion / Re: Larry Fine's 112th birthday
« on: February 15, 2015, 01:16:32 PM »
Stumbled on this and thought I'd pass it along.  Interview of Steve Cox, the author of One Fine Stooge.

At the end of the article, there is a link to another Stooge-related interview -- Moe's son, Paul Howard, which is from 2011.

Weekly Episode Discussions / Re: Horse Feathers (1932) The Marx Brothers
« on: December 02, 2014, 07:06:04 PM »
Big Chief got the gist of it, but here's a good explanation of the term "college widow"...

Weekly Episode Discussions / Re: The Yoke's On Me (1944)
« on: October 24, 2014, 09:42:49 PM »
When I watched this as a kid, it never dawned on me to question what a relocation center was.  It may have been mentioned in school, but I honestly don't remember it.  I just naturally assumed the following: police blockade + Japanese escapees + checking all cars = they were looking for prisoners.  And in my mind, that was backed up later by seeing them in jumpsuits.  It also never occurred to me that they died at the end -- (1) in other shorts they depicted the dead as going to or already in heaven/hell or as a ghost and (2) the bit with pulling away a prop from a person and said person still standing until being hit with the prop or blowing on them so they fall over.  Now that I'm older (and hopefully a little less naïve), I'm watching this from a different perspective.

To tie in with a censorship theory I brought up in I Can Hardly Wait, I found this on Wikipedia while reading more about the historical aspect of this short:
The OWI Bureau of Motion Pictures (BMP) was established in collaboration with Hollywood to produce films that advanced American war aims. According to Elmer Davis, “The easiest way to inject a propaganda idea into most people’s minds is to let it go through the medium of an entertainment picture when they do not realize that they are being propagandized”.  Successful films depicted the Allied armed forces as valiant “Freedom fighters,” and advocated for civilian participation, such as conserving fuel or donating food to troops.

By July 1942, OWI administrators realized that the best way to reach American audiences was to present war films in conjunction with feature films. OWI’s presence in Hollywood deepened throughout the war, and by 1943, every studio, except for Paramount, allowed OWI to examine all movie scripts.  OWI evaluated whether each film would promote the honor of the Allies’ mission.

General Discussion / Re: Universal Horror '30s/'40s
« on: October 19, 2014, 10:45:08 AM »
Just an FYI for you horror movie guys.  My local Sunday paper does mini reviews of recently released DVDs and they had mentioned this one:
Universal Classic Monsters: The Complete 30 Film Collection 1931-56.  It comes with a bunch of extra stuff like behind the scenes, commentaries, etc.

Nitpicker's Corner / Re: Goofs not mentioned in the Stooge Info section
« on: September 28, 2014, 11:47:15 AM »
A few "inconsistencies" I noticed in Slippery Silks.  The opening shot of two hands holding a photo of the Stooges.  The way it is shot, I am assuming it's meant to be from the police chief's perspective.  However, when the camera comes around to the front of the desk, the police chief is only holding the photo with his left hand while his right is resting on the desktop for that entire scene.

After the close up shot of Curly and Larry painting glue on the Chinese cabinet (and Moe's hands) the next camera shot shows all 3 Stooges.  You can see that Larry has "glue" on the side of his face that's facing the camera, but how did it get there?  That scene only shows Curly receiving an eye poke from Moe.

After running out of Romani's Woodwork Shop to get away from Mr. Morgan:  Moe and Larry (and eventually Curly) run past the lawyer and detectives in front of a corner drugstore and continue across the street.  When all the Stooges are rounded up (by both the detectives and the woman), I believe they are still in front of the same drugstore, just that the scene is shot around the corner from the original camera shot.  They show the detectives and lawyer running into the scene from left to right to nab Curly as if they ran across the street, but in reality, I don't think so.

So the description of the DVD is truncated on the Warner Archive website. Does anyone know what the "Collection of 34 Theatrical Shorts" are exactly?

My best guess is that someone on the Warner website probably did a "copy and paste" of the information of a previous release in their archive collection series.  I looked up the run times on IMDB for the 6 titles listed on the picture of the DVD box and it equals the running time of 112 minutes listed further down on that page.

Weekly Episode Discussions / Re: I Can Hardly Wait (1943)
« on: September 14, 2014, 12:20:35 PM »
Naah, there's something wrong with this one, and, as will become boringly predictable with me, I'll blame it on Jules White.  To begin with, it looks peculiar: is it lit funny? I think so.  The opening scenes are clinically bright. The stooge schtick is O K, but still the pictorial quality looks funny.  ( I'll admit here that I do not own the new Sony digitalisations,  as much as I've hinted to my immediate family that I would welcome the set as a gift on any major , or even minor, holiday. )  The newest reissues may look different from all the rest from this era, and negate all of my following comments, but I doubt it.   That's the first, and lesser, problem.  The larger one is, why the dream sequence?  There's nothing that happens after the Dream Baloon ushers into the dream sequence that couldn't have happened in real time.  The home-made tooth-pulling that ensues is not dream-like at all, it's strictly stooge-normal.  The visit to the dentist is okay, Larry's line to the receptionist is good, and Moe getting his tooth pulled rather than Curly was definitely funny fifteen years previously when Laurel and Hardy did it, but I would  repeat that it is not in the slightest dream-like. Then we are shown that Curly is spazzing out in his top bunk as a result of - what-? - dreaming of the dentist's office? and he crashes thru the bunks.  This is apparently the end of the dream, such as it is, and, for the big finish, Moe punches Curly in the mouth and miraculously extracts the correct tooth.  This may be the first ( I may be wrong, but even if I am wrong it's one of the first instances of many more to come) closed-fist, no comedy-intended punches-in-the-mouth from Moe, which from here on under Jules White's direction, erase all comic finesse , and which, as time goes on, erase all the fun from stooge slapstick.  It creeps up slowly, boys, but don't worry, I'll keep you informed.

Watching it nowadays, the dream sequence does seem a bit odd, but, I wonder if at that time, it was done in response to a possible censorship issue.  As an example, near the end of the A&C movie, In The Navy, Costello impersonates a navy captain and puts a battleship through a series of madcap maneuvers.  The US Navy would not allow the film to be released as is and they had to go back and shoot additional footage to show that it was all a dream.  Granted, the Stooges did not do anything in their film that seemed egregious in our eyes, but since they were portraying defense workers during wartime, it may be possible that their film was put under a bit more scrutiny.  The studio may have added that to avoid any conflict.  Not sure if that was the actual reason -- just something I thought might be possible.

General Discussion / Re: Shemp....
« on: August 17, 2014, 05:57:53 AM »
For me, it took awhile to like Shemp and looking back on it, I think it was mainly due to lack of exposure more than anything else.  When I first started watching as a kid, most of the shorts they showed on TV were "Curlies".  Very few "Shemps" and on a rare occasion, a "Joe".  And I agree with Desmond about the recycling of material -- I can recall being disappointed and thinking "I've seen this already" or "I like Curly's version better" -- as a kid , you really don't know any better.  However, as I got older and started getting more into learning about the Stooges (watching, reading, etc.), my appreciation of their individual styles grew.  I still feel that I have a bias towards Curly as my favorite over Shemp, but it's more of a 1 and 1A ranking now rather than the 1 and a distant 2nd that it was when I first started watching.

Nitpicker's Corner / Re: Songs that Refer to Other Songs
« on: April 11, 2014, 05:51:13 AM »
Same artist/song reference from 2 different artists:

"The screen door slams, Mary's dress waves
Like a vision she dances across the porch as the radio plays
Roy Orbison singing for the lonely
Hey that's me and I want you only..."

Bruce Springsteen - Thunder Road

"I had a little bit too much to drink, I had a sad song on my mind
The man was singin' Only The Lonely, I could swear the song was mine..."

Michael Burks - One More Chance

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