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Post by ymymeatemup on Dec 14, 2015 16:17:55 GMT -5
SATURDAY MORNING (1922)
Things I like:
Mickey & His Mom. Easily the best thing about this short is the sequence in which Mickey is forced to practice his cello. His mother is one of the type that towers over her child, but is just dimwitted enough to enjoy Mickey's playing even though he's rigged up a contraption that allows his dog to do it. Mickey gets himself some shuteye while dreaming of taking an axe to the instrument - perhaps the earliest of these double exposure gags in the series. Best of all, though, is the way he gets dressed up for his violin lesson - probably the most comical Mickey ever looked without wearing a wig.
Some Minor Things. Like many of the early silents, this film focuses on the kids' personalities while liberally sprinkling gags throughout. Like the previous episode, "A Quiet Street," a smaller ensemble is featured, helping to establish the main cast in the minds of theatergoers. The opening of the film introduces the three older boys, and it's a bit surprising that the first kid we see is Jack Davis, who plays the pampered rich boy. It's also notable that Ernie Morrison is still the 'idea man' in the group, as every activity in which the boys involve themselves is instigated by him. This would soon change as Mickey rose in prominence.
Things I don't like:
Perhaps A Couple Of Things. Once we get past the early highlights, the second half of this film is pleasantly enjoyable without being packed with great moments. The only real problem, though, takes place in the first half, and involves the dilemma of watching a 1922 film with modern sensibilities. With that in mind, need I say that the introductory sequence with Ernie and Farina is just a tad stereotypical?
Grade: B+
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Post by ymymeatemup on Dec 16, 2015 0:54:53 GMT -5
PARTY FEVER (1938)
Things I like:
The Story. One thing you can say about MGM, they certainly knew how to string along a succession of plot points to a coherent conclusion - even when everything else was going wrong. Luckily, most everything else in this episode is going right, including one of the most refreshingly cynical endings ever to be used in a kids' film.
The Characters. Another thing MGM had going for it was the inheritance of a well-established ensemble of kids, each of whom provided a healthy dose of personality to the series. Some of the acting is a bit unnatural, but when one considers the quasi-adult situation in the short, this seems almost appropriate. The standout, not surprisingly, is Butch. It's particularly funny to see how infuriated he gets when Alfalfa hits him with the tomato.
Things I don't like:
Not Much, Other Than..... The twins, who are just as deadpan as they would be three films later in "Football Romeo." Otherwise, I can't think of anything terribly wrong with this film. It isn't exactly a standout episode in the overall history of the series, but it's definitely among the five or ten best that MGM ever produced.
Grade: B+
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Post by RJH on Dec 20, 2015 17:08:59 GMT -5
Pay as You Exit (1936) - The gang puts on their version of "Romeo and Juliet," written by Spanky and "Shakspeer." The neighborhood kids, led by Joe Cobb, balk at paying the one cent admission, so they make a deal with Alfalfa to pay as the exit if they like the show, which Alfalfa is confident they will since he's starring as Romeo. Spanky isn't so sure, but goes ahead. There is crisis when Darla, playing Juliet, quits on account of Alfalfa's onion breath. Spanky stalls for time with a strongman act whose effect is marred by Porky carrying off the supposedly heavy weights at the end. The stalling for time is successful as Alfalfa has found another Juliet. Shortly thereafter Buckwheat, previously some sort of castle servant, now wearing the Juliet costume pops up from the balcony. The balcony scene soon goes awry when Alfalfa's ladder wobbles. He is saved from falling when he and Buckwheat manage to grab hands, but Buckwheat is overcome by Alfalfa's onion breath and lets go of ladder. It wobbles some more, and Spanky closes the curtain just before Alfalfa falls through it. The crowd leaves, but the show was so entertaining they did indeed pay as they exited.
The gang's show, with it being unintentionally funny from their point of view, make this film very entertaining. After his character (Juliet's father) is killed in a sword duel by Alfalfa, Spanky gets up to take a bow and lies down again. Porky rolls cannonballs off the top of a barrel to simulate Spanky's heavy weights hitting the floor, but also drop a cannonball when a feather from Spanky's costume hits the floor. Alfalfa has to deal with a wayward chicken on his cloak before the famous balcony scene, which is my favorite scene involving him and Buckwheat in the series. In a good piece of timing Alfalfa yanks off Buckwheat's Juliet wig when Alfalfa first teeters backwards. There is a touching moment when Buckwheat reaches out to grasp Alfalfa's hand when the latter is teetering on the ladder, and of all things that reminds me of Tony Curtis and Sidney Poitier in "The Defiant Ones" in the scene when they are trying to jump on a moving train. The poignancy is then abruptly halted when Buckwheat, like Darla before, can't stand Alfalfa's onion breath. These gang shows are infinitely better than all those later MGM ones with the professional dancers and moralizing.
Saturday's Lesson (1929) - The gang is being coerced to do chores on Saturday morning when of course there are other things they'd rather do. Their mothers tell them the devil will come after them if they don't obey. They drift to the park, where coincidentally then lean against a tree on which the other side a man in a devil costume advertising heaters is resting. He overhears their comments disrespecting the devil, and decides to teach them a lesson. He throws a smoke and appears, and says he will come after them if they don't do their chores. The gang is scared into doing the chores at breakneck pace. Farina beats carpets until they become shreds, Joe chops wood into an enormous pile, sisters Mary Ann and Jean wash dishes and then help their brothers Harry and Wheezer clean up the yard. Their mothers think the kids are delirious, and Joe's mother calls a doctor. Eventually the salesman reveals himself to the mothers and explains what got into the kids.
Far from the most original plot, but the moralizing here is handled much better than any of the MGM efforts. The film opens with Farina having an incredible dream of being served a sumptuous feast before waking up. The best part is the kids insisting on doing their chores even after their try to get them to stop. Joe in particular keeps resisting his mother's efforts to put him to bed, constantly jumping out to grab the axe and chop some more. Joe even gulps down an entire bottle of castor oil. Mary Ann and Jean beg their mother to make more spinach. One thing I like about several of the silents is how the mothers are all treated equally, as occurs when they get together to discuss what's come over their children. I think this film would have been better without the closing title card with the gang addressing the audience and admonishing the children viewers to obey their parents. The point has already been made and this feels too much counter to the spirit of the series.
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Post by tboneator64 on Dec 20, 2015 23:17:54 GMT -5
Pay as You Exit (1936) - The gang puts on their version of "Romeo and Juliet," written by Spanky and "Shakspeer." The neighborhood kids, led by Joe Cobb, balk at paying the one cent admission, so they make a deal with Alfalfa to pay as the exit if they like the show, which Alfalfa is confident they will since he's starring as Romeo. Spanky isn't so sure, but goes ahead. There is crisis when Darla, playing Juliet, quits on account of Alfalfa's onion breath. Spanky stalls for time with a strongman act whose effect is marred by Porky carrying off the supposedly heavy weights at the end. The stalling for time is successful as Alfalfa has found another Juliet. Shortly thereafter Buckwheat, previously some sort of castle servant, now wearing the Juliet costume pops up from the balcony. The balcony scene soon goes awry when Alfalfa's ladder wobbles. He is saved from falling when he and Buckwheat manage to grab hands, but Buckwheat is overcome by Alfalfa's onion breath and lets go of ladder. It wobbles some more, and Spanky closes the curtain just before Alfalfa falls through it. The crowd leaves, but the show was so entertaining they did indeed pay as they exited. The gang's show, with it being unintentionally funny from their point of view, make this film very entertaining. After his character (Juliet's father) is killed in a sword duel by Alfalfa, Spanky gets up to take a bow and lies down again. Porky rolls cannonballs off the top of a barrel to simulate Spanky's heavy weights hitting the floor, but also drop a cannonball when a feather from Spanky's costume hits the floor. Alfalfa has to deal with a wayward chicken on his cloak before the famous balcony scene, which is my favorite scene involving him and Buckwheat in the series. In a good piece of timing Alfalfa yanks off Buckwheat's Juliet wig when Alfalfa first teeters backwards. There is a touching moment when Buckwheat reaches out to grasp Alfalfa's hand when the latter is teetering on the ladder, and of all things that reminds me of Tony Curtis and Sidney Poitier in "The Defiant Ones" in the scene when they are trying to jump on a moving train. The poignancy is then abruptly halted when Buckwheat, like Darla before, can't stand Alfalfa's onion breath. These gang shows are infinitely better than all those later MGM ones with the professional dancers and moralizing. Saturday's Lesson (1929) - The gang is being coerced to do chores on Saturday morning when of course there are other things they'd rather do. Their mothers tell them the devil will come after them if they don't obey. They drift to the park, where coincidentally then lean against a tree on which the other side a man in a devil costume advertising heaters is resting. He overhears their comments disrespecting the devil, and decides to teach them a lesson. He throws a smoke and appears, and says he will come after them if they don't do their chores. The gang is scared into doing the chores at breakneck pace. Farina beats carpets until they become shreds, Joe chops wood into an enormous pile, sisters Mary Ann and Jean wash dishes and then help their brothers Harry and Wheezer clean up the yard. Their mothers think the kids are delirious, and Joe's mother calls a doctor. Eventually the salesman reveals himself to the mothers and explains what got into the kids. Far from the most original plot, but the moralizing here is handled much better than any of the MGM efforts. The film opens with Farina having an incredible dream of being served a sumptuous feast before waking up. The best part is the kids insisting on doing their chores even after their try to get them to stop. Joe in particular keeps resisting his mother's efforts to put him to bed, constantly jumping out to grab the axe and chop some more. Joe even gulps down an entire bottle of castor oil. Mary Ann and Jean beg their mother to make more spinach. One thing I like about several of the silents is how the mothers are all treated equally, as occurs when they get together to discuss what's come over their children. I think this film would have been better without the closing title card with the gang addressing the audience and admonishing the children viewers to obey their parents. The point has already been made and this feels too much counter to the spirit of the series. I just have a few remarks regarding both shorts: PAY AS YOU EXIT (1936) - That's an astute observation comparing Alfalfa and Buckwheat to Tony Curtis & Sidney Poitier in THE DEFIANT ONES, in which Carl "Alfalfa" Switzer does make an appearance! I've always enjoyed the 'Our Gang' "Let's put on a show" shorts that were produced at Roach, and this one is no exception! Also, the 1 reelers (As PAY AS YOU EXIT is!), for the most part, don't feel overly rushed, and in reality, weren't THAT much shorter than some of the later 2 reel comedies, some of which only ran about 15 minutes, or even slightly less, in the case of DIVOT DIGGERS (1936). In my opinion, this short does benefit from not being overlong, and it's nice to see Joe Cobb make an appearance, which was the first of two he would make in an 'Our Gang' comedy (REUNION IN RHYTHM from 1937, was the other!) that 1936-37 Cinematic Season! SATURDAY'S LESSON (1929) - There's a 16½ minute version on YouTube in which the background music and effects sound original to my ears. In my opinion, the gang performing their chores at a manic pace was well executed, but a bit overly repetitive, and the Devil/Salesman came across to me as being a bit too overzealous, especially towards the end of the 2nd half of the Film! This was also the last released 'Our Gang' comedy to feature Joe Cobb (As a regular), Jean Darling and Harry Spear, each of whom had also appeared in the 1st few Talkies, which were made after, but released before the last few silents. By the time this short was released, Jackie Cooper and Norman "Chubby" Chaney had appeared in a couple of the early Talkies, so I find their absence here a bit glaring, as it may also have been to 1929 Film audiences, though I believe neither of them were really yet established. Do I think the Gang's admonishing the children in the audience to obey their parents a bit over the top? A little bit, though I agree it's easier to swallow than some of the later MGM 'Our Gang' "comedies" (?) are! All in all, these are both entertaining shorts, and I thought the soundtrack for the silent nicely matched the action as well, at least for the most part! CHEERS!  |
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Post by RJH on Dec 31, 2015 0:01:40 GMT -5
The Pigskin Palooka (1937) - While away at Military School, Alfalfa brags in letters to Darla about his football prowess, even posing for a picture in the real captain's uniform. When Alfalfa gets home, he is immediately drafted for the gang's team against their big game against Spike's Tigers. Alfalfa tries to get out of it but the gang has a uniform ready for him. He convinces Spanky to save him, with substitutes Buckwheat and Porky replacing injured players first, but when they fall two touchdowns behind, Spanky insists on bringing in the start. Alfalfa then blocks an extra point by throwing a helmet in the air, and catches the ensuing kickoff, only to lateral the ball in terror to Spanky, who combines with Buckwheat for six more laterals and a touchdown. Spanky's extra point bounces off Alfalfa's head and over the goalpost. Alfalfa exaggerates the injury and pretends he is knocked out. The ruse works until near the end of the game when ice falls into the front of his pants and banana peels, courtesy of "Time Keaper" Junior, into the back. On the last play, Spanky passes to Alfalfa, who tries to pass it away again but can't because Spike put gum on the ball. The cheaters don't get away with it because the Tigers all slip on the banana peels as Alfalfa runs terrified down the field.
Definitely the best of the football-themed films. There are plenty of entertaining aspects to this. Alfalfa explains how he won a game while a train whistle is blowing too loud for anyone to hear. Then he gets the uniform number 0. He does a good job expressing terror and nervousness throughout, including his facial expressions when he sees teammates being carried off the field on stretchers. Porky has an interesting way of calling the signals. One thing I find very significant is this is probably the first time on film an African-American scores a touchdown on an integrated football team. It was nice of them to let Buckwheat score the touchdown after the multi-lateral play with Spanky. Stymie never got to handle the ball in "Washee Ironee," and Hambone was stopped at the 4-yard line after running out-of-bounds near the 10 on a pass from Mickey McGuire in "Mickey's Eleven" (1927) on the only play McGuire didn't carry the ball when his team had it. Other observations: two of Spike's Tigers standing next to each other in the end zone after their first touchdown wear number 29. Buckwheat's uniform has 7 on the front and 11 on the back. Alfalfa's inadvertently blocking the extra point is amusing, but doesn't anyone know the rules? If a player blocks a place kick by throwing a helmet in the air, the extra point (or field goal) is good, and the player gets a penalty for unsportsmanlike conduct. In a continuity error Buckwheat is shown without a helmet before the extra point attempt and with a helmet immediately thereafter, but standing in the same place. Also, Alfalfa never wears a helmet during the entire game. With Butch unavailable, I thought it would have been nice for Woim to be the enemy team leader.
Going for a Buckwheat interpreter award, I'd say it sounds like he is yelling, "Hey fellows ... hey fellows" while he is on the opposing player's back and "Why don't some of you guys help me?" after the second touchdown is scored.
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Post by ymymeatemup on Jan 6, 2016 16:43:56 GMT -5
PAY AS YOU EXIT (1936)
Things I like:
"It's Buckwheat! Hurray For Buckwheat!" I don't know what it is about this moment and the similar one in "Follies Of 1936," but I love it when the kids in the crowd recognize Buckwheat. Of course, it helps that he's the least likely replacement in the neighborhood for Darla's role as Juliet, and it's also hilarious the way he smiles as Alfalfa tells him his eyes are like two of the fairest stars in heaven.
Spanky's Old Act. I guess it shouldn't be surprising that the kid who's actually running the show has a long history in vaudeville. Porky steals the scene, but it's the foolish smile on Spanky's face as the kids are booing him that really makes it work.
Most Everything Else. Like most of the best Our Gang shorts, this one includes several novel ideas that can't be found elsewhere. Alfalfa eats onions to keep his voice in good form, creating the catalyst for most of the trouble in this short. There's a mock swordfight, of all things, with the actors breaking character to bow to the cheering audience at the end. There's a teenager among the kiddie audience (none other than Joe Cobb), who not surprisingly, does most of the talking for them. This episode almost seems like "Follies Of 1936" without the musical numbers. The amateurishness (and resultant believability) of the presentation and the degree to which the audience takes part in the dialogue give it a very similar spirit to that earlier film.
Things I don't like:
Pretty Much Nothing. While it doesn't readily come to mind when I'm thinking of my favorite episodes, I still can't find anything terribly wrong with this one. The series had a solid core of five talented kids, a young director who knew how to handle them and piece together a coherent comedy short, and a home studio that had an uncanny knack for injecting an intangible element of charm into almost everything it did.
Grade: A-
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Post by myhomeo on Jan 7, 2016 17:06:28 GMT -5
Re: Dickie Jones in 'The Pinch Singer.' I think you're confusing him with Billy Lee, who also hammed it up as a dancer in 'Reunion In Rhythm.' Dickie, on the other hand, is positively stoic. They may be able to force him to put on a tux and tap dance but, by God, they can't force him to like it.
I also get a kick out of the lead singer, who's clearly WAY too invested in the song.
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Post by ymymeatemup on Jan 8, 2016 0:03:29 GMT -5
SATURDAY'S LESSON (1929)
Things I like:
The Ol' Devil Man. An appropriately comical outfit and a good grasp of acrobatics makes this particular Our Gang adult one of my favorites.
The Pacing. As soon as the Ol' Devil Man comes into the kids' lives, the film goes into overdrive and doesn't let up. This is aided by what is probably the most liberal use of sped-up footage of any Our Gang short, something that wouldn't realistically be possible in the impended early talkie era. The soundtrack was custom-made for this short by the Victor Company, and it does its part to keep the excitement going.
Loco Joe. Among the kids, I'd have to give the biggest thumbs up to Joe Cobb, who rabidly goes at the woodpile with that axe, and can only be kept away from it for a brief moment to down a bottle of castor oil.
Pretty Much Everything Else. The kids are typically fun to watch in this film, but their mothers are equally entertaining, especially as they realize there's something terribly wrong with their uncharacteristically productive children. There were a lot of different types of Our Gang shorts, most of which I like for being what they are. It's refreshing, though, to occasionally come across an episode that's made entirely for laughs, and this final silent installment is one of those. It easily ranks among the five most comical episodes in the series.
Things I don't like:
Pretty Much Nothing. I could mention the moral at the end of the short, but the context is entirely different compared to the MGM era, where the studio was totally serious about teaching lessons with these films. This Roach episode seems more like a parody of such things, as the level of absurdity of the entire short makes the final message seem ridiculous. Surely, capping off this scene with a shot of Pete chasing away the Ol' Devil Man should indicate where the studio stood on such things.
Grade: A+
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Post by tboneator64 on Jan 8, 2016 10:39:54 GMT -5
Re: Dickie Jones in 'The Pinch Singer.' I think you're confusing him with Billy Lee, who also hammed it up as a dancer in 'Reunion In Rhythm.' Dickie, on the other hand, is positively stoic. They may be able to force him to put on a tux and tap dance but, by God, they can't force him to like it. I also get a kick out of the lead singer, who's clearly WAY too invested in the song. I agree the lead singer for "The Broadway Melody" number seems rather invested into a certain aspect of that song! However, I disagree regarding the Dickie Jones / Billy Lee argument. That's definitely Dickie Jones hamming it up with the eye rolling. On the other hand, Billy Lee as Tiny Tim in the 1938 MGM Christmas Feature A CHRISTMAS CAROL, makes my eyes roll, though not in a good way!  CHEERS! |
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Post by tboneator64 on Jan 8, 2016 11:12:45 GMT -5
SATURDAY'S LESSON (1929) Things I like: The Ol' Devil Man. An appropriately comical outfit and a good grasp of acrobatics makes this particular Our Gang adult one of my favorites. The Pacing. As soon as the Ol' Devil Man comes into the kids' lives, the film goes into overdrive and doesn't let up. This is aided by what is probably the most liberal use of sped-up footage of any Our Gang short, something that wouldn't realistically be possible in the impended early talkie era. The soundtrack was custom-made for this short by the Victor Company, and it does its part to keep the excitement going. Loco Joe. Among the kids, I'd have to give the biggest thumbs up to Joe Cobb, who rabidly goes at the woodpile with that axe, and can only be kept away from it for a brief moment to down a bottle of castor oil. Pretty Much Everything Else. The kids are typically fun to watch in this film, but their mothers are equally entertaining, especially as they realize there's something terribly wrong with their uncharacteristically productive children. There were a lot of different types of Our Gang shorts, most of which I like for being what they are. It's refreshing, though, to occasionally come across an episode that's made entirely for laughs, and this final silent installment is one of those. It easily ranks among the five most comical episodes in the series. Things I don't like: Pretty Much Nothing. I could mention the moral at the end of the short, but the context is entirely different compared to the MGM era, where the studio was totally serious about teaching lessons with these films. This Roach episode seems more like a parody of such things, as the level of absurdity of the entire short makes the final message seem ridiculous. Surely, capping off this scene with a shot of Pete chasing away the Ol' Devil Man should indicate where the studio stood on such things. Grade: A+ I'd say the moral as delivered at the end isn't so much a parody, as simply in keeping with the spirit of comedy. I recall seeing such delivered in a similar vein at the very end of the 1956 Feature, THE BAD SEED, which starred Patty McCormack, and is one that I highly recommend viewing, at least once! Indeed, from what I've read, Hal Roach didn't like to hit viewers in the head with moral messages, and usually delivered such messages in a still amusing, light hearted manner, unlike what is often seen in the later MGM one reelers, which were often rather dreary. I love your other observations for this, and your reviews in general! "Loco Joe" sure goes to town on that woodpile, pretty much making matchsticks out of them! CHEERS! |
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Post by ymymeatemup on Jan 8, 2016 17:15:00 GMT -5
On the other hand, Billy Lee as Tiny Tim in the 1938 MGM Christmas Feature A CHRISTMAS CAROL, makes my eyes roll, though not in a good way! That was Terry Kilburn, but I agree that he's one of the problems with that version of the story. The 1951 version is, in my opinion, far superior. |
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Post by tboneator64 on Jan 8, 2016 18:38:12 GMT -5
On the other hand, Billy Lee as Tiny Tim in the 1938 MGM Christmas Feature A CHRISTMAS CAROL, makes my eyes roll, though not in a good way! That was Terry Kilburn, but I agree that he's one of the problems with that version of the story. The 1951 version is, in my opinion, far superior. You're right about it being Terry Kilburn, who somehow got lumped into my Billy Lee Image search! The problem with his Tiny Tim, is I have absolutely no sympathy for him, as he's just beyond annoying, unlike Glyn Dearman's endearing Tiny Tim in the far superior 1951 'Definitive' Scrooge. To me, it's akin to comparing Janet Burston's and Darla Hood's 'Our Gang' characters; which one would you just as soon see fall off the edge of a cliff (Decidedly problematic, when you're supposed to be rooting for them!), so to speak? Come to think of it, the 1951 and 1938 incarnations of A CHRISTMAS CAROL could be viewed as the Hal Roach and MGM 'Our Gang' series in reverse chronological order, in terms of overall quality! CHEERS! |
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Post by ymymeatemup on Jan 8, 2016 23:47:54 GMT -5
THE PIGSKIN PALOOKA (1937)
Things I like:
Alfalfa. This is perhaps the quintessential episode when it comes to showcasing Alfalfa's false bravado. Somehow, the rest of the kids never seem to notice just how (hilariously) terrified he is of the rival team. My favorite moment is the look on his face as he passes out after getting hit on the head with the ball.
The Rival Team. Considering Butch was nowhere to be seen, I'm impressed with just how intimidating they are when they all say "RIGHT!" It never would have occurred to me to cast Dickie Jones as the lead tough guy, but he handles his role really well, and of course, Sid Kibrick simply transferred his Woim persona to a non-Butch episode.
Buckwheat's Touchdown. Alfalfa's good fortune is just dumb luck, but Buckwheat's touchdown is a bona fide great play - particularly with that timely block from Spanky.
The Tightness Of The Production. When Delmar Watson catches Alfalfa in his uniform, he comes through the window. Alfalfa walks directly to the desk to write his note to Darla, while still in his longjohns. At the train station, the kids carry Alfalfa off to the football field as soon as he finishes his speech. And after the game-winning touchdown, the kids immediately gather around Alfalfa and turn toward the camera to carry him off in victory, with the marching band leading the way. I don't think there's another Our Gang short that wastes so little time getting from one idea to the next.
Pretty Much Everything Else. The way the spectators cover their eyes in horror whenever the Gang's team gets clobbered; the comically dazed little boys being carried off the field on a stretcher; the way Porky counts off the next play. I could mention other details, but these stand out to me.
Things I don't like:
Absolutely Nothing. This is one of those episodes in which virtually no adults appear, which makes it all the more impressive. I can't imagine how challenging it must have been to get such a large group of kids to deliver the results we see on screen.
Grade: A+
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Post by ymymeatemup on Jan 8, 2016 23:51:57 GMT -5
Going for a Buckwheat interpreter award, I'd say it sounds like he is yelling, "Hey fellows ... hey fellows" while he is on the opposing player's back and "Why don't some of you guys help me?" after the second touchdown is scored. I think the second quote is correct. It always sounded to me like he was saying "gimme my ball - gimme my ball" as he's riding on Dickie Jones' back. |
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Post by ymymeatemup on Jan 9, 2016 19:26:18 GMT -5
SCHOOL BEGINS (1928)
Things that intrigue me:
The Opening Dream. It's Harry's first day of school, and before waking, he has a nightmare in which the schoolhouse (superimposed over the head of his bed) is in the shape of a human head, with eyes, ears, and teeth all in motion, and smoke coming out of the nose. Harry walks up the steps and into the mouth. The kids inside are all very rough looking - one of them picks his teeth with a knife, while another in an eyepatch scratches his head with a gun. The scene is capped off by putting Harry in a spanking machine. Not only does this scene intrigue me for the obvious reasons, but it's also a rare instance in which Harry, at least at the start of the short, plays the lead.
The Phony Note. In an example even more ridiculous than the phony notes in "Fish Hooky," Joe fakes a note from his mother that reads "Dear Teacher, I broke both my legs. I am hysterical. Hoping you are the same. Mrs. Cobb. P.S. Send Joe home quick."
The Seals. In the climactic part of this film, two seals from a local circus follow Wheezer (who's carrying fish) into the schoolhouse and create quite a lot of havoc. It's impossible to tell from the cutting continuity whether or not this scene is as effective as it ought to be, but we can hope.
School. Another reason this short would be interesting to see is that it's the only post-Pathe-pre-talkie episode primarily set in and around a schoolhouse. It had been about two years since the classroom scenes in "Seeing The World," and it would be another two years before "Teacher's Pet."
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