Stan arrives in the wild west, no place for a timid, mild mannered man! He's inherited a saloon from his uncle, unless he dies in which case it goes to his two cousins! It's not a bad film at all, I've only seen a few of Stan Laurel's comedies before he teamed up with Ollie but they are quite good and this one deserves a looking at if you're into the silent stuff. I'd give this one 7/10.
9 Reviews
How far is that from Brushwood Gulch?
wmorrow5922 June 2008
The opening sequence of this two-reel comedy will strike a familiar chord for Laurel & Hardy fans: we find Stan, still working solo at this point, looking dapper but decidedly out of place in the Wild West as he rides in a stagecoach, alongside an attractive young woman. We soon learn that he's traveling to the town of Hot Dog to collect an inheritance from a recently deceased relative; and we're reminded of Stan and Ollie, wearing their tenderfoot derbies and tailcoats, traveling out to Brushwood Gulch to deliver a deed to Mary Roberts. It's a dozen years 'til Way Out West, and unlike that film West of Hot Dog is no classic, but this modest effort does have its moments, and for latter-day viewers may suggest a dress rehearsal of sorts for the 1937 gem Stan would make with Babe Hardy.
The stagecoach in which our hero is riding is robbed by outlaws while Stan, no hero after all, struggles to keep his pants up and is generally ineffectual. His fellow passenger (i.e. the lady) is disgusted with his cowardice, and gives him the cold shoulder when they meet later in the town of Hot Dog. But Stan has other things on his mind: he has learned during a visit to a lawyer's office that he is but one of three heirs to the estate, and, as it happens, the other two claimants are the guys who held up the stagecoach! Stan is the primary heir, but if he should die then the estate will be split between the others. (Sounds like Set-Up City, doesn't it?) In the film's most memorable bit, the other two guys attempt to eliminate their rival by simply flinging him out the window of the lawyer's office. Three times in succession we see Stan hurled out the second floor window to the ground below. No, we actually see a dummy repeatedly hurled out the window, at which point a groggy-looking Stan takes its place on the ground thanks to elementary camera trickery, but the trick is smoothly accomplished and the sequence earns its laughs.
Instead of wasting any more time attempting to kill Stan, who appears to be indestructible, the bad guys join up with a larger gang and rob the saloon, then head for a remote hideout. Stan, coincidentally, heads for the very same place, where the bad guys attempt to finish him off. Things get rather macabre in the finale, for one by one the outlaws somehow manage to shoot each other while Stan emerges unscratched. (A lot of the comedy here is pretty dark: in an earlier sequence in the saloon, a man killed a card game dispute is briskly dumped through a trap-door, in business borrowed from the Roscoe Arbuckle/Buster Keaton comedy Out West.) Eventually, the townspeople come to believe that Stan is a hero merely because he survived the massacre in the hideout, and the young lady from the stage coach—who turns out to be the sheriff's daughter—is suddenly interested in him. But Stan, now playing the Strong Silent Type who rides alone, strikes a tragic posture and asserts his independence . . . just in time for a closing gag that makes him look foolish again.
As this summary should indicate, West of Hot Dog is a cartoon-y silent comedy with all the dramatic heft of the average Ben Turpin two- reeler, but that's not a put-down. It's the cinematic equivalent of a Popsicle, and nothing's wrong with that on a hot summer afternoon. This outing actually holds up better than a number of Laurel's other solo efforts: there's a steady supply of gags and a coherent (if silly) plot, while Stan's own characterization is more appealing than it was in some of his other vehicles. Viewers interested in tracing the development of this great comic talent should definitely give it a look.
The stagecoach in which our hero is riding is robbed by outlaws while Stan, no hero after all, struggles to keep his pants up and is generally ineffectual. His fellow passenger (i.e. the lady) is disgusted with his cowardice, and gives him the cold shoulder when they meet later in the town of Hot Dog. But Stan has other things on his mind: he has learned during a visit to a lawyer's office that he is but one of three heirs to the estate, and, as it happens, the other two claimants are the guys who held up the stagecoach! Stan is the primary heir, but if he should die then the estate will be split between the others. (Sounds like Set-Up City, doesn't it?) In the film's most memorable bit, the other two guys attempt to eliminate their rival by simply flinging him out the window of the lawyer's office. Three times in succession we see Stan hurled out the second floor window to the ground below. No, we actually see a dummy repeatedly hurled out the window, at which point a groggy-looking Stan takes its place on the ground thanks to elementary camera trickery, but the trick is smoothly accomplished and the sequence earns its laughs.
Instead of wasting any more time attempting to kill Stan, who appears to be indestructible, the bad guys join up with a larger gang and rob the saloon, then head for a remote hideout. Stan, coincidentally, heads for the very same place, where the bad guys attempt to finish him off. Things get rather macabre in the finale, for one by one the outlaws somehow manage to shoot each other while Stan emerges unscratched. (A lot of the comedy here is pretty dark: in an earlier sequence in the saloon, a man killed a card game dispute is briskly dumped through a trap-door, in business borrowed from the Roscoe Arbuckle/Buster Keaton comedy Out West.) Eventually, the townspeople come to believe that Stan is a hero merely because he survived the massacre in the hideout, and the young lady from the stage coach—who turns out to be the sheriff's daughter—is suddenly interested in him. But Stan, now playing the Strong Silent Type who rides alone, strikes a tragic posture and asserts his independence . . . just in time for a closing gag that makes him look foolish again.
As this summary should indicate, West of Hot Dog is a cartoon-y silent comedy with all the dramatic heft of the average Ben Turpin two- reeler, but that's not a put-down. It's the cinematic equivalent of a Popsicle, and nothing's wrong with that on a hot summer afternoon. This outing actually holds up better than a number of Laurel's other solo efforts: there's a steady supply of gags and a coherent (if silly) plot, while Stan's own characterization is more appealing than it was in some of his other vehicles. Viewers interested in tracing the development of this great comic talent should definitely give it a look.
Pretty good stuff for an early Stan Laurel film
planktonrules4 August 2007
Warning: Spoilers
For about a decade, Stan Laurel was a solo act--making many generally not very distinguished comedies. Sure, some were excellent (such as my favorite, DR. PYCKLE AND MR. PRYDE), but most of the films were low on laughs and second-rate. Fortunately, just s few years after making this film he was teamed with Oliver Hardy and the rest is cinema history. Now fortunately, if you do choose to watch any of these early Laurel films and you watch this one, then you'll have a few laughs. Nothing gut-wrenchingly funny mind you, but still a few laughs.
Stan is a weakling from the East and he arrives in the West for the reading of his uncle's will. Unfortunately, two bad guys also are there for the reading and they want it all, so they repeatedly toss Stan out the window. These scenes are very well done and very funny plus the cuts from the dummy to Stan landing on the ground are good. Despite this abuse, Stan returns again and again and learns he's inherited a bar--provided he stays alive to take possession! Now you would think the film would then show the two evil hombres trying to kill Stan, but instead they commit a robbery and Stan accidentally stumbles into their lair. One by one, in trying to kill Stan, they accidentally kill each other until there is just one bad guy left--the leader. The townsfolk are convinced that Stan did this himself and convince him to capture the final baddie--which he does in style.
A decent plot, a few laughs and a good conclusion. This one's a keeper.
Stan is a weakling from the East and he arrives in the West for the reading of his uncle's will. Unfortunately, two bad guys also are there for the reading and they want it all, so they repeatedly toss Stan out the window. These scenes are very well done and very funny plus the cuts from the dummy to Stan landing on the ground are good. Despite this abuse, Stan returns again and again and learns he's inherited a bar--provided he stays alive to take possession! Now you would think the film would then show the two evil hombres trying to kill Stan, but instead they commit a robbery and Stan accidentally stumbles into their lair. One by one, in trying to kill Stan, they accidentally kill each other until there is just one bad guy left--the leader. The townsfolk are convinced that Stan did this himself and convince him to capture the final baddie--which he does in style.
A decent plot, a few laughs and a good conclusion. This one's a keeper.
Stan in the West
King Of The World5 November 2002
This is quite a funny short, in which Stan travels to the wild west. It includes good comedy acting by Stan, especially during the hold-up scene at the start, probably the funniest scene in the movie. The shoot-out scene is well constructed, and works well. This is one of many parodies Stan made for Joe Rock during 1924-1925, before joining Hal Roach. The film will appeal to fans of Stan Laurel, and people who generally like silent comedy.
Stan Laurel amusing in West of Hot Dog
tavm10 August 2006
Warning: Spoilers
West of Hot Dog is a Stan Laurel short I found on a Platimum DVD Laurel and Hardy collection. In this one, he plays a timid fellow on a stage coach who is robbed with a fellow female passenger by three men. Stan, at first decides to stay inside but is pulled out by the lead robber. After he gets out, Stan has trouble keeping his pants up while lifting his hands! He also attempts to tickle the robber. All I want to reveal here is that he inherits a house and is surprised by who some of his co-heirs may be! Later on whenever Laurel hits his hand or foot you see some cartoon special effects that show how painful those are! This is an amusing enough Stan Laurel short that's worth a look for Laurel and Hardy enthusiasts!
Hold the mustard!
classicsoncall20 December 2011
Warning: Spoilers
As much as I enjoyed watching Laurel and Hardy as a kid, I never had an opportunity to catch any of their individual efforts. Just checking Stan Laurel's credits, he had done a ton of these silent shorts and this happens to be the very first I've watched. It's interesting to see him developing the comedic timing here that would eventually be fine tuned to excellence with his future partner. By itself, "West Of Hot Dog" isn't any kind of masterpiece to be sure, but it gives you a sense of what the comic actor was capable of with a bit more experience and maturity. One thing that did impress me was the virtually seamless technique employed when the two outlaws threw Stan out the window. You could tell it was a dummy of course, but the landing and quick recovery by the camera work to live action from Stan again was done quite well. I don't know anything about filming and editing, but for 1924, this struck me as fairly accomplished. The film is one of about a dozen silent shorts offered on a two disc set I picked up from Diamond Entertainment, so if you have even the slightest interest in the famous funny man's early career, this is a good place to start.
Tenderfoot
bkoganbing12 July 2013
Long before Hal Roach teamed him with Oliver Hardy, Stan Laurel was a pretty good silent screen comic. West Of Hot Dog is a good example as to how he honed his comic persona to what we know from his days as a part of a team.
Stanley is a tenderfoot traveling west to claim an inheritance and it's a considerable bit of cash and real estate including a saloon that's a favorite watering hole for a gang of outlaws. And guess who the other claimants in the will are? None other than the outlaws whom we see holding up the stagecoach that Stanley is on and giving him a taste of the west.
West Of Hot Dog has a bit of Laurel&Hardy's Way Out West, Abbott&Costello's The Wistful Widow Of Wagon Gap and Bob Hope's The Paleface. The short subject has spawned some even better successors, but this one is pretty good as well and shows Laurel as a great solo act comedian.
Stanley is a tenderfoot traveling west to claim an inheritance and it's a considerable bit of cash and real estate including a saloon that's a favorite watering hole for a gang of outlaws. And guess who the other claimants in the will are? None other than the outlaws whom we see holding up the stagecoach that Stanley is on and giving him a taste of the west.
West Of Hot Dog has a bit of Laurel&Hardy's Way Out West, Abbott&Costello's The Wistful Widow Of Wagon Gap and Bob Hope's The Paleface. The short subject has spawned some even better successors, but this one is pretty good as well and shows Laurel as a great solo act comedian.
Another below par effort from solo Stan
JoeytheBrit24 August 2009
Another early Stan Laurel short that provides us with only fitful glimpses of the natural comic talent he possessed, this one features him as a greenhorn in the wild west who finds himself at the end of Bad Mike's pistol. There's nothing particularly original about the story or the gags here, and you get the distinct impression that everybody involved was simply making it up as they went along (which wasn't out of the ordinary back in Hollywood's early days). Much is made of Stan's slight stature and his effeminate ways, but his habit of being frightened by everything is very one-note and quickly starts to wear thin.
'Hot Dog' can't cut the mustard.
F Gwynplaine MacIntyre12 August 2007
Before Stan Laurel became the smaller half of the all-time greatest comedy team, he laboured under contract to Broncho Billy Anderson in a series of cheapies, many of which were parodies of major Hollywood features. Following a dispute with Anderson, Laurel continued the informal series of parodies at Joe Rock's smaller (and more indigent) production company.
Most of Laurel's parody films were only mildly funny at the time, and even less funny for modern audiences who haven't seen the original movie which Laurel is parodying. 'West of Hot Dog' is a fairly generic parody of cowboy shoot-'em-ups. It's marginally a specific parody of 'West of the Pecos', an oater released two years earlier with no major actors. Since 'West of the Pecos' was never a huge success, it's difficult to see why Stan's film unit chose this particular movie as a target for their lampoonery, much less why they waited so long after its release to parody it. And where did they get that title 'West of Hot Dog'? Possibly it's down to the fact that 'Hot dog!' was a sexual interjection favoured by American lechers in the 1920s. (As in the opening scene of the stage play 'Machinal'.)
'West of Hot Dog' was produced and co-directed by Joe Rock. Among his many other achievements, Rock introduced Laurel to Lois Neilson, and he was subsequently best man at their wedding. Full disclosure: In the last years of his life, I had the great privilege of befriending Joe Rock and interviewing him. Nearly ninety years old at the time, Rock's memory was impressively clear ... but he remembered nothing at all about 'West of Hot Dog', and I can't blame him. This movie is eminently forgettable.
The leading lady's character is named Little Mustard: If that's meant to be a parody of something in 'West of the Pecos', I don't get it. There are a couple of 'impossible' gags here, including Laurel's method for mounting a horse. For just one moment in this movie, Stan Laurel reminded me of the great Buster Keaton when he suddenly broke into a run. 'West of Hot Dog' is vaguely similar in subject matter and tone to Keaton's short comedy 'The Frozen North', but Keaton's version is much funnier. The plot of this film somewhat anticipates a situation in Keaton's feature 'Our Hospitality' but (again) suffers by comparison: here, two tough varmint brothers expect to inherit the Last Chance Saloon, but the previous owner has bequeathed it to weakling tenderfoot Stan. However, the brothers will become the legal heirs if Stan dies. Hmmm...
Seriously, though: is such a bequest legal? As soon as Stan takes possession of the property, surely any further questions of ownership or inheritance become his decision, not the previous owner's decision. I had plenty of time to consider such points of law while watching this dull comedy.
At one point, a gag involves some crude animation drawn directly onto the film stock. It looks cheap and isn't funny.
This 'Hot Dog' is no weiner, and no winner: it's just a whiner. My rating: one point out of 10. Hang on, Stan: in a few more years you'll be one-half of a comedy legend.
Most of Laurel's parody films were only mildly funny at the time, and even less funny for modern audiences who haven't seen the original movie which Laurel is parodying. 'West of Hot Dog' is a fairly generic parody of cowboy shoot-'em-ups. It's marginally a specific parody of 'West of the Pecos', an oater released two years earlier with no major actors. Since 'West of the Pecos' was never a huge success, it's difficult to see why Stan's film unit chose this particular movie as a target for their lampoonery, much less why they waited so long after its release to parody it. And where did they get that title 'West of Hot Dog'? Possibly it's down to the fact that 'Hot dog!' was a sexual interjection favoured by American lechers in the 1920s. (As in the opening scene of the stage play 'Machinal'.)
'West of Hot Dog' was produced and co-directed by Joe Rock. Among his many other achievements, Rock introduced Laurel to Lois Neilson, and he was subsequently best man at their wedding. Full disclosure: In the last years of his life, I had the great privilege of befriending Joe Rock and interviewing him. Nearly ninety years old at the time, Rock's memory was impressively clear ... but he remembered nothing at all about 'West of Hot Dog', and I can't blame him. This movie is eminently forgettable.
The leading lady's character is named Little Mustard: If that's meant to be a parody of something in 'West of the Pecos', I don't get it. There are a couple of 'impossible' gags here, including Laurel's method for mounting a horse. For just one moment in this movie, Stan Laurel reminded me of the great Buster Keaton when he suddenly broke into a run. 'West of Hot Dog' is vaguely similar in subject matter and tone to Keaton's short comedy 'The Frozen North', but Keaton's version is much funnier. The plot of this film somewhat anticipates a situation in Keaton's feature 'Our Hospitality' but (again) suffers by comparison: here, two tough varmint brothers expect to inherit the Last Chance Saloon, but the previous owner has bequeathed it to weakling tenderfoot Stan. However, the brothers will become the legal heirs if Stan dies. Hmmm...
Seriously, though: is such a bequest legal? As soon as Stan takes possession of the property, surely any further questions of ownership or inheritance become his decision, not the previous owner's decision. I had plenty of time to consider such points of law while watching this dull comedy.
At one point, a gag involves some crude animation drawn directly onto the film stock. It looks cheap and isn't funny.
This 'Hot Dog' is no weiner, and no winner: it's just a whiner. My rating: one point out of 10. Hang on, Stan: in a few more years you'll be one-half of a comedy legend.
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