DVD Verdict
Home About News Blu-ray DVD Reviews Upcoming DVD Releases Contest Podcasts Forums Judges Contact  

Case Number 12454

Buy The Three Stooges Collection: Volume One (1934-36) at Amazon

The Three Stooges Collection: Volume One (1934-36)

Sony // 1934 // 340 Minutes // Not Rated
Reviewed by Judge Bill Gibron // November 26th, 2007

• View Judge Gibron's Dossier
• E-mail Judge Gibron
• Printer Friendly Review


Every purchase you make through these Amazon links supports DVD Verdict's reviewing efforts. Thank you!




 

All Rise...

Get ready to do a celebratory Curly Shuffle...Judge Bill Gibron says, even sans bonus features, The Stooges are finally getting the DVD respect they deserve.

Editor's Note

Our reviews of The Three Stooges Collection: Volume Five (1946-48) (published March 17th, 2009), The Three Stooges Collection: Volume Four (1943-45) (published October 7th, 2008), The Three Stooges Collection: Volume Six (1949-51) (published June 26th, 2009), The Three Stooges Collection: Volume Three (1940-42) (published August 26th, 2008), and The Three Stooges Collection: Volume Two (1937-39) (published July 2nd, 2008) are also available.

The Charge

Moe: "Say, Jasper, what comes after seventy-five?"
Larry: "Seventy-six"
Moe: "That's the spirit!"

Curly (eating a piece of potholder cake): "How's yours taste?"
Moe: "Like a mattress."
Curly: "Want mine?"
Moe: "I'm stuffed now."

Opening Statement

They represent the last word in physical comedy, their surefire slapstick a crazy cut above everyone who would eventually try and imitate their art. While the formidable silent film approach to humor had long been abandoned for more sophisticated laughs (i.e. the majestic Marx Brothers), the so-called Stooges still believed in its visceral, unequivocal effectiveness. Working both live and on film, they perfected their timing and false fury in a way that would forever change the format. In fact, when people think of the appropriately named comedy style, the Stooges come up more often than other, more mercurial examples (Chaplin, Keaton, Laurel and Hardy). It's safe to say that they now own the genre—and this without the complex, narrative inspired gags that one time illustrated its cinematic language. No, aside from an occasional clay/pie/cream puff fight, Rube Goldberg-inspired tumble, or interaction with a collection of well-placed props, the trio touted as The Three Stooges were the most hands-on of the body-oriented buffoons. From the moment their shorts aired as part of a trip to the movies, the eye gouge, the cheek smack, and the stomach poke were never quite the same.

Facts of the Case

Fulfilling the wishes of longtime fans, Columbia has finally wised up, dropped the three short per package DVD format, and delivered The Three Stooges in a logistically sound chronological breakdown. Covering the first three years the performers put their vaudeville shtick into motion pictures (1934, '35, and '36) the 19 mini-masterworks in The Three Stooges Collection: Volume 1 (1934-36) all contain the classic lineup that most devotees prefer: mean leader Moe, absent-minded minion Larry, and unbelievably brilliant bundle of butter Curly. There is no Shemp, no Joe Besser, and definitely no Curly Joe DeRita to muck things up. While there is nothing wrong with any of these later stage substitutes, nothing beats the magic of the original Stooges. Looking over the titles offered, there is not a bad apple in the bunch. We begin with the all-singing, all-slapping cavalcade which is:

1934
"Woman Haters"—The boys join a club with a staunch anti-female stance. Naturally, one plans on marrying.
"Punch Drunks"—The boys take up the prizefight game. Naturally, Curly winds up taking all the lumps.
"Men in Black"—The boys are bumbling first-year doctors. Naturally, their bedside manner leaves a lot to be desired.
"Three Little Pigskins"—The boys are mistaken for famous college football players. Naturally, they know nothing about the game.

1935
"Horses' Collars"—The boys are detectives, sent out to the Wild West to retrieve a deed. Naturally, they're not quite home on the range.
"Restless Knights"—The boys learn from their ailing father that they are royalty. Naturally, they become guardians to a threatened queen.
"Pop Goes the Easel"—Escaping a pursuing cop, the boys pretend to be art students. Naturally, their aesthetic causes nothing but chaos.
"Uncivil Warriors"—The boys go undercover to infiltrate the Confederate ranks. Naturally, they aid the enemy as much as their own side.
"Pardon My Scotch"—The boys pose as Scotsman to save a liquor wholesaler. Naturally, their home brew bombs—literally.
"Hoi Polloi"—The boys are targeted by two men arguing over heredity vs. environment. Naturally, the trio ends up disproving all theories.
"Three Little Beers"—Hoping to win a $100 first prize, the boys take up golf. Naturally, they tear up the course with their ineffectual play.

1936
"Ants in the Pantry"—Hoping to avoid getting fired, the boys infest a mansion with pests. Naturally, their nominal extermination skills are put to the test.
"Movie Maniacs"—The boys want to break into pictures, and travel to Hollywood to do so. Naturally, they are mistaken for Eastern brass and given run of the studio.
"Half-Shoot Shooters"—When World War I finally ends, the boys are sent home. Naturally, they wind up reenlisting in a desperate attempt to find a job.
"Disorder in the Court"—When a friend of theirs is tried for murder, the boys lend support. Naturally, they set the law back several eons with their shenanigans.
"A Pain in the Pullman"—Finally landing a job as a touring act, the boys pack their bags and catch the next train. Naturally, they run afoul of a stuffy actor.
"False Alarms"—The boys are firefighters. Naturally, their loafing and good-for-nothing work ethic gets them in trouble both on and off the job.
"Whoops, I'm an Indian"—The boys are dishonest gamblers in the Old West. Naturally, when discovered, they head for the woods and live as the locals.
"Slippery Silks"—The boys inherit a fashion boutique. Naturally, they apply their skills as finish carpenters to the designing of ladies' formal wear.

The Evidence

If you don't get the genius that is The Three Stooges, don't fret. Not everyone embraces the masterful at first. What you need is some manner of perspective, a compare and contrast if you will between the boys' unquestionable wizardry and all the other warmed over wannabes. Think the trio is too lowbrow? Look at their contemporaries Stan Laurel and Oliver Hardy. They practically lived along the bottom rungs of subterranean common denominators. Find their actions too brutal and abusive? Watch modern mirthmakers attempt the same physical shtick. It's all unnecessary violence with none of the boys' panache. No, the Three Stooges remain viable cinematic icons nearly 75 years after their motion-picture debut because, in an era which still embraced slapstick as viable everyman entertainment, they understood the rules, rewrote the syntax, and defined the genre for all who would come after. In fact, you could argue that the Stooges both showcased and strangled the art form. Before them (BTS), individual anarchy was an approachable element for any film. But once they came along (ATS), their flawless bravado couldn't be matched. Instead, most bowed to the masters and moved along.

It's not hard to see the immediate impact of the trio. Looking at the four films from their first year at Columbia (they had some previous success as part of the MGM family with straight man Ted Healy), their impeccable style and skill with comic timing is more than evident. Granted, "Woman Haters" does the dumbest thing possible with the boys—it turns them into shufflebum singers in an all-rhyme (and no reason) variety review. The premise has possibilities, but outside the standard slapstick, the rest of the short stumbles. "Punch Drunks" was the perfect comeback. It gave Curly his first great goofball roll (a fighter who goes nutzoid the moment he hears the song "Pop Goes the Weasel"), and sets up the trio's working dynamic: Moe as the cantankerous leader, Larry as the sullen sidekick, and Curly as constant source of frustrated bemusement. By "Men in Black," the hospital/doctor setting could barely contain them. The Oscar-nominated effort is so overloaded with sight gags, physical flailing, and memorable lines ("Jeez, the joint is haunted") that it accurately reflects the growing confidence between the studio and its stars. It would all be taken to dizzying new heights with the football themed funny business of "Pigskins."

By 1935, the Stooges were established. After a couple of minor period-piece stumbles (both "Horses' Collars" and "Restless Knights" have their non-narrative moments), the threesome hit a string of inspiration that would forever illustrate their power. Unlike the costumed craziness of an era-specific outing, the timeless aspects of the gang worked best when butted up against the current social morays. It's just more fun to see Curly court and dress down a snooty dowager than a Wild West cowgirl. They were better as social commentators, the downtrodden taking on the haughty rabble, than as members of a specific historic set. That's why the art-school spectacle of "Pop Goes the Easel" soars, its last-act clay fight a delicious combination of comeuppance and cruelty. It's why the whiskey crazed swells of "Pardon My Scotch" and the cockeyed Confederate gentility of "Uncivil Warriors" make the perfect backdrop for the boys' unbridled mayhem. Even the insular short "Hoi Polloi" figured this out. It actually made taking down the privileged part of the plotline. It's obvious that the Stooges work better as the storm amidst the calm, not vice versa. The minute they step onto the elitist golf course in "Three Little Beers," the Stooges' presence perks up (and perplexes) all around them.

Still, those behind the camera didn't quite grasp this comedic compartmentalizing—at least, not yet. They still believed the boys could work well within every filmic format. Proof of how wrong they were arrives toward the end of 1936. The first six shorts the trio made that year featured present-day circumstances (exterminators, performers, war veterans, trial witnesses, starving hoofers, and firemen) and used modern slang and jargon to complement the physical hijinx. Then it's back to Dodge City as the guys give the frontier another try. True, the Stooges were fantastic as part of a Civil War setting, but "Warriors" would be the exception that confirms the overall rule. "Whoops! I'm an Indian" is not bad; it's just not a stunner. It takes too long to pay off and, along the way, the boys are seemingly forced to be funny. That's not how the Stooges are supposed to work. When matched with the effortless laughs of "Slippery Silks" (the furniture gowns remain one of the shorts' best sight gags), or the public domain delights of "Disorder in the Court" (who hasn't seen this legal lampoon), it simply stands out as something underwhelming. Since this incarnation of the act would go on to make another 78 shorts (97 in all), it would remain a prickly premise the studio would insist on. After all, how many different settings could the storied group's havoc fully function in?

It's important to note that there was more to The Three Stooges than location, location, location. Many believe the boys to be inept in the arena of scripted jokes, but buried throughout the first three years of their Columbia existence are consistent examples of verbal wit. From a classic witness-box exchange invoking the Spirit of '76 to a dessert as feather-bed reference, the trio used lots of imaginative wordplay as part of their performance. Even the titles created were typically spoofs of current popular films ("Men in Black" for Clark Gables Men in White) or parodies of well-known songs or sayings ("Pardon My 'Scotch'" subbing for 'French'). In fact, those who would marginalize the trio as being nothing more than jocular juvenilia, the pre-post-modern equivalent of fart jokes and toilet humor, have probably never really studied the Stooges. They are much more than boxers battling within a craven comedic context or arrested adolescents using fists instead of quips to earn their keep. They are artisans working in the almost impossible arena of physical wit. That they continue to delight a quarter-century later is both a testament to their timelessness and their unequivocal quality control. Sadly this first Volume only whets our long-dormant appetite for the rest of their amazing output.

Of course, with this being a Three Stooges DVD release, there has to be some bad news—and here it is. Don't come looking for this two-disc set to celebrate the trio with lots of added context. This is a bare-bones release, with polished-up picture and improved sound, but that's it. No commentaries. No contemporary tribute. Heck, not even the black-and-white or color options offered in previous editions. No, this is Columbia/Sony's attempt at being the archivists the devoted have wanted, and they do a bang-up job, otherwise. The shorts do look newly remastered, their 1.33:1 monochrome image appearing wonderfully clean and crisp. Some installments do look better than others, but for the most part, the revamp gives the films a much-needed overhaul. The sound is still the same Dolby Digital Mono, and it's as flat and tinny as you remember. It hasn't really been cleaned up, but the amount of distortion and lack of atmosphere is toned way down. So from a purely technical standpoint, this is an awesome set. If you want complementary information, hit the web. Or better yet, grab one of the many excellent books on the Stooges. They will help ease the pain of this bonus lacking presentation.

Closing Statement

Back in the mid-80s, it was argued that The Three Stooges were the male equivalent of a chick flick; that is, the kind that hit men in the merriment harder than it did the ladies. Of course, there are numerous ways to argue out of such a broad overgeneralization, but for the most part, the comment has a small amount of truth. Sold as a baser experience, as the artistic equivalent of a knee to the groin, the short films made by these amazing performers can be considered gut-level laugh getters. But does this mean women are above the experience, or simply that, searching for a way to describe the decades-old appeal of the act, scholars slipped into stereotyping? Whatever the case, it's clear that there are more than gents holding up the Stooges' lasting legacy. Constantly bringing new generations into their farcical fold, as long as there are viewers, there will be fans for the threesome's fantastic follies. Bellyache all you want over the lack of added features, but The Three Stooges Collection: Volume 1 (1934-36) is performing one invaluable service—it's protecting the boys' mythos for future aficionados to enjoy. When it comes to skilled slapstick, a true obsessive will take preservation over puffery any day of the week.

The Verdict

Not guilty. Gorgeous remasters meet gratuitous eye gouging. What more could you want?

Give us your feedback!

Did we give The Three Stooges Collection: Volume One (1934-36) a fair trial? yes / no

Share This Review


Follow DVD Verdict


Other Reviews You Might Enjoy

• Mo' Money
• The Blues Brothers
• American Virgin
• Legally Blonde Platinum Collection

DVD Reviews Quick Index

• DVD Releases
• Recent DVD Reviews
• Search for a DVD review...

Scales of Justice

Video: 95
Audio: 85
Extras: 0
Acting: 100
Story: 100
Judgment: 96

Perp Profile

Studio: Sony
Video Formats:
• Full Frame
Audio Formats:
• Dolby Digital 1.0 Mono (English)
Subtitles:
• None
Running Time: 340 Minutes
Release Year: 1934
MPAA Rating: Not Rated
Genres:
• Classic
• Comedy

Distinguishing Marks

• None

Accomplices

• Official Site








DVD | Blu-ray | Upcoming DVD Releases | About | Staff | Jobs | Contact | Subscribe | Find us on Google+ | Privacy Policy

Review content copyright © 2007 Bill Gibron; Site design and review layout copyright © 2014 Verdict Partners LLC. All rights reserved.