This is of interest mainly for the chance to see Stan Laurel in one of his early movies. The material itself is neither good nor interesting, and it gives Laurel and the rest of the cast little to work with, but even so Laurel's talent is visible when he has the opportunity to show it. Laurel is teamed with Clarine Seymour, whose once-promising career was cut short by a fatal illness in 1920. Not many of her movies survive, making this also of some interest for those who remember her.
Unfortunately, the story in this feature is generally inconsequential, illogical, and not very funny. What little there is relies on the appeal of Seymour's character and the amoral scheming of Laurel's character. The gag ideas are, honestly, not very imaginative, with most of them being imitations of Chaplin gags or of other material that was already familiar from many other movies of the era.
Yet even with weak material to work with, if you watch Laurel you can see that his timing is expert, and his screen presence is good. His own style was still largely based on his music-hall background, and the rest here is forced upon him by the nature of the material. It's not his fault (or Seymour's) that this particular movie is not very good.
Unfortunately, the story in this feature is generally inconsequential, illogical, and not very funny. What little there is relies on the appeal of Seymour's character and the amoral scheming of Laurel's character. The gag ideas are, honestly, not very imaginative, with most of them being imitations of Chaplin gags or of other material that was already familiar from many other movies of the era.
Yet even with weak material to work with, if you watch Laurel you can see that his timing is expert, and his screen presence is good. His own style was still largely based on his music-hall background, and the rest here is forced upon him by the nature of the material. It's not his fault (or Seymour's) that this particular movie is not very good.