Laurel & Hardy, Perfect Day, Blackhawk print, 400ft sound

#1 by Tom Photiou , Mon May 01, 2023 10:34 am

One of the best Laurel and Hardy shorts from 1929, this is one our Blackhawk 400fts which is full length at just a few seconds shy of 20 minutes.
The storyline with the help of wiki,
Two families embark on a picnic in their Ford Model T, but manage to run into a variety of issues with the temperamental automobile. Each incident requires repeated exits and recordings by Laurel, Hardy, their wives and grouchy, gout-ridden Uncle Edgar, and repetitions of the word ‘goodbye’. This segment may have been inspired by UK comedian Harry Tate and his famous 1907 ‘Motoring’ sketch, a vaudeville staple well-known on both sides of the Atlantic. A brick-throwing argument with a neighbour threatens to escalate into an all-out turf war until the local parson Walks by. The families manage to finally get their day underway, only to plunge neck-deep into a seemingly shallow, water-filled pothole.
One of the funniest parts that never fails to make me laugh is when Olli tells Stand to do something useful like throw out the clutch. He rips it out of the floor and throws it out the car onto the road. Ollie picks it up, takes off Stan’s hat and throws it onto his head with a loud metallic spring “boing” effect and bounces off his head and out of the screen, it is very funny.
The original 1929 release of this short contained no music other than that used over the opening credits. The Roach Studios would reissue the film in 1937 with an added music score being utilized at the time in other Roach comedies. The 1929 version was considered lost until the 2011 DVD release Laurel and Hardy: The Essential Collection, when the original Vitaphone disc track sans the incidental music became available.

This Blackhawk super 8 print is very good, a good sharp image and very good sound with a good contrast so no overly white blobs for faces like a few I have seen which I can only assume were from poor dupe copies. This is one of their better ones. As you see from the screenshot it has the Blackhawk replacement main title.



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RE: Laurel & Hardy, Perfect Day, Blackhawk print, 400ft sound

#2 by Thomas Peters , Tue May 02, 2023 9:32 pm

Quote: Tom Photiou wrote in post #1

This Blackhawk super 8 print is very good, a good sharp image and very good sound with a good contrast so no overly white blobs for faces like a few I have seen which I can only assume were from poor dupe copies. This is one of their better ones. As you see from the screenshot it has the Blackhawk replacement main title.


Yes, Blackhawk's Super 8 printing of this was one of their best for a Laurel and Hardy talkie short. Mine is excellent, too, and I've never had the urge to upgrade this title to 16mm, as I have done with many others.

The one I have has titles like yours does. I have seen eBay listings with all Blackhawk titles. The "Stan Laurel and Oliver Hary" card, with the hat rack in the background, is from the 1936 re-issue, when they added the music (mostly background music from OUR RELATIONS, also released in 1936). Blackhawk was able to keep this Hal Roach card since there was no M-G-M logo on it. Kent Eastin was adamant about removing any titles that contained the M-G-M logo, according to Richard W. Bann, who at one time worked for Blackhawk. (Bann admits he fished pieces of film with the original titles out of the bins when Eastin wan't in the room -- presumably from "answer" prints made to check exposure timing, etc.)

I once exchanged a few emails with Bann; another collector I was buying films from put me in touch with him. I asked him why the Super 8 prints from Blackhawk for Laurel and Hardy talkies were often so inferior to their 16mm prints. He had no idea, as he said he was only paying attention to 16mm at the time he worked there.

I might have mentioned it before, but I have found almost all Blackhawk Standard 8mm and Super 8 prints of the Laurel and Hardy silents to be excellent. The most obvious exceptions were the shorts orginally released by Pathe Exchange; apparently, Blackhawk had much better pre-print material for the M-G-M L&H silents.

So, the fact that Blackhawk could produce such excellent prints sometimes for L&H in the 8mm gauges proves that there were no issues with their printing equipment. The logical conclusion is that for some titles, their pre-print material was not up-to-snuff. If that was the case, than why are the equivalent 16mm prints of these titles so much better? I'm talking night-and-day better. The 16mm prints are not dupey-looking at all. There lies the contradiction. I've been trying to figure this out for years, but to no avail.

Take Blackhawk's Super 8 Our Gang talkies -- almost all have top notch picture quality, similar to PERFECT DAY. Why is that? More proof that their process and equipment for printing in Super 8 had no issues.



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RE: Laurel & Hardy, Perfect Day, Blackhawk print, 400ft sound

#3 by Tom Photiou , Tue May 02, 2023 9:55 pm

We do have a couple of Standard 8 L&H films, County Hospital, Thicker than water which was the last two-reel comedy from L&H as Hal Roach decided to end the short films and move them solely into feature films. And we also have a STD 8 400ft version of Midnight patrol.

I do agree that standard 8 films generally had a very good image on the b/w films, one of our first films was a Walton STD 8 edition of the Music box which was abridged to 400ft. It was years later before we got hold of a full length 600ft print on super 8.


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RE: Laurel & Hardy, Perfect Day, Blackhawk print, 400ft sound

#4 by Thomas Peters , Wed May 03, 2023 4:33 am

Quote: Tom Photiou wrote in post #3
We do have a couple of Standard 8 L&H films, County Hospital, Thicker than water which was the last two-reel comedy from L&H as Hal Roach decided to end the short films and move them solely into feature films. And we also have a STD 8 400ft version of Midnight patrol.

I do agree that standard 8 films generally had a very good image on the b/w films, one of our first films was a Walton STD 8 edition of the Music box which was abridged to 400ft. It was years later before we got hold of a full length 600ft print on super 8.


The only L&H films I have in standard 8 are some of the silents. I don't know how Standard 8mm sound compares to Super 8 sound for Blackhawk L&Hs.

I posted a link here awhile ago to an old Blackhawk catalog about how they made their prints, but it didn't shed any light on why 16mm L&Hs might be better than Super 8. Of course, all else being equal, a 16mm print should and will look better than Super 8, but there is a difference between looking better because of the larger frame size of the film gauge as opposed to looking better because the lower gauge looks dupey.

COUNTY HOSPITAL is another Super 8 Blackhawk L&H that really shows how good Super 8 can be for these shorts. That and PERFECT DAY are similar outstanding quality to the 3 Stooges shorts Columbia released in Super 8 sound -- especially the ones with Curly. If I had the projector in a booth, I doubt you would be able to tell if those 3 Stooges shorts were Super 8 or 16mm.

My Super 8 Blackhawk print of THICKER THAN WATER has all original Hal Roach/M-G-M titles! I don't know how that one slipped by. Since I've never seen another one like that for sale, my guess is that it was an answer print. What's puzzling is that it came in a pink Blackhawk L&H box, properly labeled with the film's title (but anyone could have put it in that box), and the leaders are fully marked as usual for a Blackhawk print -- which I would guess wouldn't have been created until after the answer print was approved -- but I'm merely guessing. I got it pre-ebay -- I think from The Big Reel, if anyone remembers that publication. The film had lots of wear when I got it in the form of black lines -- but nothing too terrible. On the whole, it is an average print as far as Blackhawk L&H shorts go.

It's a shame that Roach shut down his shorts unit in 1936, with the exception of Our Gang, where he actually shortened the shorts to one-reelers. For some reason, he cut short the L&H shorts a bit earlier, in 1935. Our Gang continued with two-reelers until after the summer break of 1936. Charley Chase two-reelers lasted until that summer as well, and then he was flat out fired -- but shortly after he was hired by Columbia to make a series of shorts, which he did right up until his untimely death at the early age of 47. He also directed a handful of 3 Stooges shorts while at Columbia.

Our Gang of course was sold to M-G-M midway though 1938, where it took an almost immediate nose dive in quality. The shorts apparently were profitable, since M-G-M continued to make them until 1944. I've only seen a small % of the M-G-Ms, and even the few that have a good reputation I didn't find nearly as good as an average Hal Roach one-reeler. It seems that M-G-M used Roach's THE AWFUL TOOTH as a model short! (Unless you've seen THE AWFUL TOOTH and at least one of the M-G-Ms, you will have no idea what I'm talking about!)

THICKER THAN WATER was actually filmed after BONNIE SCOTLAND, which is generally considered to be the kickoff of L&H's feature-only career. Retakes for BONNE SCOTLAND were filmed after THICKER THAN WATER was completed, and released only a few weeks after THICKER THAN WATER.

I have always found it interesting that L&H's feature output was so low once the shorts ended. If you look at their starring feature career by year in the 30s for Roach, you have:

1931. 1 feature
1932. 1 feature
1933. 2 features
1934. 1 feature
1935. 1 feature
1936. 2 features
1937. 1 feature
1938. 2 features
1939. No features for Roach (contract issues, they made 1 independent feature)
1940. 1 streamliner (for U.S. release, in Europe it was a full feature), 1 feature

IMO, they should have continued with shorts in between the seldom made features. But what do I know?

THE MUSIC BOX is another excellent quality Blackhawk print. Mine was purchased in 1974. I have heard people say that their particular prints are not so good, but I don't know from what era of Blackhawk they were printed. I'm curious what Walton cut out from their print.

As I mentioned, I have minimal experience with Walton prints. The only L&H title I have is THE FLYING DEUCES (slightly abridged). My current copy is excellent, but I had one that was printed too light with washed-out faces. I don't think that Walton made the edits; according to THE LAUREL AND HARDY ENCYCLOPEDIA by Glenn Mitchell, even U.K TV prints contain the same edits. He doesn't mention Walton by name, but does say U.K. 8mm prints. His description of the cuts match what the Walton prints have.

The best looking silent L&H I have is a Standard 8mm print from Blackhawk of PUTTING PANTS ON PHILLIP. I could fool you into thinking that this was a 16mm print. It is even better than my Super 8 Blackhawk print of that title, which is printed just a hair light.



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RE: Laurel & Hardy, Perfect Day, Blackhawk print, 400ft sound

#5 by Thomas Peters , Thu May 04, 2023 6:07 am

I'd be remiss if I didn't comment on the actual content of the films mentioned, regardless of the image quality.

PERFECT DAY is one of their better talkie shorts from the first season of making them (mid 1929 - mid-1930). I think it is helped immeasurably by the background music that was added in 1936, though I have never seen (or actually heard) the version without the music. There are many L&H talkie shorts (out of a total of 40) that I like better; this was never one of my favorites. It is not one of their talkie shorts that warrants many repeated viewings within a short time-span. My opinion, of course.

COUNTY HOSPITAL is much better, IMO. I do not believe a version of this short exists without the re-issue background music that was added for the late 30s re-release. I think this short would suffer somewhat without the background music. What stops this short from being a stone-cold classic is the extremely disappointing ending sequence in the car. The less said about that, the better. What precedes it, however, is top-tier L&H. This has long been one of my favorites among their talkie shorts, though at the lower end of "top-tier", for me.

THICKER THAN WATER is a very average short for a L&H talkie -- I actually might consider it to be below-average, depending upon my mood. You need to realize that out of the 40 talkie shorts that they made, there are many, many ones that are much better than this one. "Below average" is relative to the 40 shorts as a whole. You need to think of it as a Bell curve. What does make this one a bit distinctive is the sophisticated (for 1935) optical wipes that aid in transitioning from scene to scene. The ending is one of their most original "freak" endings that they were famous for. Some have called the ending "complex", but I had never thought of it as such until I read the reason why it is considered complex. I won't go into the details here, for risk of spoiling it for those who have not seen it.

MIDNIGHT PATROL is an average L&H talkie short that could have been much better. There really isn't much wrong with it other than you get the "been there, done that" feeling when watching it, assuming you have seen most of their work up until this point, and that you have watched the shorts chronologically. That being said, there is not much here that they didn't do better elsewhere in their film career. A very surprising ending that I won't give away.

THE MUSIC BOX is a stone-cold classic, and one of my favorite films of theirs overall, including their silents and features. In my top 3 overall of their films. (I've never really decided among the top 3 which is the best -- so let's consider it a tie.) I've never seen the edited version -- I would recommend seeing the complete version. Some 10-15 years ago I ran into some people who considered it over-rated. I've never heard that before or since. To each his own.



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