Robert Youngson once again compiles scenes from the golden age of comedy's silent film era. Laurel and Hardy are shown battling a gum machine, and Hardy is a debaucherous Romeo whose amorous plans are thwarted by Rex, the Wonder Horse. Charley Chase is hampered by hiccups and a female professor, and he fleeces a drunken Oliver Hardy with a mannequin in a nightclub. The third part finds bachelor Buster Keaton desperately trying to get married by 7:00 PM in order to collect a $7-million-dollar inheritance. Keaton is pursued by money-hungry prospects in one of the best chase scenes ever filmed. Narration is provided by Jay Jackson.

Betty's father has an invention that looks like a fancy camera; it emits an ultra-lavender ray that temporarily rids the ray's target of inhibitions. To test it, Betty's father zaps Charley hoping his newly-aberrant behavior will cause Betty to end her affections for the milquetoast. Dad's plan backfires: the invention works perfectly, Charley gets a backbone, and Betty loves her new forceful man. However, Charley's courage and lack of a superego get him in trouble with the law. He goes on trial for assaulting a bullying police officer. Is Charley going up the river leaving Betty high and dry?

Thelma invites Charley to play golf at her father's exclusive country club.

A man delivering a pair of trousers loses his own pants, setting off a chaotic sequence of events.

Charley Chase has car trouble.

After Walrus has been shot, Ambrose takes him into his house. When Ambrose sees Walrus flirting with his wife he leaves. When Walrus runs away with Mrs. Ambrose, Ambrose gets on a horse to save her. The Keystone Kops are also after Walrus.

Charley is called upon to go out with his boss on a date with the boss' mistress, to act as a beard.

Charley is chased into a phone booth by a dog and agrees to help a young woman on the phone avoid getting married.

1926 film by Leo McCarey

Although Mabel’s parents disapprove of Roscoe and Mabel’s relationship, the two still secretly court. When a rivaling suitor named Reddy appears, the men fight for Mabel’s hand. Although successful, Roscoe witnesses Reddy fall into a well and instantly calls for help. As the police fish Reddy out of the well, the young lovers see their chance at freedom and run off to elope.

A happy young couple become engaged, and soon afterwards they are married. But after their marriage, the husband begins to stay out carousing with his friends, leaving his wife at home with her mother. Then, when the three of them go to the opera together, the husband spots one of his friends in another box. Soon the domestic difficulties reach their peak.

The kids from Our Gang have to attend a wedding, and they bring along their flea collection--which gets loose.

This Keystone from the end of 1914, involving the usual suspects running around some plumbing issues will not hold many surprises for those familiar with Keystone in this period, or, indeed, with the works of the Three Stooges, who often played inept plumbers. It is, nonetheless, very nicely performed, especially by Charles Murray who mugs it up freely and ineptly, as well as the pretty girl who plays the house's maid.

Charlie and his partner are to deliver a piano to 666 Prospect St. and repossess one from 999 Prospect St. They confuse the addresses. The difficulties of delivering the piano by mule cart, and most of the specific gags, appeared later in Laurel and Hardy's "The Music Box".

I love this movie. I was reduced to tears the first time I saw it and am reduced to tears every time I've seen it in the 50 years since. Talk about a movie holding up over 70 years. To my mind, it's the Citizen Kane of comedy. Everything about it is pitch perfect. To watch the boys as they sink deeper and deeper into absurdity in explaining their arrival back ahead of the rescue ship is a marvel to watch. There are so many subtle, nonsensical and memorable moments that stay in the mind years later one almost doesn't know where to start. The solemn dark lighting of the opening scene spoofing fraternal organizations, eating the wax fruit, the range of facial expressions of the wives throughout, the shot of the boys from the back sitting facing the fireplace as Stan disses his wife, Stan's wife in hunting regalia returning shotgun in arm carrying ducks, Ollie flirting on the phone not realizing it's his wife he's talking to, the stream of consciousness dialog in the attic, and on and on and on. A subtlety perhaps missed by many is the wonderful song and dance number at the night club....a simply wonderful lampoon to perfection of crooner Dick Powell and spoof of Busby Berkeley with those clunky but charming Hula dancers, struggling in a valiant but ultimately hopeless attempt to dance, fanning out to the camera and culminating in that marvelous overhead shot near the close. Just great. I could write a book on this movie, but I'll just suggest to viewers to get William K. Everson's book on the films of Laurel & Hardy and read what one of the great critics has to say about this gem.