In general, I am probably much more a fan of Laurel and Hardy's shorts than their full-length films. That's because in the shorts, they are "pure Laurel and Hardy"--just humor with no unnecessary and distracting subplots or awful opera like occurred in so many of their longer movies. For these full-length films, I find it's an endurance contest or if watching them on video, I often just speed through these flat moments (and there are plenty in films such as THE DEVIL'S BROTHER, SWISS MISS, BABES IN TOYLAND, etc.). Beecause of my dislike of these distractions and filler, I was happy to see WAY OUT WEST. While it did have a couple distracting dance numbers (why, oh why did Hollywood put so much of this in the films of all the comedy teams of the 30s and 40s?),these were done by Stan and Ollie AND they were blessedly short--leaving more time for laughs and plot.

Stan and Ollie are do-gooders traveling cross-country to deliver a deed to a gold mine from a dead man to his surviving daughter. This really is ALL the plot of the film. For about an hour, the boys get the deed stolen by James Finlayson (a frequent foil in their films) and his wife and then they try to get it back. Some of this isn't super funny (like Stan's laughing--it's just overdone) and some of it is just great (I liked how the mule got launched to the second floor of the hotel).

All in all, this is a fun and quick little film. Not the best stuff the boys did, but still exceptional compared to most of their full-length films. Not as good as SONS OF THE DESERT (arguably their best feature-length film) but still a HUGE step above the films mentioned above as well as ANY film they made between 1941 and ATOLL K (yuck).

Stan Laurel and Oliver Hardy were comedic geniuses, individually and together, and their partnership was deservedly iconic and one of the best there was. They left behind a large body of work, a vast majority of it being entertaining to classic comedy, at their best they were hilarious and their best efforts were great examples of how to do comedy without being juvenile or distasteful.

'Way Out West' is one of their best feature films, another favourite being 'Sons of the Desert'. 'Babes in Toyland' and 'Fra Diavolo' are also another two of their best feature films for me. Not only is 'Way Out West' one of their best feature films, it is also one of the best works they ever did, coming from somebody who doesn't dislike any of their work and find a good deal to like about their lesser efforts. As well as one of their funniest, with 'Way Out West' containing some of the funniest moments of any Laurel and Hardy film, short and feature.

Both Laurel and Hardy are on top form, both having many moments to shine individually and together. Both are hilarious and likeable, handling the sly and sharp verbal wit and nimble, beautifully timed and never contrived or cartoonish physical comedy with ease. Their comic timing is impeccable and the chemistry between two is proof that their legendary reputation is justified.

'Way Out West' is also one of the best examples of any slightness or silliness in the story not mattering that much, due to the snappy, being always compelling and entertaining and having a lot of content. It is one of their best feature films in terms of how the comedy and musical interludes are balanced. Neither overshadows the other, the musical interludes not being too many, too long or distracting from the story. Fortunately, the musical interludes are good, wonderful in the case of particularly "Trail of the Lonesome Pine".

As said, the comedy is some of Laurel and Hardy's funniest, the best being hilarious. A standout being the soft-shoe shuffle sequence, closely followed by the apartment chase. The supporting cast add a lot, with cracking support from Sharon Lynn and the ever reliable James Finlayson. 'Way Out West' looks good, has lush and cleverly orchestrated music and the direction is suitably no-nonsense and to the point.

Concluding, wonderful and one of Laurel and Hardy's best. 10/10 Bethany Cox

What did Rosina Lawrence's dying father expect when he entrusted Stan Laurel and Oliver Hardy to deliver the deed to a gold mine to her in Way Out West? I mean even in death was his judgment that seriously impaired?

The boys are up to the necks in it in the town of Brushwood Gulch when they try to do their good deed. In fact Ollie's up to it even before as Stan innocently dumps the freeloading Ollie who is snoozing in a travois drawn by their donkey while Stan is guiding the poor animal. Dumps Ollie in a creek mind you. Serves him right actually.

The boys arrive in town and wouldn't you know it, they tell bartender James Finlayson what their mission is. So the quick thinking Finlayson gets his wife Sharon Lynne to pose as Lawrence and the boys sign the deed over to her.

Later on they discover their mistake and the rest of the film is spent trying to make up for their mistake and get the deed to the rightful owner. Of course it's one mishap after another, including Stan lighting Ollie's thumb on fire. Don't ask how.

Everybody looks like they're having a great old time in Way Out West. Finlayson is a terrific Snidely Whiplash, Lynne does a great imitation of the kind of brassy dame that Gladys George or Binnie Barnes had a specialty in, and Lawrence is a fabulous little Nell heroine.

Way Out West is one of Stan and Ollie's best feature film comedies. It even got an Oscar nomination for Best Musical Scoring. But I still wonder, wasn't their anyone else Lawrence's father could get for such a mission?