Slipping Wives (1927) A Silent Film Review

Stan Laurel is hired by Priscilla Dean to romance her and make her husband jealous. Stan’s career as a lothario is hampered by the family butler (Oliver Hardy), a violent bully who intends to get rid of the interloper by any means necessary.

Home Media Availability: Released on DVD but now out-of-print.

Laurel and Hardy before Laurel & Hardy

Some of my very earliest movie memories include Laurel and Hardy. Their winning combination of physical comedy, personal chemistry, whimsy and just a touch of white magic delighted me as a child and their humor still delights me today.

Awww! Just look at those two!
Awww! Just look at those two!

Stan Laurel and Oliver Hardy had been knocking around films for years before they were finally teamed up. Therefore, there are numerous Stan before Ollie and Ollie before Stan films available for our viewing pleasure. Stan specialized in playing horrible little men and spoofing popular films while Ollie was usually in supporting roles, often as the heavy. Both made the important decision to sign on with Hal Roach and it’s no exaggeration to say that it changed their lives.

Slipping Wives is from an interesting period in the careers of Laurel and Hardy, pre-Laurel & Hardy. They were at the same studio and they appeared together in films but they were not yet billed as a duo or considered a comedy team. Their first Hal Roach team-up was Duck Soup, released in March of 1927. By the end of the year, their chemistry was undeniable and they had been paired permanently.

The first partnership.
The first partnership.

It took the studio just a few months to figure out that it had stumbled on something special. Producer Broncho Billy Anderson failed to show similar insight as he hired Stan and Ollie to work together in The Lucky Dog (1921) but did not reunite the team. (In addition, Laurel later stated that Anderson did not pay the film’s cast and crew—and that he was still owed money for his solo comedy Mud and Sand, which spoofed Rudolph Valentino.)

Slipping Wives was the second time Stan and Ollie were teamed up on the Hal Roach lot and it shows that the studio was still experimenting with the pair, trying to make the most of the combination. While Duck Soup had been a co-starring affair (the duo later remade it in the sound era as Another Fine Mess), Slipping Wives was a Stan Laurel vehicle, no ifs, ands or buts. (By the way, I don’t count 45 minutes from Hollywood, which was made a few months before Duck Soup, because Laurel and Hardy reportedly did not share any scenes.)

Dean's career had slipped too.
Dean’s career had slipped too.

The film is also of interest to silent film fans as the leading lady is Priscilla Dean, who had specialized in playing tough cookies at Universal during the late ‘teens and early twenties. Lon Chaney’s first pairing with Tod Browning had been in The Wicked Darling, a vehicle for Dean. Her star faded as the twenties wore on and she had subsequently slid into B movie work and then comedy shorts.

Dean is often listed as a victim of sound but it is clear that her career had been in trouble for some time before the talkies. After parting ways with Universal in 1924, Dean was unable to sign on with another major studio and bounced around the independents. As film historian William K. Everson points out in his book, The Complete Films of Laurel and Hardy, “Obviously, no top names would consent to appear in two-reelers, and so he (Hal Roach) had to content himself with stars who still had some name value, but who had slipped or were at least in temporary doldrums as a result of bad pictures or ill health.”

Dean's comedy chops were so-so.
Dean’s comedy chops were so-so.

Sound arrived when Priscilla Dean was in her early thirties, a precarious age for an actress in any era, and it was merely the final nail in the coffin, not the actual cause of career death. In fact, it seems likely that her career would have ended in the early thirties with or without the talkies. (You can hear her voice here, if you’re curious.)

Dean receives top billing in Slipping Wives but her role is comparatively slight. She plays a wife whose artist husband is neglecting her. “He only kisses me on Sundays and holidays!” she complains to a family friend named Winchester Squirtz (Albert Conti). The husband, Leon (Herbert Rawlinson), spends all his time painting and fails to notice his wife’s unhappiness.

The plan.
The plan.

Squirtz suggests that Priscilla find a fake lover to make Leon jealous. However, he refuses to take the job himself because of Leon’s capacity for violence.

Meanwhile, the butler (Oliver Hardy) answers the doorbell and discovers one Ferdinand Flamingo (Stan Laurel), a paint salesman. Flamingo is exactly the person Priscilla needs for her little jealousy project. She orders Oliver to clean him up for the evening.

Another nice mess...
Another nice mess…
The timeless art of seduction.
The timeless art of seduction.

Priscilla claims that Flamingo is a famous author but is mortified when he acts out his latest novel, a reworking of Samson and Delilah. (Charlie Chaplin performed a similar gag in The Pilgrim with David and Goliath. Laurel’s routine has been dismissed as a copycat comedy bit but I think that’s uncharitable. Both men were talented physical comedians and brought their own unique spin to the gag.)

Flamingo thinks that Squirtz is Priscilla’s husband and so he mistimes his flirtations. Meanwhile, Oliver is trying his best to kill or at least harm his mistress’s unsavory guest. The whole thing concludes with mistaken identity and Flamingo is forced to flee for his life.

Raw chemistry and little else.
Raw chemistry and little else.

So, the big question is whether or not the comedy works. Well, yes and no. Laurel’s Samson and Delilah routine is great fun and his chemistry with Oliver Hardy is both clear and delightful. Unfortunately, the film kind of deflates after Laurel’s biblical pantomime. Leon catches onto the scheme and just plays along to make Priscilla happy, which ruins any suspense that might have built up. And by making Leon reasonable and calm about the situation, the film undermines its own story. Remember, the other characters are supposed to be afraid of his fiery temper.

We remain unintimidated.
We remain unintimidated.

Slipping Wives is fun for Laurel and Hardy fans as it is a glimpse at their early evolution but it’s not really their best silent film or even their best pre-team comedy. It’s a historical curio that is delightful for their fans but can be skipped by everyone else.

Movies Silently’s Score: ★★

Where can I see it?

Laurel and Hardy have been ill-served on home video. Slipping Wives was released on DVD by Image but that disc is out of print and the scalpers are charging an arm, leg and firstborn child. The so-called “essential collection”, which is in print, skimps on the silents. I ended up getting the 21-disc box released in the UK. It includes both Slipping Wives and The Fixer-Uppers but remember that you will need a region free player for these discs.


Now we’re in for a treat! Laurel and Hardy remade Slipping Wives and we’re going to compare the versions and see if a few years made a difference.

The Talkie Challenger: The Fixer-Uppers (1935)

Stan Laurel and Oliver Hardy were officially paired up around the same time The Jazz Singer opened and kicked off the talkie revolution. Would new technology kill off this promising team? Of course, we know that Laurel and Hardy survived and thrived in sound. In fact, I dare say that they transitioned far better than many of their more famous comedy colleagues.

Top billing in 1927...
Top billing in 1927…
Top billing in 1935.
Top billing in 1935.

A common misconception (reinforced by Singin’ in the Rain, a pox on its house) is that silent stars must have had funny voices and this ruined their careers. Nope. The big problem was actually whether or not their voice matched their appearance and persona, at least in the minds of their fans. We might compare this to listening to a favorite radio announcer for years and then finally seeing them on television. 9 times out of 10, they do not look the way we expected them to.

One of the most successful transition.
One of the most successful transition.

Stan and Ollie’s voices were perfect for the comedy personas they had built; Hardy’s rich, Georgia-infused tones contrasted beautifully with Laurel’s reedy squeaks. Further, both comedians and their studio understood how to balance their comedy with the new sound medium. You see, simply adding sound to a silent comedy routine could cause the whole thing to come crashing down. Sound was a potent new ingredient and needed to season the comedy, not drown it.

The new medium also presented an opportunity to remake older routines. As stated before, Stan and Ollie’s very first Hal Roach team-up, Duck Soup, was remade as Another Fine Mess and their second, Slipping Wives, was remade as The Fixer-Uppers. Let’s see what the boys had learned in the eight years that separated each version.

Another day, another new business...
Another day, another new business…

Stan and Ollie are making a living selling Christmas cards from door to door. Their customers include Hal Roach’s resident drunk comic, Arthur Housman, and Mae Busch, the wife of the famous painter Pierre Gustave. She is depressed because her husband neglects her. Hoping to help, Stan suggests that one of them pose as her lover and make her husband jealous.

After testing out some kissing on Stan (he faints), Mae wraps herself around Ollie just in time for Pierre (Charles Middleton) to come home. The plan works and he is insanely jealous. Emphasis on the insane. He challenges Ollie to a duel and he means to shoot to kill. Our heroes hightail it to their favorite bar, run into Arthur Housman again and end up completely soused. The police carry them home, at least what they think is home. You see, Ollie has Pierre Gustave’s card in his pocket.

Well, this is awkward.
Well, this is awkward.

The film ends with Ollie trying to escape by playing dead (Mae took the bullets out of her husband’s gun) but this is thwarted when Pierre decides to make really sure by cutting up the body. Stan and Ollie flee into the night. Now here’s another nice mess…

It’s not their best but all the Laurel and Hardy ingredients are there. Bizarre attempts at entrepreneurship? Check! Trying to fix the problem but only making it worse? Check! Violent husband? Check! The story could have used a tad of tightening but a few scenes, particularly the kissing practice, work quite well.

Not nearly a nice enough mess.
Not nearly a nice enough mess.

However, some of the elements just miss. For example, Stan and Ollie’s Christmas cards are inappropriate but most lack the wild cluelessness that would have cemented the boys’ loser status. (Only one card manages the right level of silliness: “A merry Christmas, husband/ Happy New Year’s nigh!/ I wish you Easter greetings/ Hooray for the Fourth of July!”) And Ollie’s “nice mess” at the finale is merely being dropped into a garbage cart, which is pretty tame by Laurel and Hardy standards.

Two key reasons why The Fixer-Uppers is a better short than Slipping Wives can be summed up with two names: Mae Busch and Charles Middleton. Both performers were perfectly capable of scenery munching in more serious films and they skillfully get their hams on here to great comedic effect. Plus, both their voices had that overblown, stagy throb as their scenes reached their emotional crescendo. It’s glorious and tons more fun than Priscilla Dean and Herbert Rawlinson.

Emperor Ming himself!
Emperor Ming himself!

However, both performers could have been put to better use. Busch is more of a befuddled straight woman. It’s okay but not nearly as fun as her insane turn as a serial killer of Olivers in Oliver the Eighth, which had been released the previous year. Charles Middleton (still a year away from playing Ming the Merciless) has the deranged role this time around but the part is so bloodthirsty that we are led to wonder why Pierre has not already been arrested.

Ultimately, neither short displays Stan and Ollie at their best and the antagonist proves to be the problem both times. While Leon is not threatening enough, Pierre is entirely too psychotic to fit into the comedy.

And the winner is…

The talkie

Stan gets into the role.
Stan gets into the role.

While it’s not their best picture, The Fixer-Uppers still has most of the Laurel and Hardy charm intact. Arthur Housman, Mae Busch and Charles Middleton help matters as well. Slipping Wives is a museum piece while The Fixer-Uppers is a flawed but enjoyable comedy.


  1. Movie Movie Blog Blog

    Nice summation of both movies! As a Laurel & Hardy buff, I quite agree that the talkie version is far superior, though I enjoy a lot of the elements (villainous Pierre, the finale) more than you do. BTW, SLIPPING WIVES is available for free viewing (at least for now) on YouTube

    1. Fritzi Kramer

      Thanks so much! Yes, I would put The Fixer-Uppers in the middle of L&H shorts quality. It’s not a masterpiece of comedy like Brats or Twice Two but it definitely works and considerably better than Slipping Wives.

      (I don’t include YouTube links to complete films unless they are from official channels but thanks!)

      PS, Silly me, I forgot Blotto! Excellent short!

  2. Marie Roget

    Thank you much for this timely review! As many here are aware I’m sure, U.S. TCM Silent Sunday Nights grandly returns this evening (after the usual Oscar pause) with a flurry of Roach shorts starring… guess who. Have gotten together a small viewing party in honor of the occasion, as well as to try out that sandwich of decadence, L’Inhumaine’s Toast au Fromage. Et bien sûr, there will be white and red wines to accompany the laughs!

  3. Marie Roget

    It was indeed fabulous! I’d seen Habeas Corpus so long ago that its laughs took me by surprise. All the shorts were loads of fun, particularly Big Business (of course) which had us whooping with laughter. The “scratch my back” and wallpaper routines in Angora Love were a panic, and all agreed that L’Inhumaine’s Toast au Fromage is just delicious, an absolute cheese lover’s delight.

    Is there no streaming, perhaps, for more L&H silents? All the dvd companies concentrate so heavily on their talkies- keyboarding around a bit tonight at any and all options…coming up empty 😦

    1. Fritzi Kramer

      Glad you had a good time! Alas, the last official release for many of L&H’s silents was the Image release of the Lost Films of Laurel and Hardy in the late 90s to early 2000s. Those discs are long out of print. It’s a darn shame because the boys did such wonderful silent work and the lack of official releases is driving a market of scalpers and unauthorized streaming.

  4. popegrutch

    I knew one day the talkie would win. I should’ve had some money riding on it…Laurel & Hardy were both serious professionals, and often did find ways to improve gags or, scenes, or whole movies they’d done before, where so many others seem content to just repeat themselves.

    1. Fritzi Kramer

      Yes, L&H understood the difference between silent and sound comedy better than almost anyone else, including far bigger comedy stars. Slipping Wives was completely disassembled and reworked for the new comedy style and Ollie’s status as full partner. For example, Laurel’s Samson and Delilah routine was the showstopper of the original but its pantomime would be out of place in a talkie without considerable work put into introducing it. It was cut in favor of other set pieces.

  5. Marie Roget

    Perhaps there’s a faint hope that the popularity of Silent Sunday’s L&H showings could prompt some dvd compilations of their pre-sound body of work. One can always dream of that, and write a few emails to TCM, maybe even poke Silent Sunday host Ben Mankiewitz a bit about it.

    Total Aside: Mank made his own fun the other day by rushing a little too much reading the intro for The Ipcress File: it came out as “Michael Caine plays bespeckled Harry Palmer” instead of “bespectacled.” Harry Palmer, spy or bird’s egg? View this film, you decide 😉

    1. Fritzi Kramer

      Yes, keeping these films in the public eye is the single best way to get them released. Alas, unless a film has a sexy story behind it (found in a rubbish heap after being lost for fifty years!) there’s not much interest.

      Funny you should bring up the Ipcress File because I am going to be touching on it a bit in this week’s review. Poor Harry was not an egg but he did indeed crack. 😉

  6. Birgit

    Great reviews of both talkies and silent versions. I always think of my dad when someone talks about or I watch a Laurel and Hardy picture. They were his favourite comedians and he would make sure I would watch them with him. He would speak of the time when he saw them in the theatre when they first came out and how many people would laugh. It was always wonderful listening to my dad speak about the movies since he watched so many from the silents to the talkies at the cinema. You hit the nail on the head regarding the stars who didn’t make it whe the talkies came out. Often the stars style didn’t fit their voice.

    1. Fritzi Kramer

      Thanks! I read somewhere that Buster Keaton’s voice was more suited for a world-weary sailor, rather than the gloomy youths he played. Not that Keaton’s sound stuff is bad, it’s just that the sparkle is gone. Same with Harold Lloyd and Chaplin too, once he jumped to talkies. Laurel and Hardy, on the other hand, arguably made the most successful jump to sound next to Greta Garbo.

  7. Paul

    I’m so pleased one of my suggestions got chosen.

    It’s not one of my favourite Laurel & Hardy silents, but I’d watched it recently, and also thought the featuring of Priscilla Dean would interest you.

    The Samson and Delilah pantomime is one the best things I’ve seen Stan do on film.

    I also like The Fixer Uppers – but it took me years to get the ‘It’s a long distance from Atlanta, Georgia’ joke!

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