IMDb RATING
7.3/10
2.5K
YOUR RATING
In the hospital with a broken leg Ollie is visited by Stan, who brings him hard-boiled eggs, nuts, and total mayhem.In the hospital with a broken leg Ollie is visited by Stan, who brings him hard-boiled eggs, nuts, and total mayhem.In the hospital with a broken leg Ollie is visited by Stan, who brings him hard-boiled eggs, nuts, and total mayhem.
Estelle Etterre
- Nurse
- (as Belle Hare)
Lorena Carr
- Reception Desk Nurse
- (uncredited)
Baldwin Cooke
- Orderly
- (uncredited)
Betty Danko
- Desk Nurse
- (uncredited)
Frank Holliday
- Hospital Visitor
- (uncredited)
Ham Kinsey
- Orderly
- (uncredited)
Carl M. Leviness
- Doctor
- (uncredited)
Bob Minford
- Orderly
- (uncredited)
Harry Wilde
- Hospital visitor reading newspaper
- (uncredited)
- Director
- Writers
- H.M. Walker
- Oliver Hardy(uncredited)
- Stan Laurel(uncredited)
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaThe exterior of the County Hospital was the City Hall for Culver City. Part of the frontage is still standing, albeit inside a compound.
- Quotes
The Doctor: Ah! Good morning, good morning, good morning! And how is my little patient today?
Oliver: Just fine, thank you, doctor. This is my friend, Mr. Laurel.
The Doctor: I hope I find you well?
Stanley: Thank you, ma'am.
- Crazy creditsThe original MGM credits were replaced around 1937 for a reissue in which the names of the director and others were removed. The Film Classics reissue, based on the 1937 reissue (and issued on DVD), removed all references to MGM although the opening lion can still be heard on the soundtrack.
- Alternate versionsThe original print of this film is probably lost. The available version (also on DVD) is a Film Classics reissue print derived from an MGM 1937 reissue when the director and technical credits were removed. The Film Classics version also removed the MGM lion, although it can still be heard on the soundtrack.
- ConnectionsEdited into The Best of Laurel and Hardy (1968)
Featured review
Changing perceptions
When the Lumiere brothers first started exhibiting motion pictures in the 1890's, one of their first subjects was train coming into a train station. Their audience dashed for the exits, feeling the train would run them over. This seems silly to us now but it gives an indication of the adjustments to our thinking that are necessary to enjoy a film.
At the end of "County Hospital" there is a singularly ineffective sequence involving a wild car ride through crowded city streets: Laurel is driving but is falling asleep due to a misplaced hypodremic needle. Oliver is in the back seat and can do nothing but hope for the best. The entire scene is back-projected, save for one shot of the car skidding and twisting around on an oil slick on what appears to be a suburban street with no traffic: then we go back to the crowded city street being projected behind the boys. It's not wild at all because it's totally unreal, like a carnival ride. In the old silent days, (before there were unions and ordinances against filing dangerous stunts on the streets), this would have been done much better.
Today it looks ridiculous and has no comic impact at all, except for the amusing ending where the car had been punched into an L-shape that can only go around in circles. But was it seen differently then? Did 1932 audiences look at this and accept it at face value and thus find it funnier than it looks today? These days, almost no back projection is used because we've trained our eyes to recognize it. (The sequence with Grace Kelly and Cary Grant in "To Catch a Thief" doesn't work as well now as it must have in 1955 for this reason).
Frankly, I like L&H's verbal humor more than their physical humor. They were among the first comics to create humor through their personalities rather than the crude slapstick that had dominated the silent cinema and this was accommodated, rather than inhibited, by sound.
At the end of "County Hospital" there is a singularly ineffective sequence involving a wild car ride through crowded city streets: Laurel is driving but is falling asleep due to a misplaced hypodremic needle. Oliver is in the back seat and can do nothing but hope for the best. The entire scene is back-projected, save for one shot of the car skidding and twisting around on an oil slick on what appears to be a suburban street with no traffic: then we go back to the crowded city street being projected behind the boys. It's not wild at all because it's totally unreal, like a carnival ride. In the old silent days, (before there were unions and ordinances against filing dangerous stunts on the streets), this would have been done much better.
Today it looks ridiculous and has no comic impact at all, except for the amusing ending where the car had been punched into an L-shape that can only go around in circles. But was it seen differently then? Did 1932 audiences look at this and accept it at face value and thus find it funnier than it looks today? These days, almost no back projection is used because we've trained our eyes to recognize it. (The sequence with Grace Kelly and Cary Grant in "To Catch a Thief" doesn't work as well now as it must have in 1955 for this reason).
Frankly, I like L&H's verbal humor more than their physical humor. They were among the first comics to create humor through their personalities rather than the crude slapstick that had dominated the silent cinema and this was accommodated, rather than inhibited, by sound.
helpful•93
- schappe1
- Jun 3, 2006
Details
- Release date
- Country of origin
- Official site
- Language
- Also known as
- Hospital provincial
- Filming locations
- Production company
- See more company credits at IMDbPro
- Runtime19 minutes
- Color
- Aspect ratio
- 1.37 : 1
Contribute to this page
Suggest an edit or add missing content