Hellen I like the storyline of this show,it attract me so much

KnotMissPriceless Why so much hype?

Dirtylogy It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

Rosie Searle It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

csrothwec I watched "The Bohemian Girl" some months ago after having recorded it (together with this offering) from a TV channel which specialises in showing old black and white films and which was showing a season of Laurel and Hardy films (shorts and feature length). I was left so dismayed and downhearted at the sheer awfulness of "The Bohemian Girl" that I could not facing watching this (also the object of many adverse reviews) immediately afterwards, fearing what it would do to my standing as a fervent admirer of Laurel and Hardy for the best part of fifty years! I finally summoned up the courage to do this, however, and, most regrettably, found this to be almost as dire as "TBG"! First of all (just as with "The Girl"), there are the absolutely ghastly, atrocious and instantly forgettable third-rate songs performed by fourth-rate singers with which the film is FAR too interspersed. As soon as each song begins, you just want it to end and be over with as soon as possible so that the people who form the only possible reason for you wanting to watch this junk can appear. Equally as regrettably, however, even the appearances by the Boys are well below par and almost all of their scenes were lacking in invention, pace, new gags and even basic humour, I found. From the very first scene with them in and their drilling holes in the floor of the "cheese shop" right through to the very final scenes of "the Gypsy songs and dances" (dire, dire, dire), I just failed to find them funny and most of the gags (object falling at irregular intervals on Ollie's head, the pokes in the eye, the double-takes etc etc. were all just stale and lacking in humour. The low point of all (among many) was when they wee carrying the piano over a chasm and the "monkey" appears - just totally cringe-worthy. The ONLY scene I enjoyed was when Stan was trying to get brandy off the St Bernard -and not because of Stan, but because of the great training the DOG had obviously undergone! An experience to be forgotten as quickly as possible and for which the only antidote is a double viewing of "Sons of the Desert"!

TxMike I've watched movies for over 50 years now, and I like to muse over the "why" of movies. This particular one, it seems, was made to give audiences yet another opportunity to see these two funny men in funny situations. Much like the Martin and Lewis movies that came a bit later. The story and other characters are not important.Stan Laurel plays Stan Laurel and Oliver Hardy plays Oliver Hardy. This adventure has them going to the Swiss Alps to sell mousetraps. I suppose it has to do with the legend that mice like cheese, and there is lots of Swiss cheese there.The movie has many of the usual clichés of the time. We see the inside of a shop and there is a large wedge of Swiss cheese prominently displayed. There is the St Bernard dog with the small cask of brandy hanging from its neck. More puzzling is the gorilla.This movie contains the famous scene of Laurel and Hardy hired to move a piano. It involves crossing a very droopy and seemingly unsafe suspension bridge across a mountain ravine thousands of feet deep. The gorilla shows up to make the crossing more perilous.Nothing but a fluff of a story, but a good reminder of what 1930s cinema was all about. The run time is listed as 72 minutes but on the TCM channel today it was closer to 64 minutes.

Neil Doyle I can't see what all the moaning is about when it comes to the musical moments in SWISS MISS. So the music isn't exactly up to the standards of a Rodgers & Hart, but who cares? It's LAUREL and HARDY who carry the main weight of the story with occasional interludes from WALTER WOOLF KING as a frustrated song composer and DELLA LIND as a light soprano who actually has a very nice voice and operatic vocal range.The boys are the whole reason for watching, that's for sure. And why not? They have some classic moments--Stan putting over a clever deception on the St. Bernard dog by throwing a snow of feathers over himself and lying down to pretend he's in need of rescue--after several attempts to take the brandy from the dog's neck. Or the boys assigned to take the piano to a higher perch in the mountains where Woolf can compose his masterpiece without any interruptions. Naturally, they have to negotiate a flimsy rope bridge over a deep gorge, which leads to the kind of mishaps the duo are famous for--including a gorilla who returns at the end of the film for a final joke.It passes the time pleasantly with some picturesque looks at a Swiss village and Tyrolian garb from the cast members, which includes ERIC BLORE in a minor role. He's rather wasted here, but still the film is good fun for L&H fans.

SnorrSm1989 Laurel and Hardy-fans are easily spoiled. Having made such masterpieces of mirthmaking like HELPMATES and WAY OUT WEST, it is easy to dismiss SWISS MISS as a rather minor work. Perhaps that is the case; but only, I think, when seen in relation to the very best of the Boys' output in the 1930s. Boss Hal Roach tended to have a different view on public taste than Stan Laurel; arguing that audiences preferred not to be fed with gags and slapstick for an entire hour on end, Roach reportedly ordered several of his comedies to include so-called subplots, romances involving other characters than the feature's main comedians. This was clearly a decision inspired by the output of comedians from larger studios; the Marx Brothers and W.C. Fields were also cast in such films, much to their frustration. Whether or not Roach's view was accurate for its time, these subplot-comedies have generally aged much less vigorously than features in which our favorite comedians are allowed to do their act throughout all the reels. In SWISS MISS, the subplot involves a handsome opera singer named Victor Albert (Walter Woolf King), whose desire to work in his hotel suite is constantly put to task by his annoying wife Anna (Grete Natzler). As Mr. Albert's profession suggests, we are treated with several musical numbers. While this subplot is not necessarily less interesting than other subplots from comedies of the same era, that really isn't saying much; one longs for Laurel and Hardy to turn up while they are absent. Stan Laurel is reported to have complained about the singing acts himself during production. The combination of comedy and operetta is less effective here than in, say, the earlier film THE DEVIL'S BROTHER.However, while one may find the subplot rather unnecessary or even annoying at times, Laurel and Hardy themselves are no less delightful here than usual, when given screen time. Here, they try their luck (or defy their obvious lack of luck) in Switzerland selling rat traps; a simple plot with plenty of potential for comic invention, which is utilized in several hilarious sequences. There is the rather famous scene having the Boys doing a noble attempt to deliver a piano over a suspension bridge when a gorilla turns up; the projection-work may not be very convincing, even by 1938-standards, but this is hardly of much significance, as it is the performances of Stan and Ollie which grab our attention. Also particularly memorable is the part with Stan coaxing brandy from a St. Bernard; the similarity between Laurel and former silent comedy great Harry Langdon has hardly ever been more evident than here, especially as this scene is nearly a solo performance from Stan, omitting the presence of the dog. The bit with the "snow" had me howling with laughter. All in all, SWISS MISS is certainly worth the time of any Laurel and Hardy-fan, spoiled though we may be; but newcomers should check out certain other titles first.