This final volume of Stooge shorts is interesting on two levels. First, it represents the transition from the Shemp Howard years to the Joe Besser years, with many familiar plots and gags being lifted from older comedies. Some of these patchwork shorts are very clever: OF CASH AND HASH is a slick reworking of SHIVERING SHERLOCKS; CREEPS is probably better remembered than its inspiration THE GHOST TALKS. BLUNDER BOYS, an amusing parody of "Dragnet," is noteworthy for using entirely fresh material (even if the battlefield "exterior" looks like it cost five dollars to stage).
But this set is even more interesting to film buffs, as a living record of the end of an era, and as a fascinating exhibition of creative film editing. SCHEMING SCHEMERS deserves a special Oscar for the editing, with footage from three older comedies spliced into the new material. By the time Joe Besser joined the Stooges in 1956, two-reel short subjects were 99% extinct, and only Columbia and the Stooges were still making them. This actually had a liberating effect on the series. There is a new, free-wheeling, we-don't-care spirit about these last shorts that is missing from the half-hearted, script-bound remakes of the mid-fifties. The budgets are at a new low and the action is milder, but the Stooges are more relaxed and they improvise freely: Larry reciting Hamlet's soliloquy while chewing gum is a lunatic moment from FIFI BLOWS HER TOP; Joe scores in a shipping-room routine in MUSCLE UP A LITTLE CLOSER; Moe abandons his bossy role for dialect character comedy in SWEET AND HOT. There are many inside jokes for fans: OIL'S WELL THAT ENDS WELL slips in a reference to writer Felix Adler; SAPPY BULLFIGHTERS has a poster headlining one Julio Blanco -- namely, producer-director Jules White; and more than one short shamelessly plugs Columbia's feature films then playing in theaters! The writers experiment with new ideas (including references to science-fiction and rock-and-roll), familiar ideas (the usual slapstick with pies, shotguns, and other weapons), and even ancient ideas (SWEET AND HOT sets the Stooges' act all the way back to 1934's WOMAN HATERS, with the same screenwriter again casting the trio as three unrelated characters in a musical comedy). The final Stooge short filmed, FLYING SAUCER DAFFY, was actually recorded in stereo; Columbia does have a broadcast video master in stereo, and hopefully it will be included in this DVD set. (Update: It isn't; Richard Gallagher of Home Theater Forum confirms that the track is mono. However, Mr. Gallagher raves about the picture and sound quality throughout the entire set.)
True, you will see plenty of old material repeated throughout this set, but there are also some new routines that you'll only see here. Fully half of the Joe Besser shorts were filmed from scratch, with new, original stories and no recycled scenes. You'll also recognize Columbia regulars Emil Sitka, Gene Roth, Philip Van Zandt, Benny Rubin, George J. Lewis, Harriette Tarler, Joe Palma, and Frank Sully supporting the Stooges. If you've never bothered much with these later Stooge shorts, give them a try. These seasoned comedians still have plenty of gas in the tank.