Noche de duendes (1931)

51 mins | Comedy | 1931

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HISTORY

This film, which was also released under the title Deudos y duendes, was an expanded version of a 1930 short made by Stan Laurel and Oliver Hardy entitled The Laurel-Hardy Murder Case. It also included reworked scenes from their 1929 short Berth Marks. The German version of the feature, entitled Der Spuk um Mitternacht, included Otto Fries as the conductor, and the French version, Feu mon oncle, featured Jean de Briac as the detective. Some modern sources list La maison de la peur as the title of the French version. No U.S. screenings of the German or French versions have been located. For more information about Laurel and Hardy's career together and their foreign language films, please see entry for Pardon Us. ...

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This film, which was also released under the title Deudos y duendes, was an expanded version of a 1930 short made by Stan Laurel and Oliver Hardy entitled The Laurel-Hardy Murder Case. It also included reworked scenes from their 1929 short Berth Marks. The German version of the feature, entitled Der Spuk um Mitternacht, included Otto Fries as the conductor, and the French version, Feu mon oncle, featured Jean de Briac as the detective. Some modern sources list La maison de la peur as the title of the French version. No U.S. screenings of the German or French versions have been located. For more information about Laurel and Hardy's career together and their foreign language films, please see entry for Pardon Us.

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DETAILS
Alternate Titles:
Deudos y duendes
Feu mon oncle
The Laurel-Hardy Murder Case
Release Date:
1931
Premiere Information:
San Juan (Puerto Rico) opening: 16 Oct 1930; Los Angeles opening: 16 Jan 1931; Madrid opening: 23 Jan 1931
Production Date:

Physical Properties:
Sound
Sistema Western Electric [Western Electric System]
Black and White
Duration(in mins):
51
Length(in reels):
5
Country:
United States
Language:
Spanish
SYNOPSIS

While enjoying a quiet day of fishing from a pier, Oliver Hardy reads a notice in a newspaper requesting that relatives of a deceased millionaire, Mr. Laurel, attend the reading of his will. Presuming that the millionaire was an uncle of Ollie's friend, Stan Laurel, Ollie takes Stan on a train to Chicago, where they hope to complete the necessary proceedings to achieve riches the fast way. Upon entering the deceased's gloomy mansion, they are informed by a detective that Laurel was murdered and that no one is allowed to leave the mansion until the case is closed. During the night, Stan and Ollie experience a variety of terrors associated with haunted houses: sliding panels, floating bed sheets and bats disturb their attempts to sleep as the murderer rapidly reduces the number of heirs. Just as Ollie is about to be stabbed to death by a sinister hand, he wakes up in fright on the edge of the pier. His nightmare begins to fade, but the inheritance also ...

More Less

While enjoying a quiet day of fishing from a pier, Oliver Hardy reads a notice in a newspaper requesting that relatives of a deceased millionaire, Mr. Laurel, attend the reading of his will. Presuming that the millionaire was an uncle of Ollie's friend, Stan Laurel, Ollie takes Stan on a train to Chicago, where they hope to complete the necessary proceedings to achieve riches the fast way. Upon entering the deceased's gloomy mansion, they are informed by a detective that Laurel was murdered and that no one is allowed to leave the mansion until the case is closed. During the night, Stan and Ollie experience a variety of terrors associated with haunted houses: sliding panels, floating bed sheets and bats disturb their attempts to sleep as the murderer rapidly reduces the number of heirs. Just as Ollie is about to be stabbed to death by a sinister hand, he wakes up in fright on the edge of the pier. His nightmare begins to fade, but the inheritance also vanishes.

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GENRE
Genre:


Subject

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.