| One Good Turn | |
| Director: | James W. Horne |
| Producer: | Hal Roach |
| Starring: | Stan Laurel Oliver Hardy |
| Music: | Marvin Hatley Leroy Shield |
| Cinematography: | Art Lloyd |
| Editing: | Richard C. Currier |
| Distributor: | Metro-Goldwyn-Mayer |
| Runtime: | 20' 35" |
| Country: | United States |
| Language: | English |
One Good Turn is a 1931 American Pre-Code short comedy film starring Laurel and Hardy. This film was the first Laurel and Hardy film to feature support from Billy Gilbert.
In the midst of the Great Depression, Stan and Ollie find themselves in dire circumstances, resorting to begging for sustenance. Their plight takes a fortuitous turn when a benevolent elderly woman offers them sandwiches, providing a brief respite from their hunger. However, their relief is short-lived as they overhear news of the elderly woman facing eviction due to an alleged robbery and subsequent inability to fulfill her mortgage obligations.
Misinterpreting the situation, Stan and Ollie mistakenly believe the elderly woman's plight to be genuine and decide to take action to assist her. In a gesture of solidarity, they opt to sell their car to raise funds to aid her cause. However, their noble intentions are complicated when, during an auction, a drunken individual clandestinely places a wallet into Stan's pocket, leading to a misunderstanding and accusations of theft from Ollie.
Upon their return to the elderly woman's residence, the truth is revealed, dispelling the misconceptions surrounding the alleged robbery. Despite the resolution of the misunderstanding, Stan seizes the opportunity for retaliation against Ollie for his earlier accusations.
Stan Laurel's daughter, Lois, harbored a fear of Oliver Hardy, whom she affectionately referred to as "Uncle Babe." This apprehension stemmed from the frequent scenes in Laurel and Hardy films where Hardy's character would hit her father. In response to his daughter's discomfort, Laurel wrote a scene in which his character would deliver a blow to Hardy's character, thus reversing the roles and providing a sense of satisfaction for Lois.[1]