HomeReviewsAll Curly All The Time: Review of 97 Three Stooges Shorts

All Curly All The Time: Review of 97 Three Stooges Shorts

Reviews Of 97 Three Stooges Shorts. Please go through it till the end!

A trio of comedians made a lasting impression on popular culture in 1934. Producer Jules White skillfully guided Moe Howard, Larry Fine, and the brilliant Curly Howard into the Columbia Short Subjects Department.

After making their Columbia debut a year earlier, the Three Stooges were under the skillful direction of slapstick master Del Lord, and they soon found their comic rhythm in the two-reel comedy genre.

Also Read: Blu-Ray Review: Martin Scorses’s World Cinema Project No. 3, From The Criterion Collection

Review of 97 Three Stooges Shorts: Summary Of All

It was September of 1969 when I met the Stooges, thanks to Kansas City’s KMBC. I first became aware of the wild world of the Three Stooges when I was five years old, thanks to the beautiful movie “We Want Our Mummy.”

The whole experience was a joyful whirlwind, from the opening scene to the ending credits. It was pretty magical to watch Moe, Larry, and Curly’s antics; it was an engaging experience that left me wanting more.

The Three Stoogies
The Three Stooges.

The live-action cartoon brilliance of Moe, Larry, and Curly was far superior to that of the popular Flintstones, which aired on weekday afternoons and followed the Stooges.

Their energetic performances brought the screen to life, a symphony of sight gags and sound effects with unmatched charm.

When I was five years old, the Stooges were my idols in real life, surpassing even the most impressive animated shows that could be found on TV.

It was no coincidence that the Three Stooges remained popular on television and in films. Their distinct style of physical humor flourished in brief, energetic bursts, and the two-reel format proved the perfect medium.

Every farcical masterwork that Del Lord helmed became an homage to their comic genius, winning over crowds and cementing their status as entertainment icons.

During my early years, everything was always “All Curly, All the Time.” The two-reelers with Curly Howard were always there, no matter where I moved or what TV station I watched.

Shemp, Joe, and Curly Joe made sporadic appearances in the mid-1970s, but the magic stopped with Curly’s stroke in 1946.

My taste in humor changed as I got older, favoring the Marx Brothers, Laurel & Hardy, Chaplin, and Keaton above the Stooges. The show continued, but it was simply not the same without Curly.

Since local TV had stopped airing Moe, Larry, and Curly, their antics became more available with the advent of home video in the early ’80s, which renewed my fascination with them.

The Stooge comeback on home video coincided with Jump ‘n the Saddle Band’s 1983 smash “The Curly Shuffle,” which peaked at #15 on the Billboard Hot 100.

All of the Curly masterpieces had been released on VHS by Columbia by 1996, which filled in the blanks in my boyhood.

Their whole discography from 1934 to 1959 is now easily accessible to us thanks to streaming services and DVDs.

Fifty years after my first Stooge encounter, I have revisited the golden Curly interval, providing summaries and a four-star rating system for each of the 97 shorts.

Though much has been written about the squad, I hope to offer novel ideas and bring back fond memories. Let the Golden Age of Stoogery begin right now!

Woman Haters (May 5, 1934)

Larry takes an unexpected lead at their Columbia premiere, and his dialogue rhymes endlessly.

This pre-code musical gem is enjoyable despite its unlucky beginning, mainly because of Marjorie White’s chemistry with the three and the timeless song “My Love, My Life, My All.” Expert cinematography is provided by the late great Joseph August.

The next two-reeler offers a giant leap ahead, though it’s not the worst.

Punch Drunks (July 13, 1934)

Punch Drunks may not have had “Pop Goes the Weasel” as their theme song, but they should have.

This first Stooge classic is a hilarious knockout that features Moe, Larry, and Curly’s ageless characterizations. This 17-minute gems, originally titled A Symphony of Punches, makes Woman Haters seem like a simple audition.

Punch Drunks
Punch Drunks

Seeing Arthur Housman in a rare, sober state is a pleasant surprise. Interestingly, Punch Drunks was the only Stooge short to be included in the Library of Congress’s National Film Registry when it did so in 2002.

Men in Black (September 28, 1934)

“Calling Dr. Howard, Dr. Fine, Dr. Howard!”

Faster than Punch Drunks but almost too intense, the Stooges’ first Oscar-nominated short (which lost to La Cucaracha) paves the way for hits like Calling All Curses and Dizzy Doctors.

Even with their abundance of laughter, Moe, Larry, and Curly appear a little reserved. Men in Black features some great moments but doesn’t show off the Stooges to their full entertaining potential.

Three Little Pigskins (December 8, 1934)

This comedy set during the depression’s-era conveys the spirit of classic Stooges humor in its early moments. However, the anticipated football climax isn’t as funny as it could be; No Census, No Feeling is funnier.

Though Phyllis Crane, Lucille Ball, and Gertie Green are all given billing, it’s puzzling that Columbia fails to give comic heavyweight Walter Long credit for his one and only Stooge performance.

Horses’ Collars (January 10, 1935)

In this fifth Columbia short, Curly steals the show and keeps the audience laughing nonstop. Horses’ Collars includes a few slow spots, but overall, it’s funnier than the three of them have done before.

It’s a lovely touch to have “B-western” heavyweight Fred Kohler as Double Deal Decker. Although Clyde Bruckman’s career as a director was cut short by drunkenness, he made a lasting impression with Horses’ Collars, directing his lone Stooge two-reeler with great style.

Restless Knights (February 20, 1935)

This medieval spoof gains grandeur from the settings borrowed from Boris Karloff’s The Black Room, but the tempo is a letdown, and the unsatisfactory resolution is unsatisfying.

Even with humorous moments such as the wrestling fight between Moe and Curly and the endearing Walter Brennan, one can’t help but hope for a more satisfactory conclusion for Restless Knights.

Notably, it’s the first time director Charles Lamont and actor Stanley Blystone have appeared in a Stooge film.

Pop Goes the Easel (March 29, 1935)

Del Lord is perfection! Lord stands out among Columbia filmmakers for creating the fastest two-reels ever and broadening the trio’s comic aesthetic.

Pot Goes The Easel
Pot Goes The Easel

Pop Goes the Easel’s tempo gives the impression that Restless Knights was shot in slow motion. For the veteran of Mack Sennett, it was an unforgettable start, but Del and the Stooges were only getting started.

Possibly the first clay fight ever shown in a movie.

Uncivil Warriors (April 26, 1935)

Curly: “I was lost! All by myself!”

It’s one of my all-time favorite opening shots from a Stooge classic. Del Lord’s savvy direction is matched with Felix Adler’s hilarious screenplay.

Even though Curly is a genius, Moe and Larry have a great showing in the Civil War comedy. Bravo, particularly, to Bud Jamison for his role as Colonel Buttz.

The last movie where the Stooges appeared in studio promotional materials under the names “Howard, Fine, and Howard.”

Pardon My Scotch (August 1, 1935)

While Moe, Larry, and Curly have everything needed for whiskey distribution, high society is still a different story.

This exquisitely made two-reeler extends the winning streak for Del Lord. Among the many highlights is Curly’s portrayal of “The Dance of the Rolls” during supper, which is followed by Moe’s obscene use of breadsticks.

James C. Morton, a well-known supporting actor in the Stooges stock company, was given screen credit for this brief role.

Hoi Polloi (August 29, 1935)

Professor Richmond: “I reiterate that environment is the keynote of social distinction.”

Professor Nichols: “Nonsense! Heredity is the backbone of social life.”

If you enjoyed the comedy of Dan Aykroyd and Eddie Murphy in Trading Places (1983), you’ll be comfortable with Stooge’s journey into social satire.

 Hoi Polloi
Hoi Polloi

Among the two-reelers on the team, it is exceptional and surpasses the historically pensive Half-Wits Holiday.

Packed with comedic moments, such as a crazy dance class with Geneva Mitchell that was eventually reused in 1941’s In the Sweet Pie and Pie, it also has an uncommon underscore for a short film directed by Del Lord.

Three Little Beers (November 18, 1935)

Easy Street, Cops, and The Music Box are legendary comedic shorts that Three Little Beers can easily compete with.

Moe, Larry, and Curly provide a riotous climax evoking memories of Buster Keaton’s What! No Beer? (1933), capping off an incredible comedic coup. Not anything less than a miniature masterpiece is the result.

Del Lord and the Stooges have effortlessly nailed their slapstick niche with four consecutive outstanding two-reelers.

Ants in the Pantry (February 6, 1936)

An encouraging start to Jack White’s (formerly known as Preston Black) inspirational but regrettably brief directorial career at Columbia.

Jack White is Jules White’s older brother. After debuting as “pest men,” The Stooges return to high society and navigate through pandemonium.

Unfortunately, the “fox hunt” that is tacked on adds little value, and the movie might have ended at 16:27. Thankfully, Termites of 1938 exhibits a substantial advancement, culminating in a more gratifying resolution.

Movie Maniacs (February 20, 1936)

More: “There’s a couple of thousand people in pictures who know nothing about it. Three more won’t make any difference. “

As the three storm into “Carnation Pictures,” Del Lord gains command and causes mayhem in Movie Maniacs. Even if the movie has everything, a satisfying ending is elusive—a problem that often arises in the Curly era.

This playful look at old Hollywood is evocatively captured on the Columbia backlot. In one of his best parts ever, character actor Harry Semels plays the irritated director Cecil Z. Swinehardt.

Half Shot Shooters (April 30, 1936)

As the three storm into “Carnation Pictures,” Del Lord gains command and causes mayhem in Movie Maniacs.

Even if the movie has everything, a satisfying ending is elusive—a problem that often arises in the Curly era.

Half Shot Shooters
Half Shot Shooters

This playful look at old Hollywood is evocatively captured on the Columbia backlot. In one of his best parts ever, character actor Harry Semels plays the irritated director Cecil Z. Swinehardt.

Disorder in the Court (May 30, 1936)

Moe’s response to Larry’s jungle yell (followed by the proverbial slap): “You’re in a court, not in the woods, Tarzan.”

The ultimate Stooge classic, Disorder in the Court, has outstanding performances by Moe, Larry, and Curly and a noteworthy supporting cast.

The best work to date from directors Preston Black and Jack White, it’s the only Curly short to be shown in real time without dissolves or wipes.

The Volume One: 1934-1936 DVD has excellent print quality, especially considering the decades-long history of poor public domain editions. A personal fave.

A Pain in the Pullman (June 27, 1936)

Titled as “Stooges on a Train,” this outstanding film starred Preston Black and Jack White is evidence of his incredibly chaotic directing style.

A Pain in the Pullman is a mainly hilarious comedy with a unique touch of a pet monkey thrown in. James C. Morton and Bud Jamison’s presence emphasizes their importance to the Stooges stock firm.

False Alarms (August 16, 1936)

False Alarms, Del Lord’s best short of 1936, doesn’t have an iconic set piece, but the chuckles it offers more than makeup for it.

The firefighting Stooges try to fix Captain Stanley Blystone’s car in John Grey’s original screenplay, which ups the comic ante. Particularly when contrasted with his portrayal of a vicious sergeant in Half Shot Shooters, Blystone’s part is noticeably better.

There is no denying Del Lord’s influence in the crazy vehicle chase through Los Angeles. False Alarms also demonstrates why, in situations without Curly, Moe and Larry form a fantastic comedic duo.

In retrospect, “The Two Stooges” would have made sense following Shemp’s passing in 1955. (No issue, no Besser.)

Whoops, I’m an Indian! (September 11, 1936)

There’s humor in store whenever the Stooges step outside. The film’s highlight is the sequence where Curly goes fishing, and Bud Jamison, who plays Pierre so well, gives one of his best performances ever.

Whoops, I’m an Indian! is a disappointment due to its abrupt finale, but it had the potential to be a Stooge classic. Unfortunately, a lost or decomposed negative means that the print quality is not as sharp as other Columbia two-reelers.

Still, there’s always the chance that a perfect 35mm print will be found.

Slippery Silks (December 27, 1936)

In Slippery Silks, Preston Black/Jack White returns to provide a taste of high-society humor.

After a few viewings, the uneven short starts to grow on you. The cream-puff fight takes center stage, outshining even In the Pie and Sweet Pie.

Interestingly, Symona Boniface and Vernon Dent relish their first major parts in the Stooges stock company.

Grips, Grunts and Groans (January 15, 1937)

Curly: “If I’m gonna get beat up, I wanna get paid for it!”

Punch Drunks, Grips, Grunts, and Groans has been updated so that it is full of hilarious energy and beautiful interactions between Curly and Larry.

Grips, Grunts and Groans
Grips, Grunts and Groans

One of the best Stooge endings is the hilarious wrestling conclusion. Even though it might not be as iconic as Punch Drunks, this short is hilarious and moves quicker.

Dizzy Doctors (March 19, 1937)

Moe, Larry, and Curly demonstrate their sales skills in a Stooge classic that ranks among the top ten.

Dizzy Doctors, one of the fastest two-reelers in movie history, demonstrates Del Lord’s directing talent as it moves at breakneck speed.

No frames are lost in Charles Nelson’s flawless editing, which won an Academy Award for Picnic in 1956. I haven’t yet seen a quicker-paced comedy short on my screen.

3 Dumb Clucks (April 17, 1937)

A worthy 1937 effort from Del Lord, albeit his poorest one—second-rate Stooges are better than none at all. Not a dull moment occurs, and Curly is excellent in his one and only dual part.

For the climax, which required a grandiose sight joke (the flagpole climb fails miserably), it’s unfortunate Del didn’t have a larger budget.

It’s one of those infrequent shorts where Curly’s hairpiece stunt duplicate is completely haired.

Back to the Woods (May 14, 1937)

“Back to the Woods,” Preston Black and Jack White’s last film as directors of the Stooges, may be a little long, but the humor never stops.

An unexpected delight is added by the deft reuse of “Whoops, I’m an Indian!”‘ s finale. A two-reeler is a hidden gem that gets better with time. Ideal for watching on Thanksgiving.

Goofs and Saddles (July 2, 1937)

There is just one dance when it comes to card decks: the “Curly shuffle.” Favorite Stooge Western Del Lord’s Victory has good production values, fun supporting work from Stanley Blystone, and surprisingly few slaps.

A 1937 masterpiece with hilarity on par with “Dizzy Doctors.”

Cash and Carry (September 3, 1937)

“Gee, Mr. President, you’re a swell guy!”

“Cash and Carry” is a true rarity because of its unusual fusion of New Deal optimism, unexpected sentimentality, and slapstick humor.

A captivating cinematic experience is produced by Lucien Ballard’s lensing in combination with Del Lord’s directing. Although I like its quirky nature, I’m glad the Stooges didn’t go for more two-reels along these lines.

In his invaluable 2017 work, “Hokum!: The Early Sound Slapstick Short and Depression-Era Mass Culture,” Rob King explores the nuances of “Cash and Carry.”

Playing the Ponies (October 15, 1937)

A welcome change of pace for the Stooges, with a memorable concluding shot, a gratifying happy ending, and a Larry spotlight.

Unlike the Marx Brothers’ overly drawn-out “A Day at the Races,” there are no lingeringly uncomfortable musical numbers here.

The second and last film directed by Charles Lamont about Stooge is a significant step up from the drab “Restless Knights.”

The Sitter Downers (November 26, 1937)

Every once in a while, a promising Stooge comedy is ruined by brevity. This adaptation of Buster Keaton’s housebuilding story, “One Week,” ends abruptly at the fifteen-minute point and lacks the spectacular ending of Buster’s 1920 masterpiece.

Still, there’s much to enjoy because of an excellent supporting cast.

Termites of 1938 (January 7, 1938)

The directing of “Termites of 1938” by Del Lord is influenced by co-producer Charley Chase, a comic genius who was moving to Columbia from Hal Roach Studios after fifteen years.

The film’s attractiveness is enhanced by its undertones, especially in the soundtrack. The results of Moe, Larry, and Curly’s unintentional escort roles are utterly fantastic.

Bess Flowers makes an unforgettable Stooge debut, and the gopher bomb-themed ending is a well-earned finale.

Wee Wee Monsieur (February 18, 1938)

I remember watching “Wee Wee Monsieur” as one of my first Stooge cartoons because of its catchy title. Just the timeless picture of Moe, Larry, and Curly as the Three Santas is reason enough to gain entry.

It stands out from other Stooge comedies because of the unique touch of setting the group in the French Foreign Legion. Vintage fun in the Del Lord mold.

Tassels in the Air (April 1, 1938)

This is the first of five short films directed by Charley Chase, and it features a lovely chemistry between Chase and the Three Stooges.

Curly’s passion is centered on tassels rather than cheese or perfume. The trio’s mishap enhances the humorous charm of their role as interior decorators for the nouveau riche (Bess Flowers and Bud Jamison).

Despite being a Stooge favorite, the experience is somewhat ruined by the film’s ambiguous conclusion, which is indicated by a hurried jump cut in the last frame. Notably, it’s the first time veteran producer Hugh McCollum has been credited with a Stooge.

Healthy, Wealthy, and Dumb (May 20, 1938)

The laughter never stops, and Del Lord’s direction keeps this set-bound Stooge adventure from feeling constrained.

“Healthy, Wealthy and Dumb” has the luxury of a generous 16 minutes, but the startlingly quick finish is the lone letdown.

I don’t think “A Missed Fortune” (1952) is all that great, but the Shemp version at least has a more satisfactory ending.

Violent is the Word for Curly (July 2, 1938)

Imagine the Stooges negotiating the world of academia; it’s an odd and entertaining scenario.

This concludes the most significant period of the Charley Chase era, which is most remembered for Moe, Larry, and Curly’s iconic performance of “Swingin’ the Alphabet.”

The gas station set utilized here is the same as in Chapter Four of Columbia’s 1938 serial “The Spider’s Web,” with the exception that it was called “Dennis Service Station” rather than “Acme.” There are many jokes and excellent service throughout.

Three Missing Links (July 29, 1938)

Jules White directs a spirited debut as the Stooge, acknowledging Monte Collins for one of his best-supporting turns.

Even while “Three Missing Links” may not rank as the most excellent Stooge entry, the turmoil in the forest becomes endearing after a few viewings. Curly is still a comic powerhouse, even when dressed as a gorilla.

Mutts to You (October 14, 1938)

An all-time favorite for kids, also referred to as “Three Stooges and a Baby,” is notable for its creativity, especially the dog-washing machine.

This short has a pleasantly unconventional touch, thanks to director Charley Chase. Notably, it has a rare happy ending and is one of the less violent Curly two-reels.

See whether “Queen of the Hollywood Extras,” Bess Flowers, gets a screen credit, a rare occasion in the Stooge comic canon.

Flat Foot Stooges (December 5, 1938)

After three entertaining shorts, Charley Chase stumbles in “Flat Foot Stooges.” It is everywhere, and not in a positive sense.

Although a few memorable scenes add a strange element, such as the duck that eats explosives, Chase’s one and only Stooge screenplay seems out of place.

The conclusion is puzzling and a significant downgrade from the firefighting shenanigans of “False Alarms.”

Three Little Sew and Sews (January 6, 1939)

Curly: “Gasoline don’t taste so good since Prohibition. They ain’t so careful like when they use it for makin’ gin.”

As the guys enlist in the Navy as tailors and inadvertently become involved with spies and a top-secret submarine, Del Lord wins with yet another Stooge masterpiece.

Curly rivals Chaplin in his pantomime skills, and the “black” finale has the hilarity of a Warner Bros. cartoon. “Three Little Sew and Sews” marks the beginning of the Stooges’ incredible three-year creative zenith.

We Want Our Mummy (February 24, 1939)

The Stooges’ first horror parody, a true classic, centers on Moe, Larry, and Curly’s search for King Rutentuten in Cairo.

Everyone is operating at total capacity thanks to Searle Kramer and Elwood Ellman’s gripping script. Interesting fact: The voice on the cab radio is Moe’s.

This is also the last performance of James C. Morton as the Stooge before he died in 1942.

A Ducking They Did Go (April 7, 1939)

While Del Lord’s follow-up to “We Want Our Mummy” falls short of expectations, “A Ducking They Did Go” is nevertheless lively entertainment.

The colorful cinematography by Lucien Ballard in the pond scenes and The Stooges’ stock company enhance the fun.

The contagious happiness on Curly’s face, as he harmonizes with Bud Jamison, is one particularly memorable moment. Sadly, the “A Pain in the Pullman” repurposed video makes for a lazy conclusion.

Yes, We Have No Bonanza (May 19, 1939)

One of the best Stooge westerns since “Goofs and Saddles,” it’s unfortunate that director Edward Bernds and protagonist Shemp could not capitalize on the early Del Lord production quality.

The scene’s highlight is Curly throwing a humorous rock at Moe during the prospecting scene.

Even though it’s unfortunate, the evident stunt double for Curly during the thrilling chase doesn’t detract from the whole experience.

A wonderful touch is the musical interlude in which The Stooges sing servers.

Saved by the Belle (June 30, 1939)

While not a classic, it is a far cry from Charley Chase’s lackluster “Flat Foot Stooges.” The director’s last two-reeler, Stooge, keeps things lighthearted even if it doesn’t have any really memorable visual gags.

LeRoy Mason and Carmen LaRoux provide solid backing in their respective Stooge roles. All in all, I thought Chase’s unconventional take on Stooge lunacy in his shorts was great.

The team lost a crucial filmmaker in 1940 due to the comedian’s sudden demise.

Calling All Curs (August 25, 1939)

Producer Jules White becomes one of the team’s regular directors at this crucial juncture in Stooge history, eventually supervising more two-reelers than Del Lord and continuing to the end with the 1959 stock-footage compilation “Sappy Bull Fighters.”

A childhood classic, “Calling All Curs,” features Curly at his most gregarious, even taking a rare minute to scold Moe in return.

This pet hospital adventure, complete with dognappers, has all the makings of a Stooge two-reeler, enhanced by Jules White’s directing style.

White’s most remarkable run of hits dates back to the 1939–1940 shorts “Calling All Curs” to “Rockin’ Thru the Rockies.”

Oily to Bed, Oily to Rise (October 6, 1939)

This Stooge classic was a mainstay of our after-school schedule in the early 1970s.

Curly’s wish comes true as the lads help Widow Jenkins fight against scammers on her farm. One particularly memorable scene saw Moe and Larry using Curly as a “human cork” to stop an oil gusher.

Possibly director Jules White’s best short.

Three Sappy People (December 1, 1939)

“The men you want are Doctors Ziller, Zeller and Zoller.”

Once again, Jules White delivers a popular song with “Three Sappy People.”

A perfectly calibrated comedy-slapstick comedy with a first-rate supporting ensemble that includes Don Beddoe, Lorna Gray, and the utterly endearing Ann Doran in her only appearance as the Stooges.

In a rare two-reeler, Jules choreographs an epic pastry fight in which Moe, Larry, and Curly unexpectedly bow out of the last frame.

You Nazty Spy! (January 19, 1940)

“You Nazty Spy!” is a political satire classic released nine months before Chaplin’s “The Great Dictator.” Even though it’s not the Stooges’ best song, the second half of the song had less laughter than the first after Moe’s famous balcony remark.

It feels a little long by Stooge standards at eighteen minutes. But the only sequel from the Curly era, “I’ll Never Heil Again,” excels because of more robust humor, faster pacing, and Moe’s constant Hitler mustache.

Rockin’ Thru the Rockies (March 8, 1940)

“Where are those three sun-baked hams?”

“Rockin’ Thru the Rockies” is a continually humorous two-reeler that surpasses other well-known Stooge classics.

The humor is enhanced by Curly’s intelligence and Kathryn Sheldon’s outstanding performance as Nell.

Unfortunately, this is Sheldon’s only appearance as a Stooge. With so many 1940s shorts available, it could be easy to overlook, but the film keeps a relentless pace and has several iconic moments, including the ice-fishing scene.

A Plumbing We Will Go (April 19, 1940)

My all-time favorite Stooge director is still Del Lord, and “A Plumbing We Will Go” is a hilarious comedy masterwork with Moe, Larry, and Curly at their most outrageous in the Columbia two-reel factory.

As the hapless cook, the incomparable Dudley Dickerson adds his unique touch. “Vagabond Loafers,” the 1949 remake, demonstrates that nothing can top perfection.

Nutty but Nice (June 14, 1940)

The first faux pas in the Stooge direction is Jules White’s emotion, which falls flat, and the “kidnapped father” narrative, which doesn’t work.

The Clyde Bruckman-Felix Adler script is the poorest 1940 short, lacking the customary flair even if Moe, Larry, and Curly shine.

How High is Up? (July 26, 1940)

“Well, it looks like good solid construction.”

In this hilarious Del Lord skit, The Stooges ascend to new comic heights on the 97th level, surpassing Harold Lloyd in skyscraper mayhem with a touch of deft rear projection.

Even with the somewhat drawn-out sweater routine, this is an engaging performance worthy of three ratings.

From Nurse to Worse (August 23, 1940)

With a beautiful blend of dogs and hospital chases, The Stooges explore the world of insurance fraud, with Jules White making a triumphant return.

A lovely touch is Moe’s voice over the police scanner. Unlike the subsequent Curly shorts, Jules skillfully incorporates short bursts of stock video, guaranteeing nonstop entertainment.

No Census, No Feeling (October 4, 1940)

Curly: “Are you married or are you happy?”

The brothers pretend to be census takers for the US government, which results in hilarious side trips and classic Stooges humor.

The football finale is more entertaining than “Three Little Pigskins,” and it’s fun to see Symona Boniface back in the role of the alum-spiked bridge party hostess.

One of the numerous Stooge two-reelers I found in the mid-1980s, Del Lord’s Gem provides the goods.

Cookoo Cavaliers (November 15, 1940)

Jules White’s little-known masterpiece has Curly’s excellent pantomime, enhanced by the lovely Dorothy Appleby, one of the Stooges’ best performers.

A strange continuity error involving a missing dog distracts from the humor, a rare comic achievement focused on a beauty parlor.

Boobs in Arms (December 27, 1940)

Once more, Jules White uses his sorcery to lead the Stooges into a furious conflict full of deadly humor.

A deft adaptation of Laurel & Hardy’s 1935 The Fixer Uppers highlights the distinct comic style of the Stooges.

Richard Fiske, the brash drill sergeant, finds his Stooge groove at the young age of 24.

So Long Mr. Chumps (February 7, 1941)

As our heroes pursue “honest man” Convict #41144, played by Stooge regular Eddie Laughton, Jules White arranges a prison adventure.

The dazzling screenplay by Felix Adler and Clyde Bruckman highlights the director’s skill.

One of the most memorable endings for the Stooges is Curly’s spontaneous rock pile scene, which culminates in a beautiful interplay between Curly and Moe.

Dutiful but Dumb (March 21, 1941)

“I’m positive about the negative, but a little negative about the positive.”

Photographers Click, Clack, and Cluck embark on a hilarious journey to Vulgaria, where picture-taking is unexpectedly forbidden.

In “Dutiful but Dumb,” Curly’s comedic brilliance shines with memorable moments like his oyster stew escapade. Bud Jamison also leaves a lasting impression.

Under Del Lord’s direction, the Three Stooges showcase their comedic prowess at its peak.

All the World’s a Stooge (May 16, 1941)

Despite John Grey’s erratic screenplay, the Stooges are at their best in “All the World’s a Stooge.”

The wild “child refugee” mayhem is overshadowed by the incidents involving the dentists.

All the World’s a Stooge
All the World’s a Stooge

Although Emory Parnell’s portrayal of Mr. Bullion lacks the anticipated charm of Vernon Dent, Leiah Tyler shows herself to be a good sport.

The flimsy ending, in which Mr. Bullion brandishes an axe, is unsuccessful. It’s fun yet flawed.

I’ll Never Heil Again (July 11, 1941)

From a less widely held viewpoint, Jules White’s You Nazty Spy! sequel, I’ll Never Heil Again, is superior to its predecessor.

The movie moves steadily, providing more humor while staying true to Moe Hailstone’s famous “personality” (the Hitler mustache).

Producer Hal Roach denied the concluding picture, which was initially Stan Laurel’s “black” ending for Block-Heads (1938), but it adds a creative touch.

An Ache in Every Stake (August 22, 1941)

There is no denying this Curly Classic’s ageless charm, even for the biggest Stooge fans. The Stooges reimagined Laurel & Hardy’s The Music Box in a masterwork helmed by Del Lord.

While “shaving” ice for Vernon Dent’s birthday supper, Curly reaches hilarious brilliance in a whole new way.

The experience is enhanced by the outstanding supporting ensemble, which includes Bess Flowers in her last significant Stooge role, Gino Corrado, Bud Jamison, and Symona Boniface.

The plot and screenplay are credited to Lloyd French, who directed Stan and Ollie’s Busy Bodies and Dirty Work in 1933.

In the Sweet Pie and Pie (October 16, 1941)

I would really like to give In the Sweet Pie and Pie a perfect four stars, but it’s challenging to overlook Curly’s uncomfortable stunt double during the bunk-bed sequence.

It’s disappointing that needless Hoi Polloi stock footage was used to extend an already long movie.

This calls into question Jules White’s practice of reusing footage as a producer and director. It’s one thing to take inspiration from one’s work, but using a whole sequence by Del Lord without giving due credit seems dubious.

The period is another problem; it seemed reasonable to reuse a scene from Dizzy Doctors in From Nurse to Worse, which was shot only three years prior.

But the 1935 film Hoi Polloi was inserted, causing a discernible six-year lapse.

Some More of Samoa (December 4, 1941)

Curly: “Beat me, Daddy, down to the floor!”

What possibly goes wrong for Moe, Larry, and Curly as tree surgeons on the island of Rhum Boogie? First shown on local TV, this politically incorrect Stooge incident was released on VHS in 1984.

The surreal tropical backdrop makes Some More of Samoa even more pleasant with each viewing. Fantastic things.

Loco Boy Makes Good (January 8, 1942)

In a lovely turnabout, the boys save a quaint older woman’s run-down hotel from foreclosure by revitalizing it into a glitzy nightclub.

The movie ends with a raucous Stooge variety show highlighting the trio’s excellent comic skills. The life of the party, Curly, livens up the dance floor.

Jules White’s direction, in contrast to his later, more forceful approach, is bright and quick.

The Stooges’ explosive three-year creative run is ending, and the new chapter with Curly will be marked by a drop in production values, a decline in timeless classics, some notable shorts, and a few missteps.

Unfortunately, Curly Howard’s declining health in 1945 will highlight this slow decline.

Cactus Makes Perfect (February 26, 1942)

Surprisingly directed by Del Lord, “Cactus Makes Perfect” gets off to a strong start, with Monte Collins playing a motivated Stooge Mom in the opening moments.

But as soon as the three leave their house, the clip becomes less engaging and more like a tired recap of previous triumphs.

Despite the Stooges’ enthusiasm, the weak material and subpar production quality were notably evident at 5:23 with a regrettable rear projection, resulting in a lackluster experience.

What’s the Matador? (April 23, 1942)

The Stooges travel south of the border and go on a low-key adventure, but Curly’s memorable bullfight steals the show.

That amusing moment is what makes this childhood favorite so charming. The last times Suzanne Kaaren and Dorothy Appleby appear in Stooge shorts are noteworthy.

The always dependable Eddie Laughton plays two roles.

Matri-Phony (July 2, 1942)

“Matri-Phony” has considerable unevenness despite a problematic three-week production that required uncredited aid from Del Lord.

Vernon Dent and the Stooges can make people laugh, but the crab scene isn’t nearly as funny as Curly’s “oyster stew” performance from “Dutiful but Dumb.”

Regretfully, the shoddy staging of Harry Edwards’ conclusion, which includes a little bit of the director’s voice, maybe the worst of the Stooges.

It is impossible to resist wishing that “Matri-Phony” had performed better, considering the humorous possibilities of its Ancient Rome setting.

Three Smart Saps (July 30, 1942)

“The wedding bells will start to ring . . .”

Except for “Loco Boy Makes Good,” “Three Smart Saps” is the most notable short of 1942. Larry excels behind the scenes, but Curly’s iconic rumba with Barbara Slater remains a highlight in Stooge’s history.

The movie is notable for having a unique cyclical ending—a first for a Stooge production.

Even as IOU (September 18, 1942)

This Runyonesque short is a letdown from Del Lord; it begins beautifully but devolves into sickening nostalgia.

Unfortunately, it’s among Curly’s least effective two-reelers. Choose the significantly better “Playing the Ponies” instead for a more pleasurable experience.

Sock-A-Bye Baby (November 13, 1942)

Part II of Or Three Stooges and a Baby. It’s always wonderful to see Larry get more screen time; he merits it.

It’s one of those rare shorts when Curly, who usually exudes crazy energy, is outdone by Moe and Larry.

The thrilling chase might explain Curly’s slightly subdued performance, which comes at the 14-minute mark and essentially makes up for the set-bound claustrophobia.

Better than sentimental flops like Even as IOU and Nutty but Nice.

They Stooge to Conga (January 1, 1943)

“They Stooge to Conga” is unmatched for Stooge’s ultra-violence. This wartime classic is the trio’s best wartime comedy since it features all members at the height of their humorous abilities.

The contentious climbing-spike joke is the main reason for the perplexing rating in The Three Stooges Scrapbook (1982), even though it wasn’t included in the TV print when it was first released.

Notably, in the Marx Brothers’ “A Night in Casablanca,” U-boat captain Frederick Giermann later made an appearance as Sig Ruman’s Nazi aide.

This is the final Curly Classic that Del Lord directed; his later two-reelers fall short of his prior mastery.

Dizzy Detectives (February 5, 1943)

Curly: “I don’t wanna be dead! There’s no future in it!”

Was there any added value in using old stock footage of “Pardon My Scotch”? “Dizzy Detectives” could have been spared the padding by Jules White.

Even so, the boys are still in excellent shape, and the short continues to be exciting. Interestingly, this is the only two-reeler from the Curly era in which the Stooges dress like cops.

Spook Louder (April 2, 1943)

Del Lord revisits his famous “The Great Pie Mystery” from 1931 and introduces the first-ever flashback format in this Stooge comedy.

Character actor Charles Middleton makes his lone Stooge cameo in “Spook Louder” as the butler. The short isn’t a classic, but it has a lot of spooky antics and some pies that fly.

Back From the Front (May 28, 1943)

Among the wartime shorts, this gem from the early 1970s stands out for its unforgettable humor and excellent acting from Stanley Blystone, Vernon Dent, and Bud Jamison.

Moe’s final impression of Hitler is a hilarious high point. When the fellas visit their women in the first scene, does anyone notice that Curly has left his Navy cap behind?

Three Little Twerps (July 9, 1943)

The difficulties in Harry Edwards’ second and last Stooge two-reeler are marginally less severe than those in “Matri-Phony.”

For the Stooges, the circus setting works better than for the Marx Brothers—especially in light of the latter’s inferior picture, “At the Circus.”

But the short begins awkwardly when Moe, Larry, and Curly finish their harmonized paperhanger responsibilities. Given the film’s short 15-minute running time, it’s unfortunate that the vocal interlude was omitted.

Higher Than a Kite (July 30, 1943)

A vibrant wartime endeavor that I was unaware of until its 1993 home video release. Larry basks in the limelight for once, and we get to see Duke York without his hideous makeup.

Based on the last shot, Del Lord made the most of that European backlot street, which appears in both Dutiful but Dumb and Wee Wee Monsieur.

Another explanation for why 1943 was the Curly era’s final year of stability is that.

I Can Hardly Wait (August 13, 1943)

I Can Hardly Wait’s opening six minutes elicited no complaints. But as Curly breaks his teeth, the process becomes more complex, with fewer laughs.

Observing my favorite Stooge in excruciating pain wasn’t fun for me. Although the dream transition is visually quite inventive, it is insufficient to save this misfire by Jules White.

Dizzy Pilots (September 24, 1943)

Curly: “Vice? I have no vice. I’m as pure as the driven snow.”

Set in the “Republic of Cannabeer,” the Stooges (the Wrong Brothers) attempt to make aviation history as Moe becomes the victim of some rubbery sight gags.

The cartoonish Dizzy Pilots should have ended at the 14-minute mark. Unfortunately, Jules White’s tacked-on stock footage from Boobs in Arms diminishes a potentially incredible shot.

Phony Express (November 18, 1943)

In their last western, which stars Curly at the height of his comedic abilities, director Del Lord crafts an incredibly peculiar yet hilarious movie.

Bud Jamison gives a frightening touch as the bandit Red Morgan, and Snub Pollard, a master of silent humor, makes an unexpected cameo as the town sheriff.

See how the Stooges take over a traveling medical demonstration in their trademark boisterous fashion.

A Gem of a Jam (December 30, 1943)

It is amusing while being incredibly fabricated. What more could you want for when you have the Three Stooges? They turn Del Lord’s uninspired screenplay into comic gold.

Although I find satisfaction in Dudley Dickerson’s scenes, my favorite is Curly’s dance with an energized Moe.

When you think about it, 1943 was an excellent year for the Stooges—certainly better than 1942.

Crash Goes the Hash (February 5, 1944)

In this final Curly Classic, Jules White pays a heartfelt tribute to longtime supporting member Bud Jamison, who passed away in September 1944.

At a sumptuous dinner party, our beloved slapstick characters pose as undercover reporters and deliver a flurry of quick-wit jokes.

A sad homage to the team’s heyday, culminating in an exuberant epilogue starring Symona Boniface. Bud, I appreciate the laughs.

Busy Buddies (March 18, 1944)

Curly: “Are you casting asparagus on my cooking?”

There are highs and lows with Busy Buddies. The Stooges are in charge of the Jive Cafe in the first half, which is hilarious.

However, the somewhat ridiculous humorous concept of the cow-milking competition fails. Del Lord is a talented director, but his screenplay falls short of his skill.

The Yoke’s On Me (May 26, 1944)

The Yoke’s On Me is a regrettably racist wartime drama I first saw on DVD in 2008. Curly’s slow-motion anti-Japanese short is notable for its fan dance.

Due to poor scripting and direction, Moe, Larry, and Curly lack their customary spark. The finale is one of the most embarrassing parts of any two-reeler Stooge.

Idle Roomers (July 16, 1944)

In this Del Lord horror comedy, Duke York plays a werewolf expertly, marking a rare triumph for the writer and director.

Idle Roomers
Idle Roomers

Just the mirror moment with Curly justifies the price of the ticket. The gorgeous Christine McIntyre becomes a Shemp-era standout and joins the Stooges, showcasing her brilliance for six Curly-era shorts.

Columbia’s disappointingly mediocre Stooge-standard ending is not supported by its budget.

Gents Without Cents (September 22, 1944)

This immediate classic, Gents Without Cents, comes to mind about Niagara Falls. I enjoy its unique musical-comedy feel, which made it a boyhood favorite.

Despite a few dull parts, Lindsay, Laverne, and Betty’s amazing acrobatics add to the overall entertainment value.

No Dough Boys (November 24, 1944)

Felix Adler’s ridiculous wartime script is displayed in this politically incorrect short, a significant departure from The Yoke’s On Me.

Clumbsy stunt doubles notwithstanding, it’s worth seeing because of the Stooges’ spectacular acrobatics and Vernon Dent’s evil flair.

This is the last short film directed by Jules White featuring a peak Curly.

Three Pests in a Mess (January 19, 1945)

The only Stooge short without a fadeout, Del Lord’s rollercoaster transitions from crime noir to traditional scare humor before finishing unsatisfactorily with a distinctive jumpcut to the closing logo.

Seeing the humorous exchange between Curly and the attractive Christine McIntyre is worth your time.

Booby Dupes (March 17, 1945)

In Booby Dupes, Laurel & Hardy’s humorous parody of Towed in a Hole (1932), the trio selling fish eschews the middleman by capturing their fish.

Director Del Lord’s second-to-last Stooge short (he’ll return for Shemp’s 1948 Shivering Sherlocks) features Curly in his finest form in this final picture.

Booby Dupes is pure, underappreciated fun, save from an artificial beach subplot involving Curly, Vernon Dent, and the charming Rebel Randall. In retrospect, it seems like the end of an era.

Idiots De Luxe (July 20, 1945)

In Idiots De Luxe, the Stooges try to calm Moe’s frayed nerves in the great outdoors (Columbia’s backlot).

Its flashback structure and Moe-centric focus are commendable, but the humor lacks consistency, and the set-bound antics don’t get much funnier after a few viewings.

Even if Curly’s vocal career is over, he still outperforms most of his later shorts. Some of the best laughs are stolen by the bear that drives the automobile. Keep an eye out for it.

If a Body Meets a Body (August 30, 1945)

Curly’s enthusiasm starts to wane in Idiots De Luxe, and this trend worsens in If a Body Meets a Body.

This evocative adaptation of The Laurel-Hardy Murder Case (1930) is let down by Curly’s lifeless portrayal, marred by several little strokes.

When I first saw Curly on KPLR Channel 11 while visiting St. Louis in 1985, I felt something wasn’t quite right, which made the experience less enjoyable.

While there are moments when Moe and Larry shine, it’s challenging to revisit their “old dark house” shenanigans.

Micro-Phonies (November 15, 1945)

Turning from sound engineer at Columbia to writer-director, Edward Bernds makes his feature film debut with Micro-Phonies, a high-end Stooge release (his third in production order).

Though Three Little Pirates comes a very close second, Bernds excels in this instance.

Curly looks sick but significant, especially when he plays Señorita Cucaracha, thanks to Christine McIntyre’s fantastic voice as Señors Mucho and Gusto, Larry, and Moe manage to keep up.

Aside from stock footage, Gino Corrado, Bess Flowers, Chester Conklin, and Lynton Brent last appear as Stooges in this clip.

Beer Barrel Polecats (January 10, 1946)

Brewmasters Moe, Larry, and Curly: “We all put the yeast in!”

Amid a problematic run of “Beer Barrel Polecats,” worries about Curly’s deteriorating health weren’t the only ones.

The short, written by former Hal Roach writer Gilbert W. Pratt, was a reworking of the jail humor “Pardon Us” (1931) by Laurel & Hardy.

Screenwriter Clyde Bruckman and the company were sued by Harold Lloyd for copyright infringement shortly before production, which resulted in screenplay revisions.

Once a colleague of Lloyd’s, Bruckman had used the magician’s coat trick from “Movie Crazy” in 1932 again in “Loco Boy Makes Good.”

The prison scenes in “Pardon Us” were taken out in response to Lloyd’s lawsuit and replaced with material from other shorts. The lawsuit was finally settled out of court by Columbia. 

Unfortunately, producer-director Jules White incorporated the 1941 jail sequences into “Beer Barrel Polecats” without giving them any careful thought, re-editing, or redubbing, regardless of the factual circumstances surrounding the tacked-on stock film.

Still, it’s better to watch this short again than to put up with Jules’s generally depressing 1946 work.

One of the video’s highlights is The Stooges’ distinctive brewing method; brief flashes of the previous Curly are shown.

A Bird in the Head (February 28, 1946)

Released after “Micro-Phonies,” this underappreciated film marks the directorial debut of Edward Bernds and explores the mad scientist theme.

If Curly had been at the top of his game, “A Bird in the Head” would have been an elite short. Still, there’s something quite compelling about the unanticipated bond between Erik the gorilla and the famed Stooge.

Curly struggles a little bit with speaking, but he’s a master at pantomime; Moe, Larry, and Vernon Dent take up the hilarious slack admirably.

Uncivil War Birds (March 29, 1946)

When the Stooges have to recreate one of Buster Keaton’s dull Columbia cartoons (1939’s “Mooching Through Georgia”), they run into problems.

The legendary Curly could not turn this slow-moving Civil War dreck into gold. One of the last times Curly was filmed outside is in the opening proposal scene, so cherish it.

The Three Troubledoers (April 25, 1946)

In the erratic sagebrush parody directed by Edward Bernds, “Coney Island Curly” plays the sheriff of Dead Man’s Gulch. While Christine McIntyre is excellent as the helpless lady, Jack White’s script sadly underutilizes Larry.

A couple of pleasant moments come from Curly’s mimicry of the justice of the peace. Unexpectedly, Bernds falls short of providing a satisfying climax when, following an explosion, the trio escapes unharmed along the street.

The least and last of the Curly Westerns is this one.

Monkey Businessmen (June 20, 1946)

One of my all-time favorites from 1946 (second only to “Three Little Pirates”), “Monkey Businessmen” astonishes with Curly’s on-screen performance despite his supposedly bad physical condition.

While Moe, Larry, and Curly look forward to a “nice long rest” at Dr. Mallard’s questionable sanatorium, writer-director Bernds keeps the action moving quickly.

This is an unappreciated gem due to outstanding performances by veterans Fred Kelsey, Snub Pollard, and Cy Schindell and debuts by Kenneth MacDonald and Jean Willes as Stooges.

Three Loan Wolves (July 4, 1946)

Known as “Three Stooges and a Baby, Part III,” it is arguably the poorest two-reeler from the Curly era, devoid of humor and excellent production values.

“Three Loan Wolves” delves into an unpleasant and cramped set, made worse by the annoying appearance of an unidentified young actor.

Jules White’s hedonistic direction makes Felix Adler’s mediocre screenplay worse.

Larry’s portrayal as the main Stooge is new, while Curly is given little screen time in an underwhelming movie.

G.I. Wants Home (September 5, 1946)

This Stooge adaptation of the postwar housing problem is an improvement over “Three Loan Wolves,” but not up to par because of the dull bunk-bed climax.

Curly seems a little more animated than in his previous Jules White-helmed performances. As you can see from the first three minutes at the Columbia Ranch, this is the last Curly short to use outdoor locales.

Rhythm and Weep (October 3, 1946)

Following “Three Little Pirates,” Curly’s last full performance offers a final “woo-woo-woo-woo” before heading on the road.

Though it ends abruptly and Curly’s acting of the lines is noticeably difficult, this unusual musical-comedy is director Jules White’s best work from 1946.

Although it’s not quite as good as “Gents Without Cents,” this performance by dancers Gloria Patrice, Ruth Godfrey, and Nita Bieber is a welcome change of pace.

Three Little Pirates (December 5, 1946)

Curly is fondly remembered for his knife-throwing act and his farewell performance’s classic “Maha-Aha” routine.

With a dynamic storyline by Clyde Bruckman and a bold direction by Edward Bernds, the legendary Stooge triumphantly returns with his best performance since “Micro-Phonies.”

In this 17th-century romp, Moe, Larry, and a solid supporting cast also excel.

“Three Little Pirates,” if it had been the last film in the Curly era, would have been a lively way to round off a fantastic body of work.

HalfWits Holiday (January 9, 1947)

I loved this two-reeler as a kid, especially the final pie fight. But lately, I haven’t enjoyed watching “Half-Wits Holiday” as much.

I didn’t realize until the early 1980s that Curly Howard’s rendition of “Hoi Polloi” was the third Stooge’s swan song.

On the final day of filming, he suffered a significant stroke that kept him from taking part in the famous pie-throwing brawl.

Half-Wits Holiday.
Half-Wits Holiday.

Curly has a depressing performance that permeates the entire piece, save for a few moving moments in the party and manners sequences.

It’s odd that filmmaker Jules White, who frequently uses stock material, didn’t include views of Curly from “In the Sweet Pie and Pie” to lessen the impact of his absence.

With the emphasis now on Moe and Larry, the pie battle is overly edited and ends awkwardly with Moe washing his hair in the punch bowl, making it a depressing way to end the Curly era.

“Half-Wits Holiday” positively included the iconic “Sword of Damocles” exchange between Moe and Symona Boniface and added character actor Emil Sitka to the Stooges’ stock company.

“In 1973, Larry Fine said, ‘When we lost Curly, we took a hit,’ acknowledging the impact of Curly’s passing.

Jules White went one step further, saying that Curly “was a great artist” in Ted Okuda and Edward Watz’s 1986 film “The Columbia Comedy Shorts.”

Not that I didn’t enjoy working with Shemp and felt he was a naturally humorous man, but the Stooge comedies were never the same after Curly left.”

Despite efforts with his older brother Shemp (initially Curly’s replacement in 1932), a somewhat miscast Besser, and the reliable DeRita, Curly’s early retirement left an impossible hole to fill.

Even while Moe and Larry remained constants, the Stooges appeared to be distinct comedic groups, with each new member adding their unique vibe.

The Three Stooges never ceased to make people laugh, starting with Shemp’s comeback in “Fright Night” (1947) and ending with Moe, Larry, and Curly Joe in “Kook’s Tour” (1970).

Meanwhile, they could not duplicate Curly’s bizarre ingenuity in their pictures. In his updated 1985 version of “Movie Comedy Teams,” Leonard Maltin said, “Try to imagine the Marx Brothers without Harpo.”

Everyone felt a great sense of loss when their favorite Stooge was gone.

Luckily, Curly Howard’s goodbye was more fulfilling than “Half-Wits Holiday.”

He was well enough to film an unexpected cameo in “Hold That Lion,” the Stooges’ 100th Columbia short and the only time all three Howard brothers appeared on screen, in January 1947, five years before he passed away at 48.

Curly, who is much slimmer and has a full head of hair, is the snoring train passenger that Shemp, Larry, and Moe find. With just thirty seconds to spare and no conversation, the iconic Curly Ways offers a final look at the former brilliance.

Also Read: Blu-Ray Review: Pedro Costa Reaches New Heights With ‘Vitalina Varela’ Out Now From Second Run

Ashish Dahal
Ashish Dahal
Ashish is a prolific content writer, blends with the creativity with precision in his writing. His work, characterized by clarity and engaging storytelling has gathered a loyal readership. His passion for words fuels his constant pursuit of excellence.

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    Ashish Dahal has combined his interests and content writing. Through his work, he showcases enthusiasm and ability to deliver captivating content consistently. Ashish's writing demonstrates his passion for storytelling and content creation.



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