Melanie Bouvet The movie's not perfect, but it sticks the landing of its message. It was engaging - thrilling at times - and I personally thought it was a great time.

Tyreece Hulme One of the best movies of the year! Incredible from the beginning to the end.

Yash Wade Close shines in drama with strong language, adult themes.

Jerrie It's a good bad... and worth a popcorn matinée. While it's easy to lament what could have been...

csrothwec Have been a fan of the Boys for decades but had missed this one until a new TV channel specialising in "film history"/Goldie Oldies launched a L&H season and gave me the opportunity to view this one. Never again! Every single one of the "gypsy" scenes could have been omitted with no loss whatsoever (archaic/dated/tiresome drivel now but I cannot really believe that people paying to see this at the local cinema in 1936 would have found these scenes anything other than trite, poorly performed kitsch. The "songs" are only memorable for being worse than the one just before - no memorable melodies, delivered by third rate singers trying to compensate for their lack of singing ability by lots of eye work, hand clasping and upward gazing (probably asking (like me), "How much longer do I have to endure this?") I would love to say that the bits without the dreadful gypsy scenes are then pure gold, but I cannot. There are some quite nasty sides to this picture (child abduction (and therewith, of course, centuries of anti-Romany prejudice/hatred coming through), adultery (and Oliver's hen-pecked husband routine just comes across as simply disturbing/alarming in the way it is played here) plus what seems a little too much enthusiasm for flagellation (including (potentially) of a young woman towards the end!) and the very final scenes of torture being inflicted to raise a (very cheap) laugh at the very end). The portrayal of the Boys as conscious, deliberate thieves/pick pockets also jarred ill with me as one of their key features was always that of innocence/naivety which is retained here overall but cannot be squared with their resolution to set off and deliberately separate people from their belongings (again some anti-Romany feelings creeping in?) Even taking this out, however, and just leaving the Boys on their own and creating havoc, the film STILL has little to offer! Stan's routine of filling wine bottles towards the end is just awful, lacking in timing, innovation and simply flat, I found. Most of the other sketches are fairly flat as well and, overall, I must say that this is probably THE L&H picture which caused me to laugh least of all the ones I have seen (although I believe there are still some stinkers for me to live through in the coming season ("Swiss Miss" from what I have heard?) I believe the Boys were pretty useless when it came to money and were totally ripped off by Hal Roach and others, meaning they did not earn a penny when their films were shown (in black and white) on American TV in the 1950s (where, of course, they were adored and helped to win a whole new generation of fans of their work) and it would seem they were also sometimes pretty useless at choosing which films to appear in as well (and this one should certainly have been left to second-/third-raters from whom one would not expect anything better, like Abbott and Costello or The Three Stooges). Still, I am at least grateful that for every "The Bohemian Girl" there is a "Way out West" and "Sons of the Desert" and that, overall, the gold far outweighs the drivel/dross.

Hitchcoc While we are watching a relatively unknown operetta written by a guy named Balfe, we get to watch some of the funniest stuff Stan and Ollie ever did. I realize they are not on screen as much as we would have liked, but there is a fun plot and they are really interesting characters. They are stereotypical gypsies, stealing stuff from people. They are also victims because Ollie's wife, Mae Busch, takes his money and runs off with some wolfy guy. The boys are left care for a little girl (Darla Hood) who we have seen kidnapped by gypsies (another stereotype) earlier in the film. Anyway, there are so many treats in this, the normal byplay of the two guys, is precious. Stan holds forth with his weird stuff that flabbergasted Oliver. Of course, the scene in the winery where Stan is supposed to fill the bottles will have you on the floor. I still get pains from laughing as I'm watching it. I know that some of the opera is hard for contemporary audiences, but there are a couple of beautiful songs in this one that make it worth listening.

Stephen Alfieri This is Stan's response when Ollie tries to explain the sight of his wife's lover giving her a chuck under the chin."The Bohemian Girl" is classic L&H. Two guys who are clearly out of place(does anyone really buy them as gypsies? Especially when Ollie is wearing the same wig he wore in "March of the Wooden Soldiers").I'm sure everyone by now knows this is the film that was Thelma Todd's last picture, due to her untimely death. That's why the film is so choppy, too many edits.But there are still so many classic scenes with the two boys. Stan's wine scene, when Ollie recovers his "stolen" property, Stan searching under Ollie's pillow, and on and on.James Finlayson and Mae Busch steal the picture. They are both so right for their parts, they're hysterical.I had never seen this film before, but heard plenty about it. For years I have heard my mother-in-law talk about this film that she saw when she was young, and how some of the scenes had stayed with her. She thought that the film was lost, but my wife and I found a copy on Ebay, and gave it to her for this past Christmas. This weekend she loaned us the tape, and I enjoyed it so much I'm sure that many of the scenes will stay with me for a long time as well.

Libretio THE BOHEMIAN GIRL (1936)Aspect ratio: 1.37:1Sound format: Mono(Black and white)Two bumbling gypsies (Stan 'n' Ollie) are left holding the baby when Ollie's wife (Mae Busch) steals the infant daughter of a contemptuous nobleman (William P. Carleton).The last of three L&H vehicles based on popular comic operas (following FRA DIAVOLO and BABES IN TOYLAND). Derived from a work by Michael William Balfe, THE BOHEMIAN GIRL is theatrical in every sense of the word, with its exaggerated performances (by everyone except Stan and Ollie), cramped sets and predictable plot. Some of the songs are lovely (particularly the ode to Ollie's fatherly love, sung at breakfast by Julie Bishop, here billed as 'Jacqueline Wells'), but most are rendered quaint by antiquity. Ollie is just as punctilious and accident-prone as ever, but Stan steals the picture with effortless grace, getting drunk on home-made wine and saving Bishop from Carleton's misguided nobleman. Favorite gag: After being told that Ollie has become a father, Stan shakes his hand and declares, "I hope you grow up to be as good a mother as your father was!". Mae Busch plays Ollie's duplicitous wife, and L&H regular James Finlayson turns up in a bit part as one of Carleton's guards. Though previewed in 1935, the movie underwent extensive re-editing following the death of co-star Thelma Todd, who appears only briefly in the finished version as the gypsy queen's daughter. Directed by James W. Horne and Charles Rogers.