The Yoke's on Me

The Yoke's on Me is a 1944 short subject directed by Jules White starring American slapstick comedy team The Three Stooges (Moe Howard, Larry Fine and Curly Howard). It is the 79th entry in the series released by Columbia Pictures starring the comedians, who appeared in 190 shorts at the studio between 1934 and 1959.

Plot
The Stooges attempt to join the army during World War II, but are labeled 4-F by the draft board due to Curly having water on the knee. Transitioning from thwarted aspirations of enlistment to the realm of agricultural endeavor, the trio, spurred by paternal encouragement, embraces farming as a means to contribute to the war effort. Symbolically shedding their urban trappings, they embark on a venture marked by resourcefulness and determination, epitomized by the sale of their car to acquire a dilapidated farm.

Within the rustic confines of their newfound agricultural domain, characterized by scant livestock and a humble poultry contingent, the Stooges encounter a series of whimsical misadventures. As they delve into the enterprise of pumpkin carving, unaware of the unfolding escapades beyond their farmstead, the plot thickens with the convergence of disparate events, including the escape of Japanese-Americans from a wartime confinement facility and the release of an ostrich from a nearby circus.

Amidst the bucolic tranquility, the intrusion of escaped detainees injects an element of suspense and farcical misunderstanding. Curly's unwitting encounter with a pumpkin-adorned escapee serves as a catalyst for the trio's realization of the looming threat. Mistaking the escapees for Japanese invaders, Moe's impulsive recourse to an ostrich egg as a makeshift weapon, laden with digested gunpowder, catalyzes a climactic resolution, inadvertently dispatching the perceived adversaries.

Credited
{{Cast listing|
 * Moe Howard as Moe
 * Larry Fine as Larry
 * Curly Howard as Curly

Uncredited
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 * Eva McKenzie as Ma
 * Robert McKenzie as Pa
 * Emmett Lynn as Smithers
 * Al Thompson as Sheriff
 * Victor Travers as Deputy Sheriff

Production notes
The Yoke's on Me was filmed on November 8–12, 1943. The film's title is a pun on the expression, "the joke's on me."

Historical perspective
The World War II era witnessed the production of a series of comedies that engaged in propagandistic themes against the Japanese, emblematic of the prevailing sentiments of the time. Notable among these productions are Spook Louder (1943), No Dough Boys (1944), Booby Dupes (1945), and The Yoke's on Me, each contributing to the wartime discourse through humor-laden narratives.

Among these films, The Yoke's on Me stands out as a particularly contentious piece, drawing scrutiny from contemporary critics and enduring a period of blacklisting on certain television stations. Its treatment of Japanese American escapees from a relocation center, while intended for comedic effect, has sparked debate and controversy over the years. Notably, the Japanese characters depicted in the film are not portrayed as prisoners of war but rather as escapees from a relocation center, a distinction that adds layers of complexity to the ethical interpretation of the narrative.

Jon Solomon, author of The Complete Three Stooges: The Official Filmography and Three Stooges Companion, reflects on the enduring impact of The Yoke's on Me, suggesting that no other Stooge film resonates as profoundly with modern viewers due to its handling of sensitive subject matter. This sentiment is echoed by Michael Fleming, author of The Three Stooges: An Illustrated History, From Amalgamated Morons to American Heroes, who offers a more pointed critique, emphasizing the disconnect between the film's comedic treatment and the historical context of mistreatment and dispossession experienced by Japanese-born American citizens during the wartime relocation efforts.

In light of contemporary perspectives and evolving understandings of historical injustices, The Yoke's on Me serves as a poignant reminder of the complexities inherent in the intersection of humor, propaganda, and socio-political discourse during times of conflict. Its legacy invites critical reflection on the ethical dimensions of comedic representation and the enduring relevance of historical narratives in shaping collective memory and cultural consciousness.

Quotes

 * Curly: "Look, look! A pelican!"
 * Moe: "That's no pelican, it's a gander."
 * Curly: "Mahatma gander?"
 * Moe: "No, a gander, a gander! A goose's husband."
 * Larry: "Yeah, a papa goose."
 * Curly: "Do they have papa and mama gooseses?"
 * Larry: "Oh sure. And little baby gooseses, too."
 * Curly: "Oh, I read about them. They come from Germany...the goosetapo!"