The Three Stooges

In 1925, Moe Howard and his brothers are hired by Ted Healy to join his vaudeville act. Healy also pressures the group to include Larry Fine, reshaping their trio and giving each member a distinctive look. Money and control become flashpoints as Healy pockets most of the earnings, sowing early resentment within the act.

Fox Film Corporation produces Soup to Nuts with Healy, the Three Stooges, and Shemp, before Moe is offered a seven-year contract that excludes Healy. Healy interferes with the deal, and the group is eventually signed to Columbia by Harry Cohn in 1934. The shift marks the start of their long association with short films rather than feature roles.

Under Columbia, Moe and Larry want to move into feature films, but studio chief Harry Cohn believes a comedy team should focus on shorts. The Stooges are assigned to the short film department and begin a prolific run. From 1934 to 1957, they produce about 190 two-reel shorts, released through 1959.

The series is defined by its slapstick timing and inventive sound effects, turning faces or limbs into punchlines. Curly becomes famous for his high-pitched voice and rubbery vocal riffs that accompany each gag. The film recreates many iconic Stooge moments from this era.

Moe emerges as the de facto leader, driving decisions and maintaining order in the act. Babe (Curly) feels bullied by Moe's control, though he insists the on-stage friction is part of the act. Off stage, the trio remains a family, with wives playing supporting roles.

In 1946, Babe experiences a debilitating stroke while filming, ending his run as Curly. He is replaced by Shemp Howard in the shorts, beginning a new lineup that lasts until Shemp's death in 1952. The transition marks a major shift in the group’s dynamics.

Shemp Howard dies in 1952, prompting the Stooges to bring in Joe Besser for 1956 and 1957. The changing lineup reflects the volatile nature of the troupe as members come and go. The nimble physical comedy continues despite the personnel changes.

Joe Besser enters the lineup in 1956, introducing a new dynamic and comedic rhythm as Curly Joe. His tenure lasts through 1957, during which the group continues releasing shorts. The collaboration reshapes the team’s on-screen chemistry.

In 1958, Joe DeRita joins as Curly Joe, expanding the trio once again. That same year, Moe and Larry return to the studio lot only to be denied entry after learning Harry Cohn has died and the short-film department has been shut down. The Stooges confront significant uncertainty as the industry shifts.

By 1959, the Stooges discuss a live theater show in Boston, signaling a renewed effort to perform live. They reorient toward television, tapping into a new, younger audience. The TV boom elevates them to among the country’s highest-paid comedy acts.

The film closes by situating Moe in the present of 1959, reflecting on the group's legacy and the promise of a continued revival on television. The Stooges’ resurgence underscores a delicate balance between nostalgia and contemporary appeal. The era marks a shift from stage and theater toward the screen as the primary stage for their humor.