Based in part on several of Buster's own 
			experiences in the army, the script (by Richard Schayer, Al Boasberg, 
			and Sidney Lazurus) has Buster playing millionaire playboy Elmer J. 
			Stuyvesant, a character similar to his roles in The Saphead,
			
			The Navigator, and
			
			Battling Butler.
			
			It is the period of World War I.  
			While Elmer waits for Mary (Sally Eilers), 
			the girl he has been trying unsuccessfully to impress, outside the 
			store where she works, his chauffeur, stirred by a recruiter's 
			speech about fighting the enemy, abandons Elmer and his manservant 
			Gustave (Arnold Korff).  In need of a new chauffeur, Elmer 
			unintentionally enlists in the army by mistaking a nearby recruiting 
			station for an employment agency.
			
			The film becomes a typical military 
			comedy, with scenes in boot camp, complete with a belligerent drill 
			sergeant (Ed Brophy), and in the trenches.  Military life is 
			made tolerable for Elmer by the presence of the ukulele-strumming 
			recruit Nescopeck (Cliff Edwards) and Mary, who has joined the 
			army's entertainment division.  "Over There" in France, Elmer 
			endures life in a trench for a short time before the war is over.
			
					The 
			film ends with Elmer and Mary as husband and wife, with Nescopeck 
			and Elmer's other army friends as business partners in the 
			manufacture of gold-plated ukuleles.
			
			Cliff "Ukulele Ike" Edwards, a character 
			actor famous for his trademark instrument, was responsible for the 
			ukulele and the film's delightful musical interlude in which Buster, 
			Edwards, and director Ed Sedgwick (who appears in the film as 
			Guggleheimer, the camp cook) scat sing while aboard ship bound for 
			France.  Edwards appeared with Buster in his next two films, 
			and they became good friends, both delighting in singing old 
			vaudeville songs and playing the ukulele.
			
			The comic highlight of Doughboys 
			is the stage revue performed for the entertainment of the troops in 
			which Buster's character, dressed as a woman, is thrown around the 
			stage as the female partner to an Apache dancer.  For this 
			scene, Buster drew on his own wartime experience, as he had put on 
			similar shows for the troops in France while waiting to come home.