Laurel & Hardy - The Collection (21-disc Box Set) [DVD]

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MacGillivray, Scott. Laurel & Hardy: From the Forties Forward. Second edition: New York: iUniverse, 2009 ISBN 978-1440172397; first edition: Lanham, Maryland: Vestal Press, 1998. Nollen, Scott Allen. The Boys: The Cinematic World of Laurel and Hardy. Jefferson, North Carolina: McFarland & Co., 1989. ISBN 978-0-7864-1115-3. Note: A lost German-language version of The Hollywood Revue of 1929, Wir Schalten um auf Hollywood (We Switch to Hollywood), was made and released in 1931. Apparently Laurel and Hardy do not appear in it. [80] Promotional film [ edit ] Release date

Laurel and Hardy - Wikipedia Laurel and Hardy - Wikipedia

Blanche Payson, a former policewoman, was featured in several sound shorts, including Oliver's formidable wife in Helpmates. Vivien Oakland appeared in several early silent films, and later talkies including Scram! and Way Out West. McCabe, John, with Al Kilgore and Richard W. Bann. Laurel & Hardy. New York: Bonanza Books, 1983; First edition 1975, E.P. Dutton. ISBN 978-0-491-01745-9. In 1929 the silent era of film was coming to an end. Many silent-film actors failed to make the transition to " talkies"—some, because they felt sound was irrelevant to their craft of conveying stories with body language; and others, because their spoken voices were considered inadequate for the new medium. [67] However, the addition of spoken dialogue only enhanced Laurel's and Hardy's performances; both had extensive theatrical experience, and could use their voices to great comic effect. Their films also continued to feature much visual comedy. [68] In these ways, they made a seamless transition to their first sound film, Unaccustomed As We Are (1929) [43] (whose title was a play on the familiar phrase, "Unaccustomed as I am to public speaking"). [69] In the opening dialogue, Laurel and Hardy began by spoofing the slow and self-conscious speech of the early talking actors which became a routine they would use regularly. [70]Features clips from The Second Hundred Years (1927), The Battle of the Century (1927), You're Darn Tootin' (1928), Two Tars (1928), We Faw Down (1928), and Double Whoopee (1929). Their 1929 silent Big Business is by far the most critically acclaimed. [64] Laurel and Hardy are Christmas tree salesmen who are drawn into a classic tit-for-tat battle, with a character played by James Finlayson, that eventually destroys his house and their car. [65] Big Business was added to the United States National Film Registry as a national treasure in 1992. [66] Sound films [ edit ] Weales, Gerald. Canned Goods as Caviar: American Film Comedy of the 1930s. Chicago: University of Chicago Press, 1985. ISBN 978-0-226-87664-1. Based on "Home from the Honeymoon", a sketch written by Arthur J. Jefferson (Stan Laurel's father) [19]

Laurel and Hardy - The Feature Film Collection [DVD] [1926] Laurel and Hardy - The Feature Film Collection [DVD] [1926]

Louvish, Simon. Stan and Ollie: The Roots of Comedy: The Double Life of Laurel and Hardy. London: Faber & Faber, 2001. ISBN 0-571-21590-4. Laurel Letters Sold At Auction". Laurel-and-hardy.com. Archived from the original on November 26, 2011 . Retrieved January 17, 2019. Laurel lived to see the duo's work rediscovered through television and classic film revivals. He died on February 23, 1965, in Santa Monica and is buried at Forest Lawn-Hollywood Hills in Los Angeles, California. [98] Supporting cast members [ edit ] McCaffrey, Donald W. "Duet of Incompetence" (essay). The Golden Age of Sound Comedy: Comic Films and Comedians of the Thirties. New York: A.S. Barnes, 1973. ISBN 978-0-498-01048-4.The Music of Laurel and Hardy". Laurel and Hardy Central . Retrieved January 13, 2022. Though it is one of those songs that seems to have always been around, like "Happy Birthday" or "Auld Lang Syne", it was actually written in 1928 by Thomas Marvin Hatley. Born in Reed, Oklahoma on April 3, 1905, Hatley could play almost any musical instrument by then time he entered his late teens. While attending UCLA in California, Hatley found work at KFVD, a radio station located on the Hal Roach Studios lot. He wrote the simple and endearing "Ku-Ku" as a radio time signal. During the early days of sound American motion picture companies often made foreign-language versions of their films. The following is a list of known foreign-language versions of Laurel and Hardy films. [79] Foreign language versions of short films Gehring, Wes D. Film Clowns of the Depression: Twelve Defining Comic Performances. Jefferson, North Carolina: McFarland & Co., 2007. ISBN 978-0-7864-2892-2. Tiny Sandford was a tall, burly, physically imposing character actor who played authority figures, notably cops. Everson, William K. The Films of Hal Roach. New York: Museum of Modern Art, 1971. ISBN 978-0-87070-559-5

Laurel and Hardy filmography - Wikipedia Laurel and Hardy filmography - Wikipedia

a b Harness, Kyp (2006) The Art of Laurel and Hardy: Graceful Calamity in the Films, McFarland, p. 5 After Zenobia, Laurel rejoined Hardy and the team signed with independent producer Boris Morros for the comedy feature The Flying Deuces (1939). Meanwhile, Hal Roach wanted to demonstrate his new idea of making four-reel, 40-minute featurettes -- twice the length of standard two-reel, 20-minute comedies -- which Roach felt could fit more conveniently into double-feature programs. He referred to these extended films as "streamliners". To test his theory, Roach rehired Laurel and Hardy. [78] The resulting films, A Chump at Oxford and Saps at Sea (both 1940), were prepared as featurettes. United Artists overruled Roach and insisted that they be released as full-length features. [79]Durgnat, Raymond. "Beau Chumps and Church Bells" (essay). The Crazy Mirror: Hollywood Comedy and the American Image. New York: Dell Publishing, 1970. ISBN 978-0-385-28184-3 Just as Laurel and Hardy's teaming was accidental, so was their entry into the field of feature films. In the words of biographer John McCabe, "Roach planned to use the MGM set [built for The Big House] for a simple prison-break two-reeler but MGM suddenly added a proviso: Laurel and Hardy would have to do a picture for them in exchange. Roach would not agree so he built his own prison set, a very expensive item for a two-reeler. So expensive was it indeed that he added four more reels to bring it into the feature category and, it was hoped, the bigger market." [74] The experiment was successful, and the team continued to make features along with their established short subjects until 1935, when they converted to features exclusively.

Laurel and Hardy: 12 essential films | BFI Laurel and Hardy: 12 essential films | BFI

Maltin, Leonard, Selected Short Subjects (First published as The Great Movie Shorts. New York: Crown Publishers, 1972.) New York: Da Capo Press, 1983. ISBN 978-0-452-25694-1. Laurel and Hardy's influence over a very broad range of comedy and other genres has been considerable. Lou Costello of the famed duo of Abbott and Costello, stated "They were the funniest comedy duo of all time", adding "Most critics and film scholars throughout the years have agreed with this assessment." [107] Smith, Leon. Following the Comedy Trail: A Guide to Laurel & Hardy and Our Gang Film Locations. Littleton, Massachusetts: G.J. Enterprises, 1984. ISBN 978-0938817055. Crowther, Bruce. Laurel and Hardy: Clown Princes of Comedy. New York: Columbus Books, 1987. ISBN 978-0-86287-344-8 Mae Busch often played the formidable Mrs. Hardy and other characters, particularly sultry femmes fatales.Laurel and Hardy's best-known catchphrase is, "Well, here's another nice mess you've gotten me into!" [37] It was earlier used by W. S. Gilbert in both The Mikado (1885) and The Grand Duke (1896). It was first used by Hardy in The Laurel-Hardy Murder Case in 1930. In popular culture, the catchphrase is often misquoted as "Well, here's another fine mess you've gotten me into", which was never spoken by Hardy—a misunderstanding that stems from the title of their film Another Fine Mess. [42] When Hardy said the phrase, Laurel's frequent, iconic response was to start to cry, pull his hair up, exclaim "Well, I couldn't help it...", then whimper and speak gibberish. A. Robinson, David. The Great Funnies: A History of Film Comedy. New York: E.P. Dutton, 1969. ISBN 978-0-289-79643-6. Maltin, Leonard. The Great Movie Comedians. New York: Crown Publishers, 1978. ISBN 978-0-517-53241-6.