Archive for Laurel & Hardy

The Sunay Intertitle: Ass Backwards

Posted in FILM, literature, Painting with tags , , , , , on September 24, 2017 by dcairns

I always liked Leo McCarey’s description, in his Peter Bogdanovich interview (contained in the book Who the Devil Made It?, highly recommended) of coming up with the plot of Laurel & Hardy’s WRONG AGAIN during the course of a brief phone call. There was a reproduction of Gainsborough’s Blue Boy on his wall, and he spitballed the notion that the original gets stolen and the boys hear something of this, and see a horse called Blue Boy and think that’s the stolen item, and try to return it to its “owner.” And he leans out the window but can’t see the horse because of an awning, and thinks they have his painting, and asks them to “take him right in the house.” And later asks them to “put him on the piano.”

(Laurel & Hardy’s intertitles are made of cheap but durable cladding.)

The boys think this is pretty strange, but after all, millionaires are notoriously eccentric, right? Ollie even invents a hand gesture, a cupping accompanied by a firm twist, suggesting how the very rich like to have everything the reverse way round.

This philosophical theory will later be helpful to Stan when he puzzles over a strange piece of statuary. In fact it was once a normal figure, but Ollie shattered it in three pieces, and put it back together wrong. Being a Southern gentleman, he was unable to handle the statue’s bare behind with his bare hands, so wrapped it in his jacket. The result, ladies and gentlemen, is plain to see.

But not plain to Stan, who puzzles over if for 44 seconds in an extraordinary performance which seems to cycle through Kubler-Ross’s five stages of grief, but in the wrong order. He begins with mild surprise and segues into puzzlement. He seems to be adding up the constituent parts to check they are numerically correct. They are, but something is definitely wrong. BARGAINING.

So he’s puzzled some more, and then a sort of false illumination hits him and he becomes, momentarily, very happy. I don’t think Stan knows why he’s smiling, the gladness is just like a hat he’s trying on. Maybe this is how he should react… will everything make sense if he’s happy about it? DENIAL.

Then, just as suddenly, he’s absolutely scandalised. This is an outrage! It’s as if the nude statue has somehow become twice as nude, just to insult him, personally. ANGER.

And back to BARGAINING/DENIAL. Let’s try this from another angle. It might make more sense from over here. Stan is almost moving into the role of an innocent tourist confronting a work of surrealism or, better, cubism, in a gallery.

But this doesn’t help, and finally Stan seems stumped. There are the right number of parts but, like Stan’s thought processes, they are disordered. Nothing seems adequate to explaining this obscurely terrible situation. DEPRESSION.

Finally, he remembers Ollie’s wise words and descriptive hand gesture, and a new happiness descends on him. The awful statue can be explained by the odd nature of the homeowner. Millionaires like normal things reversed. ACCEPTANCE.

Ollie’s fresh smile is now the satisfied bliss of true understanding. But Stan doesn’t leave us on this note. He prepares to leave, back to the plot, but sneaks a last glance at the offending derrière. A queasy feeling comes over him. His joy drains away. Yes. This might all be explicable from an aesthetic-psychological viewpoint, his expression tells us, but it is still deeply screwy. These millionaires are just wrong.

Now, let’s get that horse on the piano.

 

 

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Sisyphuses off of Sunset

Posted in FILM, Mythology, Radio with tags , , , , , , , on September 22, 2017 by dcairns

In my attempt to examine the interplay of the surprising and the predictable in Laurel & Hardy’s classic shorts, I turned to THE MUSIC BOX (1932), their Oscar-winning film directed by James Parrott. My memory of it was that it’s unusually dedicated to the inevitable.

“Let the boring crap be boring crap,” was one of Sidney Pollack’s rules of film-making, and Parrott seems to have anticipated him. The opening scene is bald exposition, woodenly laying out the purchase of a player piano by a woman as a present for her husband. That last sentence contains just as much character and detail as the scene itself.

Stan & Ollie are removal/delivery men. A sign on their cart tells us that their business was “foundered in 1931,” a statement which seems likely to be accurate. The straightforward assemblage of narrative planks continues, with Charlie Hall (the boys’ antagonist in THEM THAR HILLS and TIT FOR TAT) as a postman who points out the address they’ve been aimed at, helpfully failing to indicate the route of easiest access.

So a tall flight of stairs just off Sunset Blvd. enters cinema history, as the film spends half its runtime with the boys attempting to lug the titular crate to its destination.

The appearance of a nursemaid pushing a pram is the first indication that this is a particularly harsh version of the Hal Roach universe. While her profession might normally imply a caring attitude, Lilyan Irene plays it as a sadly typical L&H female (no wonder the boys had so much trouble staying married). Having sort-of caused the crate to slide all the way down to the foot of the stairs, this infernal female finds the whole business so funny that Stan is compelled to kick her in the ass. She then punches Stan in the nose, which Ollie finds funny (no camaraderie here) which somehow forces her to smash a milk bottle over his head. The slow, methodical delivery of each act of violence plays into the predictability argument, though the combination of childish aggression — peaceful solutions are never considered, less provocative behaviour is seemingly unimaginable — with CLOCKWORK ORANGE-level viciousness ensures that surprise is still present.

Actually, I’m forgetting the malevolence of the horse, Susie, which has already caused the crate to fall on Ollie’s back, for no other reason than its own amusement.

The hostility of the world soon extends to the crate itself, which has an affinity for crashing downstairs whenever the boys turn their collective back on it. Now that the inevitability of gravity has been established, the achingly predictable does assume a front-and-centre role in the proceedings, but soon a policeman appears to dish out more excessive, childish violence. He obeys the rules of his species by arriving ill-informed, having placed his own misconstruction upon the report given him by the nursemaid who, despite departing in triumph, has taken her grievance straight to the law. She really is the worst. The policeman is the second worst. Of course his faulty construction of the facts places all the blame on Ollie: this is Ollie’s Eternal Fate.

The cop’s violence reduces the boys to children: police brutality was, I’m sure, at least as common then as now, but usually carried out behind closed doors. But kids could be walloped in public, and in the UK the “clip ’round the ear” was considered a positive way of course-correcting an errant waif, without the need for paperwork or parents. I’m not sure it was beneficial to anyone but the constable. This copper (Sam Lufkin, another unsung Joe of the Roach shorts) has an inventive way with his nightstick, the flick of Ollie’s chin and the jab to Stan’s stomach being particular favourites of mine.

This stuff seems pretty vicious, but it always did. I remember my Dad declaring “brutality!” in shocked amusement back in the ’70s when I first saw it, just as Fiona did today. And that was the ’70s, a harsher time. The Battle of Lewisham was considered just a bit of fun.

After ringing every variation on the pianola-stoop situation they can think of, including having Ollie, in the form of an obvious floppy dummy, dragged back to street level by the determined crate, the summit is finally reached and the postman reappears to explain that all this suffering was unnecessary as a curving street approaches their destination on a gentle gradient. They could have used the cart. At this point the boys, sighing in frustration and seeing no alternative, carry the crate back down the stairs so they can cart it up properly. I can vividly remember ANOTHER ’70s viewing of the film, and my sister screaming in frustration at this, just as Fiona did today.

Some people can’t get on with Laurel & Hardy films precisely because of this frustration. The boys embark on a stupidity, which we can see is bound to end in disaster, or else do something like this which makes no real sense at all, and the desperate viewer wants to climb into the frame like Buster in SHERLOCK JR. and sort things out. But of course they’d just get a poke in the eye for their troubles.

We shouldn’t feel sorry for the non-fans, they rather resent our sympathy, I believe. It’s true that this is not a failure of sense of humour, just a different form of wiring in that part of the brain known as the Bud Cortex. The victim finds other things to laugh at. But I’m not sure anything makes anyone laugh as hard as Stan & Ollie, though I’m no closer to knowing why.

Anyway, Stan and Ollie now have fishpond trouble, and find nobody’s home, and embark on a fresh stupidity, hoisting their package into an upper window on the block-and-tackle. Miraculously, the awning more or less survives this misuse, and the box does not actually get dropped on Ollie’s cortex. Everything ELSE goes wrong, though. But the piano does eventually pass into the house. The serious business of home-wrecking can now begin.

As a sensitive child, I was never particularly disturbed by the savage onslaughts against the human body celebrated in L&H films, but I was freaked by the physical distortion gags — Ollie getting his neck stretched so it resembled a great, white candle, gave me a hollow feeling in the pit of the stomach and a sense of Lovecraftian dread. And I was disturbed in my extreme youth by the domestic property destruction. I can remember frowning as the boys wrenched down a Venetian blind. Maybe because we had one in the house and maybe I’d been advised of its fragility. On no account climb it.

The really first-rate job of demolition performed here impresses me and in no sense worries me now, though Ollie getting jabbed in the eye and stepping on a huge nail causes a real double-wince. Though Stan may be a holy fool, Ollie is the Christ figure, suffering for the world’s sins: he has just dragged an outsized assemblage of wood up a hill and got a nail in his foot. Truly he is the Son of God. You can probably find reconstructions of all Christ’s wounds in the performances of Oliver Norville Hardy, if you’re so inclined, and Our Lord never had HIS legs torn off and wrapped round his neck. (And I’m obscurely reminded that Mel Gibson once nearly played Moe Howard for the Farrelly Brothers.)

The apartment is flooded when the crate is opened. The radio is knocked over and Ollie steps in it (broken glass, electrical shocks). Another fuse blows when the pianola is plugged in. Then the homeowner arrives and the wreckage actually intensifies, as he takes an axe to the unwanted instrument.

This is the excellent, swivel-eyed Billy Gilbert, essaying a Herman Bing accent. The boys have already encountered him on the stairway, and as Fate would arrange things this was their only victory en route to Calgary. Now it works against them, though the timely arrival of the wife from scene one calms the apoplectic faux-kraut long enough for Fate to deliver a final insult, a final twist, and then we’re out.

Preliminary hypothesis: the deliberate pacing of L&H allows many of their gags and situations to be both surprising and inevitable at the same time, letting the audience start to laugh while the mishap is just starting, so that our laughter gets an extra push (or several) as mayhem ensues. Also, the unusual willingness to let the audience get well ahead of a gag results in greater surprise and delight when a piece of slapstick is triggered WITHOUT advance warning. I don’t know if I can get any deeper than that on a theoretical level, but I’m going to try. Maybe close analysis of one scene is the way forward…

The Sunday Intertitle: Bull!

Posted in FILM, Sport with tags , , , , , , , on September 17, 2017 by dcairns

One last Stan Laurel solo film, then we can move on. MUD AND SAND is Stan’s epic denunciation of Rudolph Valentino (here, Rhubarb Vaseline). All the intertitles, or nearly all, rely on bull-based humour.

Hey, I’m not knocking it.

Visual gags are little more varied, depending largely on the deflation of Dorothy Arzner’s melodrama with pratfalls, but Stan’s first, successful corrida, shot from outside the arena walls, is impressively silly. As the other matadors-to-be anxiously wait for Stan to be carried out arrayed on a stretcher with limbs akimbo, like his predecessors, a stuffed cow flies over the wall, crashing unconvincingly to the ground. And then it all happens again.

The repetition of gags is an interesting phenomenon. Buster Keaton didn’t go in for it, unless he could play a variation on the gag to surprise the audience. I suspect this proud refusal to be predictable was a big part of why he was less popular than Chaplin and Lloyd.

Chaplin repeats incessantly, and the recurring arse-kicks or pratfalls become part of a structured dance. Stan just repeats where it seems likely to get another laugh. It’s been suggested that Laurel & Hardy relied more on predictability than surprise: showing the audience the banana peel before it’s slipped on. The comedy coming from the expected gag happening right on cue. But that doesn’t seem quite right. Everybody shows the banana peel first. But only Buster has characters walk over it without slipping — outsmarting or “double-crossing” the audience.

I want to try to analyse L&H’s approach more closely. I do think they’re the funniest, in terms of intensity and volume and duration and frequency of laughs, of any classic era comedians. It doesn’t matter if you personally like them or not — I think their success is measurable and would be borne out by any laffometer. And they seem to use both jokes of predictability and jokes of surprise — the former making the latter more surprising. And of course there’s the measured pace. They jettison entirely the myriad advantages of pace, to concentrate on getting the most out of every joke by worrying it to death. But there’s even more going on than that, and I want to explore it.

This will mean looking at talkies, since I think the talkies are their funniest films. But maybe a silent or two also…