Respond to these rapid questions in our Stan And Ollie quiz and we will tell you which Stan And Ollie character you are. Play it now.
There are some entertainment-based duos for whom the mention of one name automatically conjures up the memory of the other: Brackett and Wilder, Ashford and Simpson, Ossie Davis and Ruby Dee, Abbott and Costello, and, of course, Laurel and Hardy are among those who come to mind. It is a gesture of intimacy and familiarity that Jon S. Baird’s amusing and entertaining biopic “Stan & Ollie” refers to that last duo by their first names; it also indicates that this is a personal story rather than a career-based one. When it comes to these types of films, they frequently fall prey to the traps that John C. Reilly so mercilessly mocked in his still underappreciated parody “Walk Hard: The Dewey Cox Story.” While “Stan and Ollie” does not always avoid these pitfalls, it more than makes up for them by infusing the proceedings with a genuine and profound sense of melancholy throughout the entire film. Baird and writer Jeff Pope challenge us to consider what it would be like if we were no longer able to do something we were passionate about for a long period of time.
Even though Reilly’s natural comic abilities and musical ability make him an inspired casting choice for the role of Oliver Hardy, he is an odd choice for the role. A heartfelt tribute to the late actor becomes a heartfelt tribute once Reilly is covered in makeup that took four hours to apply. Beyond the physical mimicry found in recreations of scenes from films like “Way Out West,” it’s also a portrait of a man whose body is finally reaping the rewards of his reckless, hard-living lifestyle in his younger years. We see the passage of time manifested in Reilly’s carriage; the man we see in 1953, when the film is set, has significantly less vitality than the man we see briefly in 1937, when the film is set. With the exception, of course, of when he is performing.
Steve Coogan, who shares an uncanny resemblance to Stan Laurel with Reilly, is Reilly’s equal in terms of comic timing. Because they are so in sync, it’s easy to believe that the two actors have been working together for many years already. It’s clear that Laurel, the writing half of the duo, is constantly bouncing ideas for verbal and visual gags off Hardy, and that their push and pull is genuine and lived in. It is in one of their earliest scenes, which takes place at the height of their fame, that Laurel recruits his partner in order to demand more money during a contract negotiation with their boss Hal Roach (Danny Huston in a grouchy cameo). As a result of his proclivity for playing the ponies, Hardy has more debts to settle than Laurel anticipates, and he is much more willing to fold against Roach than Laurel expects.
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Fast forward to 1953, when the duo embarks on a nostalgic tour of the United Kingdom in order to demonstrate to a Hollywood mogul at Columbia that they are bankable enough to star in a Robin Hood-themed film, which they are. They are both older and haven’t seen each other in a few years, but they quickly return to their daily routines and their respective roles in their friendship. A smarmy British promoter named Delfont (Rufus Jones) is assigned to them, and his enthusiasm for his clients’ abilities is outweighed by his inability to book them anywhere other than the smallest, most rundown venues in the country. It doesn’t really matter because the audiences that show up initially don’t even fill up all of the available seats.
Stan And Ollie Quiz
Yet, those who do attend express their admiration for Laurel and Hardy, as well as their amusement at hearing how much their parents and grandparents admired them. Delfont sends his stars on publicity tours, where they improvise for television, print media, and anyone else who happens to come up to see them in order to draw more attention to their shows. Despite growing audiences, publicity stunts take their toll, especially on Hardy, who has grown significantly larger than he was in his prime and has developed a bad ticker, which could jeopardize the pair’s return to the big screen.
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Despite the fact that the title contains only two names, “Stan & Ollie” is actually a four-person show. They are accompanied by their wives Lucille Hardy (Shirley Henderson) and Ida Kitaeva Laurel (Ida Kitaeva Laurel) (Nina Arianda). Mrs. Laurel was formerly a dancer who had previously auditioned for film roles. She’s driven and tough, just like her husband, which contrasts with Mrs. Hardy, who is more laid-back (but no less tough) in her approach. In this screwball comedy, the women reflect the dynamics of their husbands’ personalities, but while the men are performing in a physical gag comedy, the women are performing in a parallel, highly verbal screwball comedy. With their ability to alternate between sisterly bonds and mutual aggravation, Henderson and Arianda could easily host their own spin-off series on the Disney Channel.
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It is predictable that the third act conflict that threatens to break up the partnership will occur, but it is accompanied by some extremely strong emotions that go beyond the cliché. The livelihood of Laurel and Hardy is threatened not only by old wounds that have festered for decades, but also by the ravages of time, both physically and in terms of their professional careers. Laurel has an abundance of comedic ideas—there isn’t a single scene in which he isn’t concocting a new one—but does anyone really want to see them on screen anymore? And, if that’s the case, will Hardy’s heart allow him to continue carrying out their rituals? It’s clear that both men live to perform, and that if they don’t have something to do, they’ll have nothing to keep their minds off the ticking time clocks of their impending deaths. The four main characters acknowledge and reflect the underlying sadness of this situation in scenes that are both moving and heartbreaking.
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“Stan & Ollie” is full of tender moments between the men and their wives, but the film’s most heartwarming scene is reserved for the men themselves. Viewers should pay attention to how Laurel decides to comfort a bedridden Hardy late in the movie. Although Coogan’s act of kindness toward Reilly is comical in nature, the sentiment is genuine and almost heartbreaking in its honesty. This film succeeds because it understands how to strike the right balance between laugh-out-loud comedy and quiet, effective drama, and it accomplishes this successfully throughout. Although the clichés are present, the heart of the film beats loud enough for us to accept and forgive them.
For more personality quizzes check this: Arctic Dogs Quiz.
