It wasn’t until the immaculate responses reeled in that I took interest in the biographic retelling of the later lives of the black and white duo, which is surprising, looking back, given Laurel and Hardy are a staple part of my childhood and I fondly remember more than a handful of their ingenious slapstick skits to this day. I’d say this is due to my admitted distaste of biography films, which are slowly flooding the modern cinema world, and usually end up as a mediocre bore to me or ignore most key details of the characters’ past to blunder on cinematic rehash. But after picking up on the largely talented John C Reilley and Steve Coogan’s potential, my interest in seeing a reimagined personal classic reignited. And I must say I’m glad it did so. It was pure magic.
The greatest way to experience this film is, obviously, if you grew up with this humorously contrasting, yet wonderfully intertying comedic duo who gave a spark to countless people’s childhoods since the early 40s (mine included). This is mostly due to the layer of tragedy and melancholy beneath the humorous yet subtle retelling of Mr Laurel and Hardey’s later years: falling recognition from stardom as the years go by as they try to make it through the emptying seats and consequences of age as the public move onto the younger generation.
The film being completely shown from their personal lives has a perfect balance of nostalgic humour and earnest drama, ranging from being slow and mellow, showing that gentle connection, to other times being heated and tensing, and even occasionally throwing in a little comedic skit to get a reaction out of the unknowing wrong-generation receptionist. Throughout it all, the heartfelt realism is a key to the emotive charm. But as heavy a theme as age is presented, it’s shown that it hasn’t quite pulled them down yet, as they act out several of their famous skits flawlessly in their grand-finale UK tour that’re sure to have any old-time fan in delight. From the Blue Rich Mountains of Virginia, the recreations prove to be a timeless joy to watch as you can easily see them as part of the gleeful audience, not a passive viewer focused on the underlying plot. But this also heightens that tragic element, as Ollie’s deteriorating health causes flaws or even replacements in their acts and strikingly hits reality under their innocent publicity.
Part of the film’s soul is ultimately the main biography part, which is the contrasts between the two characters which ultimately bring them together, such as Ollie’s declining health and relaxed attitudes to acting whereas Stan’s more hardened dedication to success colliding with Ollie’s more relaxed attitudes to business, and his struggling, heartfelt support for his falling best friend being electrifyingly brought to life by John Reiley and Steve Coogan and captures that cherished humanity wonderfully.
But these two stars wouldn’t nearly be as well carved without the emotional support of their wives, played by Nina Arianda and Shirley Henderson, who also give stellar acts and both have their witty and charming quirks that makes their support through both dramatic and comical way fantastically compelling and their chemistry between their husbands spark some of the most memorable lines, with Laurel once stating ‘It seems the more I drink, the drunker she gets’.
As to heighten the emotional art, both pouring nostalgia for fans and familiarising for those unfamiliar, the film immediately sets the contrast between the present and their glory days, starting with a 4 minute long-shot of them touring the Hollywood set shrouded in golden Egyptian props (hinting their treatment as gods revelling in success) before shooting one of their most renowned shorts, only to switch 18 years later to them in shoddy hotel in a world moved onto Norman Wisdom. How the times must change. Only thing is they refuse to go with it, not to mention having to keep up their cheery but outdated personas in public, such as when Ollie restrains a bad news outburst in front of a little girl and dons his lovable charm again.
Stan and Ollie is more than a retelling of two celebrities’ lives: it captures a sense of humanity so forgotten in our on and off-set film community and unleashes it through their bond of friendship while consistently capturing that unique charm of their films and well-known characters through their mellow and melancholic aging lives. It’s a spectacle for fans anywhere, although nowhere near as effecting for those not exposed to any of their films, to which I highly recommend seeing before this tribute. The chemistry sparked a reaction I’ve never seen the likes of before, throughout quiet philosophical hotel cycles to disputes on what they’ve actually become after all their previous success, and I could not be happier with a local retelling of the tale of the two black bowler hats dancing in the spotlight. Now repeat after me: Her name is June and very, very soon she’ll belong to me. For I know she’s waiting for me ‘neath that lone pine treeeeeeeeee.
