Credit where credit is due.
Had my old friend, Roy Frumkes, not introduced me to cartoonist extraordinaire, Al Kilgore back in the late ’60s, I doubt that I would have ever grown to appreciate “The Boys” as they deserve.
It’s probably a safe bet that very few who visit HTF are aware of the song, “At the Ball, That’s All.”
The lyrics begin…
“Commence advancin’
Commence advancin’
Just start a prancin’…
If they don’t sound familiar, it might all come together if one watched the little dance number that Stan Laurel and Oliver Hardy did, in front of a rear screen, of an outdoor western town, for Way Out West (1937).
It’s the lead-in to Scottish director Jon S. Baird’s delightful film, Stan & Ollie, which uses that number, beautifully shot from a reverse angle at the start, for his film which chronicles the final years of Laurel and Hardy’s relationship. It segues to 1953, and their final tour through England.
I loved this film.
Probably mostly based upon the fact that Steve Coogan and John C. Reilly virtually become Stan and Ollie, along with more than a bit of help from prosthetics designer, Mark Coulier.
But had Mr. Coogan and Mr. Reilly not had the ability to channel the men they re-created, this never would have worked.
Stan & Ollie is a delight to behold, and for those not yet familiar with their work, a wonderful means of introduction.
Shot digitally, the Blu-ray, from Sony represents the film beautifully.
As an aside, the film’s opening involves a long shot following the actors from their dressing to to the set, which is actually three parts, beautifully blended together.
And while you’re watching them walk through a stand-in for the Roach lot in Culver City, later Selznick, keep an eye out for what I perceive to be the prop gears, probably from Chaplin’s Modern Times, shot the previous year (1936).
Image – 5
Audio – 5
Pass / Fail – Pass
Highly Recommended
RAH
Robert has been known in the film industry for his unmatched skill and passion in film preservation. Growing up around photography, his first home theater experience began at age ten with 16mm. Years later he was running 35 and 70mm at home.
His restoration projects have breathed new life into classic films like Lawrence of Arabia, Vertigo, My Fair Lady, Spartacus, and The Godfather series. Beyond his restoration work, he has also shared his expertise through publications, contributing to the academic discourse on film restoration. The Academy Film Archive houses the Robert A. Harris Collection, a testament to his significant contributions to film preservation.
Post Disclaimer
Some of our content may contain marketing links, which means we will receive a commission for purchases made via those links. In our editorial content, these affiliate links appear automatically, and our editorial teams are not influenced by our affiliate partnerships. We work with several providers (currently Skimlinks and Amazon) to manage our affiliate relationships. You can find out more about their services by visiting their sites.
Similar threads