Unbeknownst to Stanley and Oliver, their long-lost twin brothers, sailors Alfie and Bert are in town on shore leave carrying a valuable pearl ring entrusted to them by their ship's captain.... See full summary »
Members of a municipal band, Stanley and Oliver seem to be always following someone else's lead, rather than that of the temperamental conductor. Soon they're out of a job, as well as their... See full summary »
Stanley and Oliver are mousetrap salesmen hoping to strike it rich in Switzerland, but get swindled out of all their money by a cheesemaker. While working off their hotel debt, Oliver falls... See full summary »
It's 1938, but Stan doesn't know the war is over; he's still patrolling the trenches in France, and shoots down a French aviator. Oliver sees his old chum's picture in the paper and goes to... See full summary »
A band of Gypsies are camped outside the walls of Count Arnheim's palace. Oliver's wife kidnaps the Count's daughter Arline, then leaves the child and runs off with her lover, Devilshoof. ... See full summary »
It's Prohibition, and the boys wind up behind bars after Stan sells some of their home-brew beer to a policeman. In prison, Stan's loose tooth keeps getting him in trouble, because it ... See full summary »
The boys' Army buddy, Eddie Smith, is killed in the trenches in France, leaving his baby girl an orphan. Back home after Armistice, they try to find Eddie's father and turn the child over ... See full summary »
Barbershop owners Stanley and Oliver both answer a personal ad from a rich widow seeking a husband. Oliver hides Stanley's reply and mails just his own. When Oliver receives a proposal of ... See full summary »
Stan and Ollie are charged with delivering the deed to a valuable gold mine to the daughter of a dead prospector. However they reckon without the machinations of her evil guardian Mickey ... See full summary »
It looks like the boys won't need to fish off the end of the pier to feed themselves any longer when Stanley's rich uncle Ebenezer Laurel dies, leaving a large estate. But when he and ... See full summary »
Unbeknownst to Stanley and Oliver, their long-lost twin brothers, sailors Alfie and Bert are in town on shore leave carrying a valuable pearl ring entrusted to them by their ship's captain. All four get involved in multiple cases of mistaken identity as a gang of hoodlums try to steal the ring Stanley and Oliver wind up with their feet in cement, about to be dumped into the harbor. Written by
Paul Penna <firstname.lastname@example.org>
A variation on Shakespeare's 'COMEDY OF ERRORS' (there are occasional references to the bard through the film),OUR RELATIONS is one of Laurel and Hardy's better features.It is certainly the most stylishly-produced film they ever made,and arguably the best from a technical viewpoint.If there is a fault it is with the overly-complex and overly-plotted storyline;it does rather mitigate against truly classic and hilarious routines that were evident in SONS OF THE DESERT and WAY OUT WEST(their best feature films),because there is so much story conveyed.And it's debatable if the familiar 'double' device,which was becoming hackneyed even in 1936,can squeeze that much humour out of it's various confusions and mistaken identities.The large number of characters supporting Stan and Ollie are also something of a distraction;some are relevant to the story,others are not so and abruptly depart somewhat improbably during the narrative.
These quibbles aside,the film is consistently amusing throughout,with familiar L & H foils (Finlayson,Housman),and those not so familiar (Toler,Hale) giving fine support.The most impressive aspect of OUR RELATIONS is it's technical sheen;it is very handsomely produced;the nightclub set particularly is highly impressive,and possibly the most elaborate and polished production design ever seen in a Laurel and Hardy film.Behind the camera,aspects are pretty accomplished too.Director Harry Lachman,usually more comfortable with straight drama (DANTE'S INFERNO with Spencer Tracy was his other most notable cinematic achievement) handles the comic sequences nicely,and commendably directs with a slick,speedy pace.This quickness has a slight downside;it would have been better if Lachman had sat back on a few occasions to allow L & H to indulge in their slower,yet more nuanced and subtle routines.We do see this near the beginning when Ollie reads a letter from his mother,and Stan conspires to break Ollie's reading glasses.This familiar and intimate bit of business is possibly the funniest scene in the film;the welter of plot complication after means we see virtually none of this well-versed style of theirs from this point on.Their encounters with the various many characters are amusing alright (especially Fin,who is well and truly savaged in his battle with the boys on this occasion),but OUR RELATIONS may have been even superior if Lachman had utilised a more methodical pace and concentration on L & H.Rudolph Mate,one of Hollywood's best Black and White cinematographers of the 30's and 40's, does a very accomplished job on the visuals,with some unexpectedly dramatic lighting,especially with the latter gangster sequence.This scene itself is rather over-stretched and perhaps even a trifle intimidating,with Tiny Sandford,in his final L & H film,not entirely comfortable as a brutish thug here.After being dispatched(entirely by mistake)on the dockside,the gangsters involved unconvincingly vanish from the scene,though Stan,Ollie,Alf and Bert finally meet at the end after all these complications.
OUR RELATIONS is not quite the best Laurel and Hardy feature,but only a small handful(WAY OUT WEST,SONS OF THE DESERT,BLOCKHEADS)could probably regard themselves as superior.There are no musical numbers or romantic sub-plots,perhaps because there's so much plot and incident abound! It would have been preferable had there been more emphasis on just L & H themselves,but from a technical and production point of view,OUR RELATIONS is Laurel and Hardy's most polished film;and while not their funniest,is still very amusing.
Rating:7 and a half out of 10.
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