Laurel & Hardy: The Silent Years – Review

By Sarah Morgan

Here’s another fine mess Eureka’s Masters of Cinema series has gotten us into!

For many of us, our love for Laurel and Hardy began when the BBC broadcast many of their short films and features, either on Saturdays or during the school holidays back in the 1970s and 1980s. But they were by and large the duo’s much-lauded sound projects from the 1930s onwards.

With this release, we’re getting a look at some of their early silent work together, although the majority of the shorts featured here don’t depict the Stan and Ollie we know and love today. Instead, they’re playing very different personas; they’re not even a recognised double-act in many of them either, they merely happen to be two actors in the same film. Nevertheless, they are essential viewing for those interested in the germination of their partnership.

“Notable”

The collection begins with The Lucky Dog from 1921, their first collaboration, in which Stan’s down-on-his-luck hapless hero is robbed by Ollie’s thief. However, thanks to the titular pooch, Ollie eventually gets his just deserts.

That’s followed by 1926’s 45 Minutes to Hollywood, which is perhaps more notable for featuring the final screen appearance of silent-era vamp Theda Bara than anything else. Stan and Ollie don’t even share any scenes together.

After that, the titles get rather more interesting. The remaining 13 films were all made in 1927 and we begin to see the chemistry developing between them, with Do Detectives Think? a particular standout. The completely hopeless private eyes they play are very close to the characters they would adopt throughout their glory years, with Putting the Pants on Philip, in which Stan plays Ollie’s kilt-wearing Scottish nephew, is another delight.

“Enduring success”

I found watching each short with its accompanying commentary, provided by a variety of L&H experts and enthusiasts, particularly enlightening. They provide fascinating details about the background to each production, as well as where the performers were in their lives and careers at the time. They also point out the appearances of supporting stars and tropes that would become crucial to the duo’s enduring success.

The films themselves look wonderful thanks to a 2k restoration, while new scores from a number of composers (including Neil Brand, who is interviewed in the special features and is among the commentary-makers) compliment the on-screen misadventures.

All-in-all, a must for Laurel and Hardy fans, as well as those with an interest in the history of cinema comedy.