How so? Well, several of the dreary films being critiqued were, after all, manufactured under the harsh auspices of, in Laurel’s own words, “those Fox people.” This made it hard to generate enthusiasm, detailing such a nasty turn of events. Possibly that explains why the overall tone of the text – though pleasant - seems to be less than affectionate. Almost in the same sense that it is difficult to avert one’s eyes from a train wreck. Any student of film history will be drawn into such well researched analyses of all the things that went so wrong in THE DANCING MASTERS (1943), THE BIG NOISE (1944), etc. Actually Scott MacGillivray’s almost academic “film studies”-like treatment is of more interest than watching these later movies themselves. The important point is that reading the accounts of such abominations as A-HAUNTING WE WILL GO (1942) is nonetheless interesting, instructive and worthwhile. How one regards these films is a side issue. “It was a terrible thing,” Laurel himself apologized, in one of the letters I have.Īs mentioned, however, this is of no matter.
#ST LAUREL AND HARDY MOVIES MOVIE#
This was Laurel & Hardy’s only horror movie – author Ted Okuda’s favorable viewing experience quoted in the text notwithstanding. Or that, in my case, I hope never again to sit through anything more than a preview trailer’s worth of torture touting ATOLL K (1951). No matter that a forties film like NOTHING BUT TROUBLE (1945), despite uncredited gag material furnished by Buster Keaton, is almost anything but entertainment, with even its title crying out to warn potential viewers. It is a serious book, highly recommended.
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Short version of this notice: If you are serious about your interest in the films, the careers, and the legacy of Stan Laurel and Oliver Hardy, you need to own and read this fine book.
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