Stan & Ollie (B or 3/4 stars)
'Stan & Ollie' (directed by Jon S. Baird & adapted from 'Laurel & Hardy: The British Tours') is a warm, gentle portrait of aging, legendary comics Stan Laurel & Oliver Hardy (Steve Coogan, John C. Reilly) that focuses on the years near the end of their careers, as they went on a tour of the UK & Ireland. Stan & Ollie were a huge success story in early Hollywood and, by 1937 when their film Way Out West was released, they were the biggest comedy duo of all time. The film opens with the partners at the absolute height of their fame, but short on $$ and impacted by their restrictive contracts by Hal Roach (Danny Huston), the plot flashes forward to 1953 in merry 'ole England where they find themselves are on a self-preservatory variety hall tour.
Their careers have faded {most people think they've long retired} & their slapstick antics have aged, too. Hoping to secure funding for a new movie {a spoof on Robin Hood titled Rob 'Em Good}, they play to half-empty houses & are non-events -- new stars, Abbott & Costello, get their posters plastered on walls instead. But while their initial shows were poorly attended, with a bit of publicity, the adoring crowds grow in numbers. The tour becomes a hit. And their beloved wives, Lucy & Ida (Shirley Henderson, Nina Arianda) join them. However, Stan & Ollie can't shake the long-buried resentments & ghosts of their past. Funding for their new movie falls through. And Oliver's failing health threatens their precious partnership, as well. Giving one last hurrah might just be an insurmountable challenge.
Though this film has a flat opening half hour or so, and while the filmmakers annoyingly play around with timelines {as many biopics do} ... I really enjoyed this tender, poignant look at one of the most creative comedic unions of early Hollywood, their fight to keep their act alive, & the rediscovery of how much they meant to each other. Really, this movie warmed my heart. From its opening bit - including one crucial, physical comedic routine - to its closing bit {where they perform the same dance act} - I loved the respect & love that the filmmakers clearly wanted to impart to this amazing team. Also deserving notice in this film are the period production values & some stunning Academy Award-worthy hair & prosthetic make-up work.
The two leads are excellent; looking & sounding just like the real thing & exhibiting amazing chemistry. Steve Coogan captures Laurel's driven nature, yet brittle befuddlement, and John C. Reilly charms as the rotund, yet lovingly easy-going Ollie. Both actors - superb in their portrayals - are given fine support from Scottish actress Shirley Henderson as the witty, grounded Lucy, Ollie's supportive wife who cared for him 'til his death, and American actress Nina Arianda portraying Stan's last wife, the humorous, domineering Ida. These 4 performances, individually & together - are winning.
Jeff Pope's screenplay ensures there is plenty of silly fun & light entertainment as a fond tribute to Stan & Ollie's twilight years. But there is a melancholy that permeates the proceedings, as well. The movie touches on the sadness of comedy stars who can no longer generate the same attention from their golden years. And it's that sadness, along with the clear love that they had for one another, that made this film experience all the richer. Like I said, the beginning was quite flat for me {where some generated comedic antics didn't hit the mark}, but I was completely won-over in the end by this sentimental, warm look back at a love story friendship; one in which these polar opposite men couldn't really thrive with or without each other.
Their careers have faded {most people think they've long retired} & their slapstick antics have aged, too. Hoping to secure funding for a new movie {a spoof on Robin Hood titled Rob 'Em Good}, they play to half-empty houses & are non-events -- new stars, Abbott & Costello, get their posters plastered on walls instead. But while their initial shows were poorly attended, with a bit of publicity, the adoring crowds grow in numbers. The tour becomes a hit. And their beloved wives, Lucy & Ida (Shirley Henderson, Nina Arianda) join them. However, Stan & Ollie can't shake the long-buried resentments & ghosts of their past. Funding for their new movie falls through. And Oliver's failing health threatens their precious partnership, as well. Giving one last hurrah might just be an insurmountable challenge.
Though this film has a flat opening half hour or so, and while the filmmakers annoyingly play around with timelines {as many biopics do} ... I really enjoyed this tender, poignant look at one of the most creative comedic unions of early Hollywood, their fight to keep their act alive, & the rediscovery of how much they meant to each other. Really, this movie warmed my heart. From its opening bit - including one crucial, physical comedic routine - to its closing bit {where they perform the same dance act} - I loved the respect & love that the filmmakers clearly wanted to impart to this amazing team. Also deserving notice in this film are the period production values & some stunning Academy Award-worthy hair & prosthetic make-up work.
The two leads are excellent; looking & sounding just like the real thing & exhibiting amazing chemistry. Steve Coogan captures Laurel's driven nature, yet brittle befuddlement, and John C. Reilly charms as the rotund, yet lovingly easy-going Ollie. Both actors - superb in their portrayals - are given fine support from Scottish actress Shirley Henderson as the witty, grounded Lucy, Ollie's supportive wife who cared for him 'til his death, and American actress Nina Arianda portraying Stan's last wife, the humorous, domineering Ida. These 4 performances, individually & together - are winning.
Jeff Pope's screenplay ensures there is plenty of silly fun & light entertainment as a fond tribute to Stan & Ollie's twilight years. But there is a melancholy that permeates the proceedings, as well. The movie touches on the sadness of comedy stars who can no longer generate the same attention from their golden years. And it's that sadness, along with the clear love that they had for one another, that made this film experience all the richer. Like I said, the beginning was quite flat for me {where some generated comedic antics didn't hit the mark}, but I was completely won-over in the end by this sentimental, warm look back at a love story friendship; one in which these polar opposite men couldn't really thrive with or without each other.