(2018) Biographical Drama (Sony Classics) Steve Coogan, John C. Reilly, Shirley Henderson, Nina Arianda, Rufus Jones, Danny Huston, Joseph Balderrama, John Henshaw, Tapiwa Mugweni, Keith MacPherson, Stewart Alexander, Kevin Millington, Toby Sedgwick, Rebecca Yeo, Stephanie Hyam, Kate Okello, Sanjeev Kohli, Richard Cant, Ashley Robinson, Susy Kane. Directed by Jon S. Baird
The comic duo of Laurel and Hardy have transcended their medium and become iconic. Most people know who they are, even if they’ve never seen them in action. Their bits, born in the traditions of the music hall and vaudeville, still are as enthralling today as they were 80 years ago.
However, this biopic depicts the legendary team in the twilight of their career. Stan Laurel (Coogan) and Oliver “Babe” Hardy (Reilly) have long since passed the zenith of their careers and have been rendered by television and teams like Abbott and Costello as artifacts of a bygone age. Needing cash and hoping to mount a comeback in a Robin Hood-like picture that Laurel is writing, the two mount a tour of England at the behest of promoter Bernard Delfont (Jones) in 1953.
At first, they are playing in dodgy venues to sparse crowds. There is a tension between the two, largely due to a feeling of betrayal that Stan has that Oliver worked with silent comedian Harry Langdon (Cant) on a picture called Zenobia which Laurel dismisses as “that elephant picture” following a contract dispute for Laurel while Hardy was still under contract to Hal Roach. Hardy who had ballooned to well over 300 pounds by that point, had health constraints that affected his ability to perform. Also, their wives Lucille Hardy (Henderson) and Ida Kitaeva Laurel (Ananda) didn’t get on particularly well.
Like most Hollywood biographies, the film does fudge a little bit on the facts but it does get the essence of the relationship between the two right, not to mention the personalities of the two men. Laurel was a thinker, a compulsive sort who did the lion’s share of the writing while Hardy was a more easygoing fellow, a bit of a hedonist and not one for thinking about the future. Even though for much of the film the relationship between the two was frosty, there was still a great deal of affection between them as you would find for any two people who were in close quarters for more than 30 years.
Coogan’s performance won him a BAFTA nomination, but for my money the performance to see here is Reilly’s, which the Hollywood Foreign Press apparently agreed with me on as he was the one who got the Golden Globe nomination. In all honesty, though, both performances are distinctive with Reilly’s being just a little bit more so.
Where the movie kind of fails is that we don’t see what really made them such a wonderful team; sure, we see a few bits here and there, and we get a sense of the chemistry between the two, but you would be hard pressed to explain why the two were so popular in their heyday by watching this film.
Still, that may not have been what Baird and writers Jeff Pope and AJ Marriott were after. This doesn’t give us the sweep of their careers, only a snapshot of a particular time in their career when they were admittedly past their prime. Still, it’s a sweet tribute to a pair of comedians who made an incalculable contribution to motion picture comedy.
REASONS TO SEE: Coogan and Reilly do a fine job of bringing the two beloved comedians to life.
REASONS TO AVOID: Doesn’t re ally explore the essence of their humor.
FAMILY VALUES: There is some brief profanity.
TRIVIAL PURSUIT: The film got it’s nationwide American release on Oliver Hardy’s 117th birthday.
BEYOND THE THEATER: Amazon, AppleTV, Fandango Now, Google Play, Microsoft, Redbox, Starz, Vudu, YouTube
CRITICAL MASS: As of 5/22//20: Rotten Tomatoes: 93% positive reviews. Metacritic: 75/100
COMPARISON SHOPPING: Chaplin
FINAL RATING: 6.5/10
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