What can I say about Stan Laurel and Oliver Hardy that hasn’t already been said a thousand times? They are icons of the silver screen that reigned prominently between the 1920s and the 1950s. I, and many people before me, grew up watching the duo’s short films on television. I’ve always had an appreciation of their slapstick humour and the personalities they built through their work. While reviewing a recent box set chronicalling films from the year 1927 featuring the pair, I discovered that they were once just two comedians slowly finding their way.
Nearly 7 months after the previous release, Eureka Entertainment has provided a sequel box set that is sure to delight Laurel and Hardy fans. The two-disc set features 10 shorts made in 1928, which have been restored from the best surviving film elements.
One thing to note for fans of the later material, this is still the era of silent films; The action is supplemented with intertitles. The films were produced by Hal Roach and distributed by MGM.
A Note About Flying Elephants
Laurel and Hardy are considered of such importance that all of their films from 1928 are known to exist. Some hardcore fans may note that the content list for this set is missing Frank Butler’s Flying Elephants, which was released early that year. The collators of this release chose to include it on the previous set, which is partially correct, as it was produced in 1927. I don’t have a definitive answer for why this decision was made, as the first few films here share a similar timeline, but I would assume it has something to do with disc space or the double act’s narrative.
In the end, I don’t think it matters that one film is in a different place. I would assume that anyone buying this set would already have the previous one.
1928
Disc 1
The selection begins with Leave ‘Em Laughing, which sees Stan and Ollie pay a visit to the dentist to fix the former’s toothache. It features one of the first appearances in bed together, a trademark in their later years that inspired other comedians, including Morecambe and Wise. The film starts strong with some funny gags. It has a bizarre ending involving laughing gas and Edgar Kennedy as a cop. The film looks remarkable for its age, but there are strong amounts of grain and minor flicker. It’s nice to see how it preserves the original experience in the cleanest way possible.
The next film, The Finishing Touch, portrays the duo as builders. The scenario writes itself and provides plenty of opportunity for well-executed slapstick humour. The score on the main version, thanks to drum hits and orchestral flourishes, helps to accentuate the humour quite nicely. The use of props here is extensive, and I would assume expensive! From Soup to Nuts is one of the best on this set. It has a variety of funny situations, such as Anita Garvin’s roaming olive, and showcases a frenetic energy to Stan’s performance that still stands up. The film would later be the inspiration for a portion of A Chump at Oxford, but it’s a delight to see the idea in its purest form.
You’re Darn Tootin’ puts Laurel and Hardy as musicians who get thrown out of their orchestra and go into busking. The visual humour is rampant in this one, with Laurel and Hardy looking even more like a team. The film moves towards the conclusion with the pair exaggeratedly hitting each other. It is an initially repetitive sequence that oozes out every movement but pays off with an impressive comedic crowd brawl to finish. It’s a daft piece of comedy that is enhanced by the practicalities of the silent era. Despite its overall musical theme, I believe it can be enjoyed with or without the score.
Moving on, Their Purple Moment is significant for being the first Laurel and Hardy film where they have wives. As Neil Brand observes in the film’s commentary, the action in this film is a little slower. The build-up to gags is more measured, and all the better for it. The later scenes with the “girlfriends” in the restaurant are gloriously funny, with a nice mixture of facial panic and slapstick falls. Should Married Men Go Home follows similar lines. Hardy tries to spend a relaxing afternoon with his wife. Stan awkwardly interrupts this, leading to chaos. Eventually, Oliver is coaxed into playing golf during the film’s second half where they meet two women. Watch out for Edgar Kennedy and his wig!
The last film on Disc 1 is Early to Bed, which sees Ollie inherit a fortune from a deceased uncle. Stan goes along for the ride, and acts as his butler. Laurel’s performance in this film is particularly good, with an expressive face and nicely executed physical gags. Look out for a funny sequence in which Hardy pretends to be part of a creepy-looking water fountain, complete with running water! The film looks great for its age, but there are minor moments of unavoidable film damage that would’ve been impossible to fix. I’m glad they didn’t because it feels more authentic that way.
Disc 2
The second disc is short by comparison but packed with extras! Two Tars starts as a fairly standard silent movie; Laurel and Hardy play two sailors who hire a car. There are hijinks and cartoon-like gags. Then, as they ascend to the motorway with two girls they’ve just met, things get more elaborate. An impressive display of (then) contemporary automobiles moving, bumping into each other and then slowly being dismantled. Perhaps the cinematography and pacing make it look a little quaint by modern standards, but every visual set piece still provides a thrill. The required setup for each joke, such as Stan and Ollie pulling wheels off a car, must’ve taken some time!
The last two complete films differ from the rest in that they come with an original synchronised soundtrack from the time. The MGM lion roars at the start, but these aren’t pure sound films. There is no audible dialogue or noise from the soundstage, but sound effects and music were added in later. This was the early days of sound, and audiences wouldn’t have to wait long for the pair to speak…just not yet! Intertitles are still used to show dialogue.
Habeas Corpus is probably the most high concept film on this set, as it ventures into science fiction and horror. A scientist instructs Laurel and Hardy, now kitted out in their famous attire, to visit the graveyard and bring back a dead body for an experiment. Meanwhile, an undercover policeman does his duty. The film is darkly lit in the main, but much of the details are still sharp. It’s a strangely black premise for a film of theirs, but one has to admire the experimentation at a time when their characters are becoming more fixed. Cartoon-like Sound is used sparingly to illustrate visual gags or ideas; basic, but it does the job while still maintaining the charm of a silent film. The funniest sequences are when the film embraces it’s horror premise with accuracy; the pair’s reaction to the absurdity are brilliant.
We Faw Down uses the same sound method, but I did find it a little disconcerting seeing a laughing Stan being audibly illustrated with a random laugh that didn’t fit. The film wraps up 1928 nicely, with a solid scene on the second reel that involves Stan and Ollie trying to explain their way out of trouble, only to dig deeper! Part of this short would later be remade as 1933’s Sons of the Desert.
The second disc selection of films concludes with a fragment of a picture that doesn’t survive in full. Made in 1927, only the second reel of the Charley Chase film Now I’ll Tell One has survived; It runs for around 10 minutes. Laurel and Hardy appear in bit parts, but not together, as it was made before their partnership took off. I’m glad to see they’ve included it here, in the same clear quality as other films. The narrative of this 35mm print isn’t coherent without prior research, but it’s nice to see they’re trying to be comprehensive with these sets.
The Menu and Other Things
Before each film
Clicking on each short reveals a brief description detailing the film’s restoration process and the origins of each print. Additionally, there are annotations regarding any alterations, such as reconstructions that may have been necessary.
There is a mixture of new and vintage scores on this set, with alternatives being offered on some films. Each film has a commentary recorded by one of the many Laurel and Hardy aficionados invited to be part of this set. Each expert has their own style, and can be a pleasurable way to find out more information about these films as they’re running. It’s not as intrusive as I thought it would be.
Special Features
Although this set has fewer films than the previous one, Eureka has still made sure there is plenty of extra material for fans to sink their teeth into. The first one is a 20+ minute interview with Neil Brand, who provides an overview and context for the films on the set.
In addition, a number of Super 8 versions of some shorts, which come under different titles due to their shorter runtime. Owing to the difference in origin, they aren’t as clean as the main films featured. They are a nice oddity that demonstrates how these silent films continued to be enjoyed for many years.
On the second disc is a feature-length video documentary that is both informative and insightful. It delves deep into what made Laurel and Hardy so special, taking examples from across their career. There are plenty of audio and video clips, with narration over the top.
Another special feature is trailers for Robert Youngson’s mid-60s compilation films of Laurel and Hardy shorts. They include The Laughing 20s and the Further Perils of Laurel and Hardy, there is also a tribute to Robert Youngson. These are nice additions, as they demonstrate how the double act’s comedy films from the featured period continued to be used and enjoyed.
Conclusion
Eureka Entertainment and the many people involved here have compiled a comprehensive set of Laurel and Hardy’s work from 1928. The effort taken to preserve, restore and present these films in the best possible way has to be applauded. For films that are nearly 100 years old, they’re in remarkable shape.
Compared to the first release, more films could be considered typical Laurel and Hardy. The characters are still not fully formed, but more clues lead to what they do in the future. The plots may not be the most fleshed out, but the gags are a-plenty! Some of these titles, such as From Soup to Nuts, rank among the finest films they ever made in any medium. The special features add extra value to the set, and help to give essential context to the material.
I cannot recommend this set highly enough! It’s been an honour to see these films in the best possible quality and in chronological order, to witness their journey and the further development of their partnership. Casual observers may want to look elsewhere first. Longtime fans of Laurel and Hardy, this is a must-get set for your collection. Laurel and Hardy: The Silent Years 1928 will be released on the 14th of April 2025. It can be preordered on Amazon.
