Well hello there silent comedy fans!
Today the Bafta-nominated Stan & Ollie is released in cinemas, and I highly recommend it. Starring Steve Coogan and John C Reilly as Stan and Babe respectively, this bittersweet movie tells a tale of the boys’ final tour in Britain. I found it to be a remarkably poignant film about their friendship and also, especially thanks to Coogan’s fine impersonation of Laurel, an accomplished evocation of the duo’s comedy magic. Watch out for Shirley Henderson and Nina Arianda stealing the show as the duo’s bickering wives, too. Yes, it’s not always strictly, strictly true to the history, but the changes made have a clear dramatic purpose, and I think what it captures of their relationship is very special, so I hope you enjoy it.
In celebration of the film’s release, here are some links you may enjoy:
Continue reading Stan & Ollie: Them thar links
This is just a short review – I’ll be writing more about the film closer to its release.
There’s a scene in Stan & Ollie, in the offices of a London production company, in which Steve Coogan, playing Stan Laurel, sits down to wait for his appointment and arches his back just enough that his bowler hat rises off his head. And then lets it fall back on again. In the next few minutes he performs a silent slapstick comedy routine that is as exquisitely delicate as it is hilarious. The receptionist gazes at him with contempt. She doesn’t recognise him, and she isn’t impressed. It’s a sublime moment in Jon S Baird’s bittersweet film, which expresses on what exactly it means to be a has-been in a world of novelties, to be dismissed by the ignorant and constantly rediscovered even by the faithful.
It’s 1953, and Laurel and Hardy find themselves on tour in Britain. Their toxic split is several years behind them, but they are back together to transfer their movie hits to the stage and they are competing with new talent at every turn: Norman Wisdom in the theatres, and Abbott and Costello in the cinemas. Stan and Ollie are reduced to the smallest halls, and horribly diminished audiences. Even their most loyal fans assume they have retired, or worse. Still, when they perform Hard-Boiled Eggs and Nuts, or The Trail of the Lonesome Pine, the audience is in hysterics. Stan, forever the brains of the outfit, keeps Ollie’s spirits up by promising a movie at the end of the tour. But if he can’t even win over the producer’s receptionist, that prospect looks doubtful.
Continue reading LFF review: Stan & Ollie revives the joy of Laurel and Hardy’s comedy magic
Happy London Film Festival programme launch day! The festival runs 10-21 October this year and there are oodles of films showing, from the competition titles and the galas to the weird and wonderful pieces in the experimental and short categories. Yadda, yadda, yadda. Let’s cut to the chase. We have no time here for talkies. What does the 62nd London Film Festival have to offer in the way of silent cinema? Plenty. More than usual, I’d say. Some we knew about, some we didn’t.
The really good news – none of these silent screenings need clash with Pordenone. That is to say, there are duplicate screenings to avoid that.
The Great Victorian Moving Picture Show
Nineteenth-century films, shot on 68mm film, beautifully restored, introduced by Bryony Dixon and accompanied by John Sweeney and his Biograph Band. Oh, and they are screening at the actual, flipping IMAX. This is going to be massive. If your mouth isn’t already watering, I don’t know what to do with you. This year’s Archive Gala should be a silent cinema experience like no other. Book now.
Plays: 18 October 2018, BFI IMAX
Continue reading London Film Festival 2018: the silent preview