STAN AND OLLIE

UK/US/Canada, 2018, 98 minutes, Colour.
John C.Reilly, Steve Coogan, Shirley Henderson, Nina Arianda, Danny Huston, Rufus Jones.
Directed by Jon S.Baird.

If there is anybody not in the know, Stan and Ollie are the famous comedy duo of the first part of the 20th century, in film and on stage, British Stan Laurel and American Oliver Hardy.

For those who remember, this will be a wonderful indulgence in nostalgia as well as an opportunity to have a look behind the footlights and the camera, some of the real life of the duo. For those who do not know them, this may be an encouragement for them to search out Laurel and Hardy films (and, there are quite a few on YouTube).

What is quite remarkable about the film is how persuasively the two stars embody the characters. John C Reilly can do a great range of characters (even Dr Watson before this one). He is in a fat suit building him up to resemble Ollie, very successfully. On the other hand, Steve Coogan needs little make up for him to resemble Stan. While Stan had some funny routines, as they both do, he is the more serious one, writing a lot of their material, while Ollie is just happy performing and pleasing audiences.

The film opens with the couple at the height of their popularity, having started to make films in the 1920s, short features moving into full-length features. They have been contracted by the entrepreneur, Hal Roach (played by Danny Huston) who has a hold over Ollie but not over Stan. Stan walks out, Ollie makes a film without Stan and the two break up. The scene in 1937 at the studio gives the atmosphere of the dramas and conflicts and contracts but also shows them doing one of their routines, rear projection out West, moving to a cinema audience with rollicking laughter.

The main action of the film takes place 1950s, an arranged tour of England and Ireland, to bring them together again, relying on their routines on stage. There is also a plan to raise money for them to make a film about Robin Hood – Stan telling some jokes and stories about aspects of the script (even visualising it later in the film). However, it is 1953, they are certainly living in good memories and, while they are put up in poor hotels and small theatres by entrepreneur Bernard Delfont (Rufus Jones) and are unhappy, he persuades them to do some commercials, some small episodes for television, which they enjoy and which then gets in the crowds.

Both Stan and Ollie were multi-divorced. They had to pay alimony and so needed the money and Ollie had betting on horse races habit. We see their current wives of the time, script writer and editor, Lucille (an unexpected presence and performance by Shirley Henderson) who was married to Ollie for 17 years until his death and who took care of him, as she does here, when he collapses and the doctor forbids him to go on stage again. Ida (Nina Arianda) is, to say the least, a tough Russian cookie, but devoted to Stan.

At one stage, Stan and Ollie have a dingdong verbal argument, surfacing all the resentments each of them had about the other, then not speaking. However, ultimately, they choose to resolve the fight because they were generally devoted to each other, so much so that Ollie decides he will go back on the stage, travel to Ireland with a huge welcome as they dock, and goes for a final performance.

Throughout the screenplay there are some of the physical jokes from their films as well as a lot of the verbal banter – the two doors sketch at a railway station is particularly funny.

Most of the final credits need not have been there because at the side, there are scenes from the films and their famous dance routine which everybody will be watching and laughing with.

Yes, it is probably time to go back and search for Laurel and Hardy films.


1. The portrait of Laurel and Hardy? Personal lives and relationships? Their careers, comedy routines?

2. John C. Reilly and Steve Coogan and their impersonations? Communicating the essence of Laurel and Hardy?

3. Audience awareness of the popularity, their careers, comedy routines? Response?

4. Re-creation of the period, in the US, 1937? In the UK, 1953? Ireland? The musical score?

5. Their Hollywood career in the 30s? The British and Irish tours in the 1950s? The routines in the film, in their stage performances? The narrative incorporating some routines (the trunk going down the stairs)? The scenes during the final credits?

6. 1937, studios, their careers, at the top, their personalities, the combination in comedy routines? The role of Hal Roach, his studios, demanding, his contract with Oliver Hardy, notwithstanding Laurel? Stan thinking of going independent, his business acumen, writing scripts? Oliver Hardy, wanting people to like him? Still under contract? His making the film with another partner, the film about the elephant? Their making Way Out West, the scenes of the filming, the rear projection, the song and dance routine, the transition to the cinema, the applause of the audience?

7. 1953, not together for 15 years, the suggestion of the tour? The silence between them? The planning of the tour, using the routines, the expectations of the finance for the film about Robin Hood? Hopes?

8. Newcastle, the receptionist responding, carrying up the cases, the poor situation, Bernard Delfont and his meeting, the promotion of Norman Wisdom? The poor theatre, thus audiences? Their dissatisfaction with the situation? But the audience response? Their being persuaded by Delfont to do stunts, television, newsreels? Their enjoying them? The promotion of their tour, the audiences increasing? The Lyceum in London for two weeks? The full houses?

9. The issue of the movie, Stan and his phone calls, being put off, the visit to the office, the blunt truth? His creating and rehearsing scenes? The imaginative scene with the jokes and Oliver in the water? Stan finally telling the truth, Oliver saying that he knew this originally – and the routine about knowing, that he knew about knowing…?

10. The picture of Laurel and Hardy and their relationships, their marriages, financial arrangements, alimony? The divorces? Oliver and his betting and need for money? Lucille, script writer, his proposal, their marriage, for 17 years? Her concern about him, care? The comparisons with Ida, the Russian background, managing Stan, love for him, and dominating personality? Their arrival at the Savoy hotel, the cameras?

11. The clash between the two, the argument, the discussions about true friendship, Hardy doing the film with the elephant without Stan, the the bitter expressions of the argument, the silence for days, the visit to Worthing, the beauty competition, Stan announcing, Oliver collapsing?

12. The consequences of the collapse, Lucille taking over? The doctor and his verdict? Oliver not to go on stage again?

13. Stan, Delfont suggesting a British actor to pair with him? The full house, the performance being called off?

14. Stan coming to see Oliver, the apology, warming him, lying on the bed, the bond between them? The tour in Ireland, on the boat on the Irish Sea, the lavish welcome in Ireland?

15. The last performance, their expertise, the final dance? The applause?

16. The information about Oliver Hardy’s illness and death? Stan continuing to write routines for them even after Hardy’s death?