Laurel & Hardy Jon S. Baird | Review


Published on May 02, 2019


In the first few minutes of Laurel & Hardy-everything that Jon S. Baird wants to tell us with his new work: two artists, the friendship that united them, the essence of that friendship and of their brand and how that brand came up to us decades later, is the only possible way that we have to remember them.

With a direction that is never invasive but limited to chase to follow the sparkling characters in the behind-the-scenes of their work, and then of their lives, while the pair of protagonists express their world, their way of relating to it and their own ways of doing shots of call-and-response, Baird tells us that Laurel and Hardy were Laurel and Hardy always and forever, no matter how many reflectors or pairs of eyes were focused on them: we, today, ec, I remember them so, and so that is the way that the cinema should represent them.

The paradox is quite obviously in the manner in which it seems to have the gag to chase the two characters in every moment of their private life, they are the same as those of the gag that inhabit the world to make them laugh, even when they are the first to have nothing to laugh.

It is not a case that the sequence is more beautiful and successful is the inability of the two to express their weaknesses and their differences, when what is to all intents and purposes, a resounding argument for public – resounding in the sense of comedy can, which arrives i.e. the end of the second act, and that must be remediated in the next minutes before a positive conclusion – to be interpreted by onlookers as yet another show. Laurel and Hardy drew applause even when they try to azzannarsi the throat to one another, because depending on the look of today (the one with which we look at them), the two forerunners of the slapstick, could not but convey joy and laughter.

It is an idea of cinema and clear, no matter how simple, functional to the feeling from a love letter that Baird wants to make: the camera does not come off ever by Stan Laurel (Steve Coogan) and Oliver Hardy (John C. Reilly), who never become people, but are always and only characters, icons, and feelings from the characters, and who always talk about how to talk about the characters (their) films. At this point, the performance of the two actors in the role of the two actors becomes crucial for the success of the film, and those of Coogan and Reilly do not betray the expectations of Baird, on which it has based the entire success of his work.

And that the use of the original clips of the original Laurel and Hardy, the director prefers the reconstruction of the same by its actors, says a lot about how this movie is everything to them, and how, above all, has been winning the bet Baird: the Laurel and Hardy of Steve Coogan and John C. Reilly are absolutely perfect both in the artistic moments both in private moments, succeeding in the thankless task of replacing physically to an entire collective imagination.

And that you find comical, almost eighty years ago able to make so good still today, in different bodies to see how similar, does that confirm those found were brilliant. That then is the ultimate end of mr. Baird.

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