斯坦和奥利

一部有别于绿皮书的电影，但是也是差不多讲的是表演者的巡回演出，两个老友多年流下的心结，最终得到释放，让我觉得他们俩就像一对夫妻，矛盾并不能拆散他们内心深处的结。而两个人各自的妻子也是非常爱他们的，每个细节都很到位，图一的一小段就让我印象非常深刻。这也是真人真事改编的电影，好莱坞的喜剧之王，但是时间流逝而科技思想快速发展，最后他们的演出难以生存，而影片里面也有一些带讽刺的，有些人并不会欣赏他们的作品，却只把他们当做笑话，但是也是有真的了解和喜欢他们的。

任何一部伟大戏剧是对人性的回归。跌宕起伏的剧情、气势恢宏的场景不见得是一部好的戏剧的唯一标准。一个简单的生活场景也能将戏剧演活。评价一部喜剧的好坏也不是以带来多少欢笑为最终标准，而是在欢声笑语过后能带来思考，能给心灵以促动。“只有快乐才能持久”奥利的这句话就是对他们最后的演出的最好诠释。 历史是人民创造的，但能被记住的往往只是少数人。我们大多数人只是芸芸众生中及其平凡的个体，我们在人生这部戏剧中扮演不同的角色，有喜剧，也有悲剧，但我们努力生活着，并不因为自己的渺小而放弃所有的努力，这就是人性的力量和可爱。为了热爱的舞台，为了亲密的友谊，奥利不顾生命的危险完成最后的演出；斯坦在好友去世后选择退休并直到生命的尽头仍在为劳雷尔和哈迪组合撰写喜剧素材。

《斯坦和奥利》的友谊Stan & Ollie

劳莱（史蒂夫·库根Steve Coogan饰）和哈台（约翰·C·赖利 John C. Reilly饰）是上世纪二十至四十年代好莱坞一对胖瘦相搭绘炙人口的著名喜剧演员。

转眼到了1953年，两人已经退出影坛，这次被邀请到英

国巡回演出。只是时代变了，最初剧院里总是空空如也。经纪人要他俩亲自上电台和电视出场公关，结果效果特好，到处火爆。最后经纪人决定在伦敦为他们包下一个大剧场，他们都准备好好大干一场。

哪知就在演出前一天，哈台却病垮了，医生警告他不得再演出。但少掉了伙伴的劳莱推脱了经纪人为他介绍的新搭档，决定取消演出打包回美国。就在那晚，哈台却来了。不顾一切和劳莱重新登台。总之这次巡回演出完满结束。

劳莱和哈台，在当时也是家喻户晓的明星，我记

得以前就是在国内都有过他们电影的连环画。那时候电影的连环画都是拿影片中的镜头直接印上去。虽说是黑白片，那时候印出来的是蓝白色。当然小时候笑点低，就是图画也能小的前俯后仰。当然现在看起来这些笑话幼稚了。

他俩也是几十年的友谊了，虽然两人出身个性爱好全然不同，但这么多年磕磕碰碰后还是一起走了下来。当年劳莱由于争工资而被开除后。哈台却自顾自一个人拍片。尽管留下了心结，可是最后他们的友谊小船没有受到丝毫影响，这才是真正的基友哪。

也就是，到了后来，他们两谁也少不了谁。也就是为什么少了哈台，劳莱宁可不上台。而哈台知道后，也不顾医生劝阻抱病上台，这才是患难中见真情。实际上，他们这次巡回是为了他俩重新拍片造声势。其实他们两人从一开始就分别得悉没有得到贷款。但都没有声张，故意装糊涂而一直到结束，为的就是还有个机会两个在一起表演。

劳莱和哈台是两位演员的姓，而本片用的斯坦和奥利是他们的名字，因此他们两人的全名是斯坦·劳莱和奥利·哈台。斯坦·劳莱是出身于英国演员家庭，工作勤勉，为两人的表演写剧本。奥利·哈台从青年时期就在电影院里工作，可是爱好赌马和打高尔夫。他们从1926年开始合作。有无声和有声片，也有长片和短片，共有107部片子。1945年后他们主要是各处的舞台表演，本片就是其中的一次英国之行。在哈台先去世后，劳莱还是一人写为他们两人的剧本。

国内有过类似的演员搭配，三十年代的演员韩兰跟和殷秀岑一起拍摄过近两百部影片。他们被称为“中国式的劳莱与哈代”。在世界各地都有他们的崇拜者，更不用说在英国和美国了。

导演乔·拜尔德 Jon S. Baird以本片得英国学院奖提名。

英国演员史蒂夫·库根以《菲洛梅娜》“Philomena (2013)”得奥斯卡影片和编剧提名，以该片得金球奖编剧提名。

约翰·C·赖利以《芝加哥》“Chicago (2002)”得奥斯卡和金球奖提名，以本片和《永不止步：戴维·寇克斯的故事》“Walk Hard: The Dewey Cox Story (2007)”得金球奖提名。

安利一部电影给你啊『斯坦和奥利』 个人非常喜欢 一部有别于绿皮书的电影，但是也是差不多讲的是表演者的巡回演出，两个老友多年流下的心结，最终得到释放，让我觉得他们俩就像一对夫妻，矛盾并不能拆散他们内心深处的结。而两个人各自的妻子也是非常爱他们的，每个细节都很到位，图一的一小段就让我印象非常深刻。这也是真人真事改编的电影，好莱坞的喜剧之王，但是时间流逝而科技思想快速发展，最后他们的演出难以生存，而影片里面也有一些带讽刺的，有些人并不会欣赏他们的作品，却只把他们当做笑话，但是也是有真的了解和喜欢他们的。 总的来说，我很喜欢这部电影吧，抽了点时间看，还是要回到会计里面咯[皱眉]

Stan Laurel and Oliver Hardy, the comedy-duo who bequeathed audience in toto 107 films (mostly shorts), are rara avis in Old Hollywood since, when everything is said and done, their friendship endured the turmoil of showbiz, they are true friends both on and off the celluloid.

Laurel and Hardy’s massive appeal can be excellently evinced in these two feature-length pictures. William A. Seiter’s SONS OF THE DESERT playfully pits conjugal trust against fraternal loyalty (the film’s title refers to a fictitious fraternal society the pair belongs to), and the result is a sparks fly, relentlessly rib-tickling slapstick that highlights the double act’s antics and personalities. A slim Laurel is the put-upon goofball and a rotund Hardy is the straight-faced bully, the exact opposite of Abbott and Costello, also, sometimes, their gags are preceded by oceanic pregnant pauses.

In James W. Horne’s WAY OUT WEST, Laurel and Hardy go west to deliver the deed of a gold mine and promptly get themselves embroiled in duplicity and horseplay. They are perhaps the most unlikely knights in shining armor, that all depends on how feckless the villains are, James Finlayson’s crooked salon owner Mickey Finn is outright cartoonish, which leaves Sharon Lynn’s bejeweled salon singer Lola do the heavy lifting of manhandling Laurel with tickle torture, you can guess who is wearing the pants in that household.

WAY OUT WEST gifts audience with Laurel and Hardy’s iconic synchronized dancing accompanied by the Avalon Boys, later the comical rendition of “The Trail of the Lonesome Pine”, and Laurel’s hat-eating, thumb-lighting gags, but its storyline is way too unremarkable to bother mentioning and the pratfall antics are deployed ad nauseam (I can imagine even the sinkhole would sigh resignedly), Meanwhile, SONS OF THE DESERT’s battle of sexes makes the best of domestic squabbles and situation comedies, contrast between Ms. Hardy (Busch) and Ms. Laurel (Christy), a termagant versus a sharpshooter, manifests that Laurel and Hardy are the weaker sex in their domestic unions.

Pandering to a plebeian audience but with a morsel of refinement (they are not the Three Stooges), Laurel and Hardy’s comedies have less essence than Chaplin and Keaton’s bodywork, but contrivance is conveniently masked by the duo’s gladsome personae, and they attain the lowest common denominator with distinction. At the same time, cinematic techniques are evidently presented in both films, cross-fading in SONS OF THE DESERT, archaic special effects in WAY OUT WEST, all signal that the pair’s pictures are studio’s top-line commodities.

Jon S. Baird’s biopic STAN & OLLIE cleverly reckons without the tired cradle-to-grave trope. By way of largely focusing on the duo’s music hall tour of the United Kingdom and Ireland in 1953, the film neatly carves out a sympathetic approach to honor their ever-indelible screen legacy. Laurel (Coogan) and Hardy (Reilly) are over the hill, attempting a comeback in the movie business which transpires to be a pipe dream. Saddled with old age and even older grudge, they are reunited, but it takes the whole tour and a heart attack to really open them up and patch things up, though their pique is a mote in the eyes of their Tinseltown coevals.

Baird makes a good fist of his third feature film, his direction is nifty, attentive but not grandstanding, the narrative pans out coherently, digestible even for those who don’t know the duo from Adam, and it ends with a perfectly calibrated note of earnest emotion, short of mawkishness.

Naturally the impact of biopics as such hinges on the actors, and STAN & OLLIE hits the jackpot with Reilly and Coogan, the former, imposed on himself ponderous prosthetic makeup and costumes, camouflages the arduousness with an open-faced facility, while the latter, studiously mincing every word and calculating every look and gesture, projects Laurel’s inscrape with acute faculty and precision, both actors breast a new peak in their acting careers (for my money, Coogan delivers something more magic here). And when they are on stage in concert to mimic Laurel and Hardy’s antics, the resemblance is uncanny and totally captivating.

Ida and Lucille, Laurel and Hardy’s respective wives (played by Arianda and Henderson with distinctive flairs), are two different kettles of fish, one is a haughty loudmouth verging on caricature (Arianda and Coogan generate zero connubial chemistry, they look anything but a married couple) and the other is a mousy but devoted helpmate (Henderson and Reilly make good of domestic bliss), both must take a back seat to let the heartfelt bond of their husbands save the day.

Take some liberty from facts, STAN & OLLIE is a masterly composed, subdued, almost elegiac panegyric on a comedy double act who is immortalized by their rambunctious energy and wholehearted benevolence.

referential entries: Arthur Lubin’s HOLD THAT GHOST (1941, 7.1/10); Sam Wood’s A NIGHT AT THE OPERA (1935, 7.3/10); Ted Wilde’s SPEEDY (1928, 7.4/10).

Title: Sons of the Desert

Year: 1933

Genre: Comedy, Family, Music

Country: USA

Language: English

Director: William A. Seiter

Screenwriter: Frank Craven

Music: Marvin Hatley

Cinematography: Kenneth Peach

Editor: Bert Jordan

Cast:

Stan Laurel

Oliver Hardy

Mae Busch

Dorothy Christy

Charley Chase

Lucien Littlefield

Ty Parvis

Rating: 7.6/10

Title: Way Out West

Year: 1937

Genre: Comedy, Western

Country: USA

Language: English

Director: James W. Horne

Screenwriters: Charley Rogers, Felix Adler, James Parrott

Music: Marvin Hatley

Cinematography: Art Lloyd, Walter Lundin

Editor: Bert Jordan

Cast:

Stan Laurel

Oliver Hardy

Sharon Lynn

James Finlayson

Rosina Lawrence

Stanley Fields

Vivien Oakland

Chill Wills

Rating: 7.3/10

Title: Stan & Ollie

Year: 2018

Genre: Biography, Comedy, Drama

Country: UK, Canada, USA

Language: English

Director: Jon S. Baird

Screenwriter: Jeff Pope

inspired by A.J. Marriot’s “Laurel and Hardy: The British Tours”

Music: Rolfe Kent

Cinematography: Laurie Rose

Editors: Úna Ní Dhonghaíle, Billy Sneddon

Cast:

Steve Coogan

John C. Reilly

Shirley Henderson

Nina Arianda

Rufus Jones

Danny Huston

John Henshaw

Stephanie Hyam

Rating: 7.5/10

关于默片时代巨星的传奇电影，之前也看过两部。

小罗伯特唐尼的《卓别林》，以高度概括式的剧情，展示了卓别林不为人知的荧幕私生活。

《 三个臭皮匠》，直接借用经典戏剧组合的IP，低配炮制的劣质作品。

然后就是这一部《Stan and Oliver》，这两位明星的默片确实看得比较少，也算是第一次认识他们。

电影中没有过多的铺垫，故事直接从他们中晚年，事业的低谷期开始，而这段时间发生的事情，恰恰能让观众体味到，作为受观众爱戴的喜剧组合，他们在舞台下相互扶持，互相为对方付出的一面。

比起平铺直叙他们从认识到合作，再到破裂，最后互相谅解要好得多，因为观众从一开始，就看到他们两人友好亲切的关系。

令我最影响深刻的，反而是影片结尾处的一个小细节，Stan的妻子主动握住Oliver妻子的手，在观众席中，看完他们最后一场表演。

因为这是一个有铺垫的设计，影片中有多处镜头展示出Stan主动握住Oliver的手，这个握手虽然只是一个细节，但是起到了承接的作用， 丰富了人物内心的表达，或者说将人物内心的情感，外化成简单的一个动作。