安利一部電影給你啊『斯坦和奧利』 個(gè)人非常喜歡 一部有別于綠皮書(shū)的電影，但是也是差不多講的是表演者的巡回演出，兩個(gè)老友多年流下的心結(jié)，最終得到釋放，讓我覺(jué)得他們倆就像一對(duì)夫妻，矛盾并不能拆散他們內(nèi)心深處的結(jié)。而兩個(gè)人各自的妻子也是非常愛(ài)他們的，每個(gè)細(xì)節(jié)都很到位，圖一的一小段就讓我印象非常深刻。這也是真人真事改編的電影，好萊塢的喜劇之王，但是時(shí)間流逝而科技思想快速發(fā)展，最后他們的演出難以生存，而影片里面也有一些帶諷刺的，有些人并不會(huì)欣賞他們的作品，卻只把他們當(dāng)做笑話，但是也是有真的了解和喜歡他們的。 總的來(lái)說(shuō)，我很喜歡這部電影吧，抽了點(diǎn)時(shí)間看，還是要回到會(huì)計(jì)里面咯[皺眉]

演繹不可謂不用心，再現(xiàn)了早期好萊塢喜劇表演的簡(jiǎn)單粗糙，觀眾的笑點(diǎn)低得驚人，略顯怪異的肢體和語(yǔ)言，能輕易贏得哄堂大笑。

三十年代，現(xiàn)代喜劇從萌芽步入成熟階段，從藝術(shù)形式上說(shuō)，斯坦和奧利的創(chuàng)意與表演仍停留在“滑稽”階段，但凡需要，隨時(shí)隨地都可以滑稽，無(wú)所謂情境需要，離特定語(yǔ)境下依賴深度聯(lián)想的幽默還很遠(yuǎn)，這是生活油滑的一面。

此片就是把“滑稽”搬上“電影”和“舞臺(tái)”的過(guò)程。上海的滑稽戲曾經(jīng)久不衰，存續(xù)至今，但那種逗笑手段只屬于年代（盡管不斷有創(chuàng)新）。

問(wèn)題并不出在斯坦和奧利——兩位僅屬于年代的喜劇演員身上，而在于重現(xiàn)過(guò)時(shí)的趣味時(shí)抱著朝拜歷史之心卻匱乏創(chuàng)新。這種人物傳記遠(yuǎn)不及對(duì)同一時(shí)代的卓別林的刻畫(huà)，那種藝術(shù)人生與現(xiàn)實(shí)人生之間的觀照。

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

一部有別于綠皮書(shū)的電影，但是也是差不多講的是表演者的巡回演出，兩個(gè)老友多年流下的心結(jié)，最終得到釋放，讓我覺(jué)得他們倆就像一對(duì)夫妻，矛盾并不能拆散他們內(nèi)心深處的結(jié)。而兩個(gè)人各自的妻子也是非常愛(ài)他們的，每個(gè)細(xì)節(jié)都很到位，圖一的一小段就讓我印象非常深刻。這也是真人真事改編的電影，好萊塢的喜劇之王，但是時(shí)間流逝而科技思想快速發(fā)展，最后他們的演出難以生存，而影片里面也有一些帶諷刺的，有些人并不會(huì)欣賞他們的作品，卻只把他們當(dāng)做笑話，但是也是有真的了解和喜歡他們的。

任何一部偉大戲劇是對(duì)人性的回歸。跌宕起伏的劇情、氣勢(shì)恢宏的場(chǎng)景不見(jiàn)得是一部好的戲劇的唯一標(biāo)準(zhǔn)。一個(gè)簡(jiǎn)單的生活場(chǎng)景也能將戲劇演活。評(píng)價(jià)一部喜劇的好壞也不是以帶來(lái)多少歡笑為最終標(biāo)準(zhǔn)，而是在歡聲笑語(yǔ)過(guò)后能帶來(lái)思考，能給心靈以促動(dòng)?！爸挥锌鞓?lè)才能持久”奧利的這句話就是對(duì)他們最后的演出的最好詮釋。 歷史是人民創(chuàng)造的，但能被記住的往往只是少數(shù)人。我們大多數(shù)人只是蕓蕓眾生中及其平凡的個(gè)體，我們?cè)谌松@部戲劇中扮演不同的角色，有喜劇，也有悲劇，但我們努力生活著，并不因?yàn)樽约旱拿煨《艞壦械呐Γ@就是人性的力量和可愛(ài)。為了熱愛(ài)的舞臺(tái)，為了親密的友誼，奧利不顧生命的危險(xiǎn)完成最后的演出；斯坦在好友去世后選擇退休并直到生命的盡頭仍在為勞雷爾和哈迪組合撰寫(xiě)喜劇素材。

關(guān)于默片時(shí)代巨星的傳奇電影，之前也看過(guò)兩部。

小羅伯特唐尼的《卓別林》，以高度概括式的劇情，展示了卓別林不為人知的熒幕私生活。

《 三個(gè)臭皮匠》，直接借用經(jīng)典戲劇組合的IP，低配炮制的劣質(zhì)作品。

然后就是這一部《Stan and Oliver》，這兩位明星的默片確實(shí)看得比較少，也算是第一次認(rèn)識(shí)他們。

電影中沒(méi)有過(guò)多的鋪墊，故事直接從他們中晚年，事業(yè)的低谷期開(kāi)始，而這段時(shí)間發(fā)生的事情，恰恰能讓觀眾體味到，作為受觀眾愛(ài)戴的喜劇組合，他們?cè)谖枧_(tái)下相互扶持，互相為對(duì)方付出的一面。

比起平鋪直敘他們從認(rèn)識(shí)到合作，再到破裂，最后互相諒解要好得多，因?yàn)橛^眾從一開(kāi)始，就看到他們兩人友好親切的關(guān)系。

令我最影響深刻的，反而是影片結(jié)尾處的一個(gè)小細(xì)節(jié)，Stan的妻子主動(dòng)握住Oliver妻子的手，在觀眾席中，看完他們最后一場(chǎng)表演。

因?yàn)檫@是一個(gè)有鋪墊的設(shè)計(jì)，影片中有多處鏡頭展示出Stan主動(dòng)握住Oliver的手，這個(gè)握手雖然只是一個(gè)細(xì)節(jié)，但是起到了承接的作用， 豐富了人物內(nèi)心的表達(dá)，或者說(shuō)將人物內(nèi)心的情感，外化成簡(jiǎn)單的一個(gè)動(dòng)作。