安利一部電影給你啊『斯坦和奧利』 個人非常喜歡 一部有別于綠皮書的電影，但是也是差不多講的是表演者的巡回演出，兩個老友多年流下的心結(jié)，最終得到釋放，讓我覺得他們倆就像一對夫妻，矛盾并不能拆散他們內(nèi)心深處的結(jié)。而兩個人各自的妻子也是非常愛他們的，每個細節(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，有些人并不會欣賞他們的作品，卻只把他們當做笑話，但是也是有真的了解和喜歡他們的。 總的來說，我很喜歡這部電影吧，抽了點時間看，還是要回到會計里面咯[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單粗糙，觀眾的笑點低得驚人，略顯怪異的肢體和語言，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，斯坦和奧利的創(chuàng)意與表演仍停留在“滑稽”階段，但凡需要，隨時隨地都可以滑稽，無所謂情境需要，離特定語境下依賴深度聯(lián)想的幽默還很遠，這是生活油滑的一面。

此片就是把“滑稽”搬上“電影”和“舞臺”的過程。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)過時的趣味時抱著朝拜歷史之心卻匱乏創(chuàng)新。這種人物傳記遠不及對同一時代的卓別林的刻畫，那種藝術(shù)人生與現(xiàn)實人生之間的觀照。

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

一部有別于綠皮書的電影，但是也是差不多講的是表演者的巡回演出，兩個老友多年流下的心結(jié)，最終得到釋放，讓我覺得他們倆就像一對夫妻，矛盾并不能拆散他們內(nèi)心深處的結(jié)。而兩個人各自的妻子也是非常愛他們的，每個細節(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，有些人并不會欣賞他們的作品，卻只把他們當做笑話，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人性的回歸。跌宕起伏的劇情、氣勢恢宏的場景不見得是一部好的戲劇的唯一標準。一個簡單的生活場景也能將戲劇演活。評價一部喜劇的好壞也不是以帶來多少歡笑為最終標準，而是在歡聲笑語過后能帶來思考，能給心靈以促動。“只有快樂才能持久”奧利的這句話就是對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體，我們在人生這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，并不因為自己的渺小而放棄所有的努力，這就是人性的力量和可愛。為了熱愛的舞臺，為了親密的友誼，奧利不顧生命的危險完成最后的演出；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喜劇素材。

關(guān)于默片時代巨星的傳奇電影，之前也看過兩部。

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看得比較少，也算是第一次認識他們。

電影中沒有過多的鋪墊，故事直接從他們中晚年，事業(yè)的低谷期開始，而這段時間發(fā)生的事情，恰恰能讓觀眾體味到，作為受觀眾愛戴的喜劇組合，他們在舞臺下相互扶持，互相為對方付出的一面。

比起平鋪直敘他們從認識到合作，再到破裂，最后互相諒解要好得多，因為觀眾從一開始，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)尾處的一個小細節(jié)，Stan的妻子主動握住Oliver妻子的手，在觀眾席中，看完他們最后一場表演。

因為這是一個有鋪墊的設(shè)計，影片中有多處鏡頭展示出Stan主動握住Oliver的手，這個握手雖然只是一個細節(jié)，但是起到了承接的作用， 豐富了人物內(nèi)心的表達，或者說將人物內(nèi)心的情感，外化成簡單的一個動作。