Topic: Below Zero (1930) - Laurel and Hardy

[metaldams]

http://www.lordheath.com/index.php?p=1_95_Below-Zero
http://www.laurelandhardycentral.com/below0.html
http://www.imdb.com/title/tt0020678/?ref_=fn_al_tt_2


http://www.dailymotion.com/video/x2j36e1

Watch BELOW ZERO in the link above

http://www.dailymotion.com/video/x26gajt_tiembla-y-titubea-b-w-1930-laurel-hardy_shortfilms

Watch TIEMBLA Y TITUBEA in the link above



      A very unusual but fascinating Laurel and Hardy film.  As a Laurel and Hardy comedy, there are far better films, so if you're new to Stan and Ollie, don't start here.  The best comic bit is at the end of the film and is sight gag that involves Stan.  I won't describe it so not to give it away, but it's quite memorable and funny.  From a comic point of view, the highlight of the film.

      BELOW ZERO is more fascinating as an atmospheric drama.  Stan and Ollie are street musicians in the snowy winter of 1929, the first winter of the depression.  They're trying to earn change but the people they run into simply are too miserable to appreciate their efforts.  One woman pays them to go away, and Charlie Hall, upset he has to shovel snow in a miserable winter, takes exception to Ollie's lyrics about the summer and throws a snowball in Ollie's face.  Instead of humor,  you get a long close-up of Ollie's defeated face, it feels sad, not funny.  The thing is, at this point, at least I genuinely like Ollie's character and do feel genuine pathos for the guy.  At another point, Blanche Payson breaks Ollie's upright bass over his entire body and throws Stan's harmonium out in the street.  Again, pure dread, but I find it all fascinating.

      The streets look dreadful as well filled with snow - the snow in real life was Corn Flakes!  But yeah, great art direction, the look of the neighborhood really adds to the film, pure poverty, coldness, and despair.  Also, when Leo Willis catches Stan and Ollie with the wallet, the close up of his face as he's about to rob them is worthy of a pre code Warner Brothers gangster film.  Little touches like this make me like this film, not the standard comic reasons why I usually watch Stan and Ollie.

      On a personal note, I'm a bass player, though of the electric variety.  Still, I get a kick watching Ollie play.  He keeps good rhythm but plays nothing but open strings, he obviously can't fret a note, so he can't really play. Love those moments when you hear him hit those very loose strings.  Don't know how fascinating that is to non bass players, though. 

       The Spanish version I don't have too much to say.  It works, the only differences are they extend the blind man gag a little and the boys get a very truncated hat changing scene with the police officer.  Interestingly, Ollie sings words in the English version, but a bunch of "la-la's" in the Spanish version until the last line where he has to sing about the season, setting up the punchline for the Charlie Hall snowball.

      A really fascinating experimental film.  A part of me wants to give this a 10 because I like what's here, but I'm yearning for that one all time classic comedy scene to bring this over the top.  Hell, Chaplin always did it, in even sadder circumstances.  Still, good film.  Next week is a more standard Laurel and Hardy film, arguably the best one yet up until this point.  Can't wait!

9/10

[Big Chief Apumtagribonitz]

Yes, everything that Metal said, plus a good joke from the past that has gotten lost over the years:  When the lady pays them to go away, she calls Ollie " Oh, Mr Whiteman..."  This is a reference to Paul Whiteman, who was an enormously popular bandleader in the '20's and '30's, and who did indeed resemble Oliver Hardy.  The joke is that Whiteman led a 50-piece orchestra, and there's poor Ollie with just him and Stan.  No one in a 1930 audience would have missed that joke.

[metaldams]

Yes, everything that Metal said, plus a good joke from the past that has gotten lost over the years:  When the lady who pays them to go away, she calls Ollie " Oh, Mr Whiteman..."  This is a reference to Paul Whiteman, who was an enormously popular bandleader in the '20's and '30's, and who did indeed resemble Oliver Hardy.  The joke is that Whiteman led a 50-piece orchestra, and there's poor Ollie with just him and Stan.  No one in a 1930 audience would have missed that joke.

Never would have gotten that in a million years, so thanks for sharing it.

[Big Chief Apumtagribonitz]

If you Google Paul Whiteman, you'll instantly see the resemblance.  He was so popular in that era that most of the background music on these films, though composed in-house by the Roach musical staff, is arranged in a very Whitemanesque manner.  His musical influence was everywhere, absolutely everywhere, during those years.
     Also, from what I've read, the deepest thinkers on this subject have in general agreed that the snowballs are cottage cheese.

[metaldams]

If you Google Paul Whiteman, you'll instantly see the resemblance.  He was so popular in that era that most of the background music on these films, though composed in-house by the Roach musical staff, is arranged in a very Whitemanesque manner.  His musical influence was everywhere, absolutely everywhere, during those years.
     Also, from what I've read, the deepest thinkers on this subject have in general agreed that the snowballs are cottage cheese.

Whiteman seems like an interesting guy, and some controversy amongst jazz purists, based on my reading.

As far as cottage cheese snowballs, I can totally believe it.  Definitely not the stuff on the ground, though.  Can you imagine that clean up?!

[Tony Bensley]

According to an article reprinted in LAUREL & HARDY: A BIO-BIBLIOGRAPHY, Sherbet was used to make the snowballs—indeed, a not at all unpleasant taste in the event some of it got into any of the actor’s mouths!

To my eyes, they look like mashed potatoes, especially the one that goes splat on Ollie's face!

Anyway, great review, Metaladams!

CHEERS! 

[metaldams]

According to an article reprinted in LAUREL & HARDY: A BIO-BIBLIOGRAPHY, Sherbet was used to make the snowballs—indeed, a not at all unpleasant taste in the event some of it got into any of the actor’s mouths!

To my eyes, they look like mashed potatoes, especially the one that goes splat on Ollie's face!

Anyway, great review, Metaladams!

CHEERS! 

Based on eyes and consistency, I tend to think it looks like cottage cheese.  Based on thought, I would think Sherbert would be more believable based on the already mentioned taste reasons and the spoil factor.  Cottage cheese, while I like it, can go bad fast.  One of life's great mysteries. 

Thanks for the compliment.

[Seamus]

Agree with Metal's take on this one completely.  Very offbeat L&H film, and one I'm glad they have in their body of work.  Like the Stooges, their overall filmography is more interesting for including the occasional experimental piece like this.  Like you said, the comedy isn't as strong in this one, but it's got plenty of other interesting aspects that make it worth watching, not least that it's such a fascinating product of the time in it was made.  For me, one of the pleasures of watching old films comes from considering the historical context in which they were made, and I love how the bleak social/economic conditions of 1929 infuse the tone of BELOW ZERO.

This one feels like Laurel and Hardy's version of THE FATAL GLASS OF BEER, W.C. Fields' weird short that was also snowy, experimental, and shorter on the comedy content than his other work.

[Signor Spumoni]

Generally speaking, I don't care for sad anything, movies, books, plays, etc.  This just treads the edge between pathos and humor. I tend to agree with Metal; there is sadness here, and reflective of the first hard winter after the stock market crash.  Hollywood seemed to have two ways to serve the public during the Depression: offer characters who were at least as poor as most Americans, or, offer characters of fabulous wealth and privilege.  This movie gives us L&H with the former type of characters.

I could almost duplicate what Metal, and others, wrote about this because there are so many excellent comments.


I like this film.  I like the way that the boys play "In The Good Ol' Summertime" relentlessly amid the snow and the cold.  I like the reactions of Charlie Hall, the embodiment of outrage in many movies, and of the woman who tosses them "go away money" as I've heard it called. 

I think the platter of steaks looks appetizing, by the way.  I think my favorite joke is where Ollie orders "a small demitasse."  Stan's joke is good, too, ordering "the same, in a large glass." 

I don't care much for the final joke, the sight gag, but that's just my personal dislike, and I won't say more in case anyone else has yet to see it. 

[metaldams]

To punctuate Big Chief's point about Paul Whiteman looking like Oliver Hardy, here's a pic.

[metaldams]

This one feels like Laurel and Hardy's version of THE FATAL GLASS OF BEER, W.C. Fields' weird short that was also snowy, experimental, and shorter on the comedy content than his other work.

Very good analogy! I love Fields, and while I see what you're saying, I have to say the humor of THE FATAL GLASS OF BEER slowly reveals itself more and more with repeat viewings.

A short I see similarities with BELOW ZERO is Harry Langdon's FIDDLESTICKS.  Definitely has the street musician vibe looking for change in poor neighborhoods, but with more humor. A must see for any Vernon Dent fan, as he plays duel roles, both very well!

Great comments from everyone here.

[7stooges]

A short I see similarities with BELOW ZERO is Harry Langdon's FIDDLESTICKS.  Definitely has the street musician vibe looking for change in poor neighborhoods, but with more humor.

There may have been some connection between BELOW ZERO and FIDDLESTICKS. Either way, BZ is definitely a remake of STARVATION BLUES, a 1925 Hal Roach short starring Clyde Cook. Syd Crossley plays the Hardy role. Stan Laurel wrote the story.

Here's an edited version of it:

[metaldams]

There may have been some connection between BELOW ZERO and FIDDLESTICKS. Either way, BZ is definitely a remake of STARVATION BLUES, a 1925 Hal Roach short starring Clyde Cook. Syd Crossley plays the Hardy role. Stan Laurel wrote the story.

Here's an edited version of it:

Thanks for the link! 

[Signor Spumoni]

There may have been some connection between BELOW ZERO and FIDDLESTICKS. Either way, BZ is definitely a remake of STARVATION BLUES, a 1925 Hal Roach short starring Clyde Cook. Syd Crossley plays the Hardy role. Stan Laurel wrote the story.

Here's an edited version of it:

The link takes me to "The Troubadors."  Is that correct?

[metaldams]

The link takes me to "The Troubadors."  Is that correct?

It is the correct link.

After watching it, I can see the germ of the idea for BELOW ZERO, especially if Stan wrote it.  The idea of poor street musicians and a snowy street atmosphere are the same, but that's where the comparisons end.  This silent short is basically a Sennett style slapstick with a story I can't discern, while a BELOW ZERO is a more mature comic drama.  Still, a fascinating link.

[7stooges]

The link takes me to "The Troubadors."  Is that correct?

Sure is. This was from an episode of "Comedy Capers," a 1960s TV series that showcased Roach and Sennett silent comedies. All shorts shown were given new titles.

[Signor Spumoni]

Thank you, Metal and 7S, for answering my question as to whether I was directed to the correct link.  I assumed, incorrectly, I would see a short titled, "Starvation Blues."   

I enjoyed watching the early, silent, episodic version of Stan's story and thinking how it compared to the talkie version.  This is also the first Clyde Cook film, for me, I think.  Thank you, 7S, for posting this link. 

[Paul Pain]

This was a more interesting short, for sure.  The Depression atmosphere certainly creates a sad situation.  I'd have tossed Blanche Payson in a sewer.  And it is too convenient for my tastes that the wallet belongs to the cop.  It is much like CUCKOO ON A CHOO CHOO in that only a person with some experience can watch it and appreciate it.

7/10

[Umbrella Sam]

BELOW ZERO is certainly an interesting short. From a dramatic standpoint, it works somewhat. You do feel genuinely sorry for Laurel and Hardy throughout the film and they do a good job selling that themselves, but in a way that also works against the short. Things you would find in other Roach shorts are often used here, such as when the organ is run over and it does feel like they’re trying to make you laugh with it, but it just feels way too cruel and Blanche Payson should have gotten some sort of comeuppance for that. Chaplin was very good at selling these kinds of films, but more because he knew different ways to draw an audience’s sympathy while making them laugh as well. Here, it’s just the Roach staff using material they know how to use in a comedy and feels just a bit too awkward. Still, I do have to give the short credit for that ending. For one thing, seeing Hardy show so much concern for Laurel when he can’t find him is actually very sweet and that final gag is pretty funny as well. The ending is definitely the highlight of this short. I also enjoyed seeing Hardy get a chance to sing again.

The Spanish version of BELOW ZERO is TIEMBLA Y TITUBEA. Some unnecessary exposition at the beginning with the police officer is added as well as a few minor things throughout the rest of the short as well. I do like the addition of the hat gag with the police officer, but beyond that there isn’t much else to say.

It’s an interesting film, for sure, but definitely not something you want to show to first-time fans.

English Version: 7 out of 10
Spanish Version: 6 out of 10

[HomokHarcos]

I love the bleakness of the film. It is actually pretty dark because the assumption is that they are impoverished hungry men who have to play music in the cold to get food. My favorite thing about this film is the art direction; I absolutely love the snowy set design. Probably my favorite in any movie along with Three's a Crowd. Actually, that's not the only comparison I can think of. Three's a Crowd also relies more on depressing situations and less comedy than the average Langdon film. The ending is good even if it is dark. It's is an early example of the endings where Stan and Ollie end up mangled by the end, but like a cartoon they usually end up surviving. I often hear complaints that old comedy is too light-hearted and "white-fence" but the comedy of the 1920s and 1930s was actually pretty depressing if you want to think of how the characters would actually be feeling.