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Block-Heads (1938) - Laurel and Hardy

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Offline metaldams

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      BLOCK-HEADS is another classic feature, among the top tier along with SONS OF THE DESERT and WAY OUT WEST.  At the time it was made, Stan Laurel and Hal Roach were not getting along.  Stan and Ollie were on separate contracts with this being Stan's final film on his contract while Ollie had an additional film on his.  This film was made with the thought it could very well be the last Laurel and Hardy film so it feels appropriate BLOCK-HEADS feels like a 57 minute two reeler, back to roots, coming full circle,  if you will.

      Interestingly enough, one of the five writers is none other than Harry Langdon.  He is a comic screen legend in his own right who would have a hand writing a few other Laurel and Hardy features after this.  He would also go on to team with Oliver Hardy in ZENOBIA, that one additional film Ollie owed Roach when Stan wasn't under contract.  Langdon's mark is felt in the plot of the first reel.  The idea of a soldier guarding his post years after World War I ended without realizing the war is over was used in Langdon's own 1926 comedy, SOLDIER MAN.  The whole first reel is a pleasure to watch.  The way they milk Ollie thinking Stan has one leg and how courteous Ollie is towards Stan because of it is great.  A lot of comedy is mined from this one premise.  We also get great sight gags of Ollie being covered up in the car with a huge mound of dirt and Stan crashing that car onto Ollie through the garage.  Stan trying to get Ollie to carry him again after the accident is a great way to bring the reel full circle.

      The second reel is the wonderful staircase scene.  So many great confrontations made more comical due to the fact that unbeknownst to Stan and Ollie, the elevator gets fixed right away and there was no need to have these thirteen floor staircase adventures - yet they happen anyway.  The confrontation with James Finlayson, the kid with the football and his father (the former being Tommy Bond from Our Gang), Ollie's old flame and the letter - again, many great comic scenarios.  This film also features Stan's strange power like the others do, this time his ability to pull down a shade not with the shade itself, but by the shade's shadow on the wall, confounding poor Ollie in the process.

      The final reel is a remake of UNACCUSTOMED AS WE ARE.  The post code versus pre code difference is apparent with how Patricia Ellis doesn't get a lingerie shot quite like Thelma Todd.  Ms. Ellis does a fine job in the role as does Billy Gilbert playing the Edgar Kennedy role.  Any time Billy Gilbert loses his temper it's a good thing!  The highlight would have to be the kitchen explosion. It is staged in such a way that I always laugh hysterically, even though I know it's coming.  I said to myself this viewing just before it happened I'm going to attempt not to laugh and I lostthe challenge, I laughed like crazy. 

      Overall a very entertaining film that does not have one dull moment.  Pure Laurel and Hardy.  Next week, we discuss their one adventure with RKO before doing the final two Roach films and after that....it's post classic era.  Should be an interesting ride.
- Doug Sarnecky


Offline metaldams

In case you guys are interested, here's SOLDIER MAN.  Definitely worth your time and a glimpse of a man who inspired Stan Laurel's screen character.  It is quite obvious watching Stan Laurel solo before Langdon got big versus after.

- Doug Sarnecky


Offline Umbrella Sam

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I don’t think I’d consider this up with WAY OUT WEST and SONS OF THE DESERT, as I feel that the final reel is a bit slow and Minna Gombell is not a good Mrs. Hardy. Besides that, though, there are a lot of classic bits to note here.

Easily the best scene is Ollie thinking that Stan lost his leg. It’s both a touching scene as well as one that allows for great physical comedy on their parts, especially when Ollie is trying to carry Stan and takes forever to realize that he’s carrying someone with two legs. He even goes back to it briefly when they get back to the house. Other great scenes include, but are not limited to: Stan guarding his post for 20 years, Stan driving through the garage, the “Out of Order” sign, piling up a crowd for the big fight. For something that was supposed to be just a remake of UNACCUSTOMED AS WE ARE, it’s surprising how much creativity they were able to fit through the early reels.

The downside is the actual UNACCUSTOMED AS WE ARE portion. Don’t get me wrong; I liked UNACCUSTOMED AS WE ARE, and there still are some funny moments (I especially love when Ollie’s trying to call downstairs and doesn’t realize he’s talking to Stan). However, a lot of it also just consists of incomprehensible shouting and Billy Gilbert’s role is extremely limited, especially compared to Edgar Kennedy in UNACCUSTOMED. There’s even a pointless scene early on involving the Gilberts that seems like it’s supposed to advance the story, but ends up feeling like it’s just there to pad out the film.

My other issue is with Minna Gombell as Mrs. Hardy. Most Mrs. Hardys in the past at least showed some signs that they cared deep down about their husband, and at least in THE BOHEMIAN GIRL, Mae Busch is so blatant with her cheating on Ollie that it’s funny. From the first minute, the Mrs. Hardy in this film is cold to her husband. Even when she acts nice to him, there’s just this nasty feeling to her that makes you wonder why either of them got together in the first place.

Yeah, there’s some negative stuff, but what’s good is still really good and for what was supposed to be their last feature initially, they did a pretty solid job overall. I do wish there was just a little bit more creatively, but I’m mostly satisfied with what we got.

9 out of 10
“I’ll take a milkshake...with sour milk!” -Shemp (Punchy Cowpunchers, 1950)

My blog: https://talk-about-cinema.blogspot.com


Offline metaldams

I don’t think I’d consider this up with WAY OUT WEST and SONS OF THE DESERT, as I feel that the final reel is a bit slow and Minna Gombell is not a good Mrs. Hardy. Besides that, though, there are a lot of classic bits to note here.

Easily the best scene is Ollie thinking that Stan lost his leg. It’s both a touching scene as well as one that allows for great physical comedy on their parts, especially when Ollie is trying to carry Stan and takes forever to realize that he’s carrying someone with two legs. He even goes back to it briefly when they get back to the house. Other great scenes include, but are not limited to: Stan guarding his post for 20 years, Stan driving through the garage, the “Out of Order” sign, piling up a crowd for the big fight. For something that was supposed to be just a remake of UNACCUSTOMED AS WE ARE, it’s surprising how much creativity they were able to fit through the early reels.

The downside is the actual UNACCUSTOMED AS WE ARE portion. Don’t get me wrong; I liked UNACCUSTOMED AS WE ARE, and there still are some funny moments (I especially love when Ollie’s trying to call downstairs and doesn’t realize he’s talking to Stan). However, a lot of it also just consists of incomprehensible shouting and Billy Gilbert’s role is extremely limited, especially compared to Edgar Kennedy in UNACCUSTOMED. There’s even a pointless scene early on involving the Gilberts that seems like it’s supposed to advance the story, but ends up feeling like it’s just there to pad out the film.

My other issue is with Minna Gombell as Mrs. Hardy. Most Mrs. Hardys in the past at least showed some signs that they cared deep down about their husband, and at least in THE BOHEMIAN GIRL, Mae Busch is so blatant with her cheating on Ollie that it’s funny. From the first minute, the Mrs. Hardy in this film is cold to her husband. Even when she acts nice to him, there’s just this nasty feeling to her that makes you wonder why either of them got together in the first place.

Yeah, there’s some negative stuff, but what’s good is still really good and for what was supposed to be their last feature initially, they did a pretty solid job overall. I do wish there was just a little bit more creatively, but I’m mostly satisfied with what we got.

9 out of 10

Good point about Minna Gombell versus Mae Busch.  Never really thought of it.
- Doug Sarnecky


Offline Dr. Mabuse

"Block-Heads" finds Stan Laurel and Oliver Hardy at the peak of their comic art. Running a brisk 57 minutes, there is little plot — only the simple pleasure of being in The Boys' company as they deliver one classic routine after another. If Roach had utilized Laurel's original "black" ending (with Stan and Ollie's heads mounted on the wall of game hunter Billy Gilbert), the overall feature would rank alongside "Sons of the Desert" and "Way Out West." Instead, "Block-Heads" clumsily reprises the final gag from "We Faw Down." Despite this unfortunate lapse, the film remains among Laurel and Hardy's best. Marvin Hatley earned an Oscar nomination for his delightful score.

9/10


Offline HomokHarcos

This is my favorite Laurel and Hardy  feature, it's just a great showcase of their comedy. Considering that they were assuming this could be their last film together it might have been attended as a best of send-off. It is split into three different parts, all good. The first one was probably Harry Langdon's idea, with the leg behind and Ollie thinking he is crippled. Ironically, if Stan would have just waited two more years he would have been fighting again. The second part may be my favorite section in any Laurel and Hardy film. Them getting up the stairs was so great, especially the cameo appearance from Our Gang's Tommy Bond. The third is a nostalgic reminder of Unaccustomed As We Are, and it was done better than their remake segments in other films. Absolutely enjoyable film.

By this point Hal Roach wanted to be a major independent producer like Samuel Goldwyn and David Selznick, and he would produce three prestigious films: Topper, Of Mice and Men and 100 Million B.C. I assume this was the reason why Roach was less willing to compromise with Stan Laurel like he did before as he was planning on moving away from comedy anyway (he sold Our Gang to MGM during this time).


Offline Dr. Mabuse

Quote
Roach was less willing to compromise with Stan Laurel like he did before as he was planning on moving away from comedy anyway.

With the move to United Artists in 1938, Roach didn't realize that he needed Laurel and Hardy as an insurance policy and bargaining chip for his prestige productions. Unfortunately, "Of Mice and Men" and "One Million B.C." were box-office failures while Stan and Ollie remained Roach's only breadwinners.

By 1940, Laurel believed the team would fare better elsewhere and Roach's efforts to placate him were too little, too late. UA was less than pleased about Laurel and Hardy's departure, which coincided with the declining fortunes of Hal Roach Studios. Roach tried to get the team back in 1942 for a series of wartime streamliners, but Laurel felt the salaries were too low. 


Offline HomokHarcos

With the move to United Artists in 1938, Roach didn't realize that he needed Laurel and Hardy as an insurance policy and bargaining chip for his prestige productions. Unfortunately, "Of Mice and Men" and "One Million B.C." were box-office failures while Stan and Ollie remained Roach's only breadwinners.

By 1940, Laurel believed the team would fare better elsewhere and Roach's efforts to placate him were too little, too late. UA was less than pleased about Laurel and Hardy's departure, which coincided with the declining fortunes of Hal Roach Studios. Roach tried to get the team back in 1942 for a series of UA wartime streamliners, but Laurel felt the salaries were too low.
I think the smart move would have been to keep Laurel and Hardy and Our Gang on his payroll so he could bring in money to fund his more ambitious projects. Sort of like Walt Disney producing the Mickey Mouse, Donald Duck and Goofy cartoons while also producing the feature films.


Offline NoahYoung

As a kid, I loved it.
Into my adult years, I loved it.
Recently, not so much.

Keep in mind that I have seen this movie approximately 100 times, so I'm gonna get nitpicky.

I can tell you what's wrong with the picture in 2 woirds [sic]-- Minna Gombell -- as mentioned above.
I agree that someone like Mae Busch (or, how about, actually getting Mae Busch!) would have been far superior.
She has an annoying voice -- Minna, that is.  I mean, really annoying. Not in a funny way, either.

The writers are partly to blame. Perhaps they didn't think it would be funny for Mr. and Mrs. Hardy to have an amusing argument where you could actually hear what they were saying. Instead, we get rambling dialog, sometimes when they are not even on-screen. I have a hypothesis -- perhaps what the writers intended was to emphasize Stan's child-like character. A small child only hears his parents yelling -- he doesn't hear what they are saying. That being said, did they have to repeat a sound loop where all you can make out are the words "animal crackers"? Captain Spaulding, we hardly knew ye!

We are ask to buy a lot about the film's premise:

1. No one, including Ollie, thinks to go back and get Stan after their battle.
2. Ollie, supposedly Stan's best friend, completely forgets about him, leaves France, and goes back home to America.
3. In 20 years, no one discovered Stan before until he shoots down an aviator, who tells him, "Ze war's been over vor dwendy years!"
4. Without thinking, the aviator immediately realizes that Stan is talking about WWI, and his first reaction when Stan says that is to laugh.
5. No other planes have gone by Stan's trench in 20 years.
6. Stan had the wherewithal to keep his artillery in working order for 20 years (this is the Stan character we are talking about!), or the artillery was so well made that it immediately worked, having not been used in 20 years.
7. Ollie didn't get married for another 19 years after the war. (Well, it could happen!)
8. Lulu supposedly hasn't seen Ollie in years, yet she knows exactly where he lives. And he married a "local girl", whatever that's supposed to mean.

I could go into how they haven't aged at all in 20 years, or the fact that 2 guys in their late 40s were fighting in the war, or that they were really in their 20s but looked a lot older, but I won't.  :D

Like I said, I've seen this one 100 times.

It's only 57 minutes, yet a relatively large amount of time is devoted to stock footage at the beginning. Add to that typically lengthy credits since this was a feature, and you are really cutting into the boys' screen time. Yet at the end, the film drags, and seem longer than an hour.

In between, we do get some of the best and funniest L&H ever. Starting with the visit at the Veteran's home, and ending with Mrs. Hardy's second return home. From there, it drags -- yet I may be in the minority in finding the reprisal of the WE FAWN DOWN finale very funny.


I would still highly recommend it to someone who hasn't seen it, but I just don't reach for it to watch like I used to. Maybe in another 10 years I will feel differently.

And yes, I would have loved to have seen Patricia Ellis in lingerie. She was certainly a looker!
 ;D

BTW, I was fortunate enough to meet Tommy Bond once and I asked him about this film. He said Stan and Babe were very nice fellows.
It was at a movie collector's show, and he was selling the then-new Cabin Fever VHS tapes of Our Gang. He also was autographing his new autobiography, which I bought that day, a well as pictures. One of the pics he had to autograph was a scene from BLOCK-HEADS, which prompted me to ask about it. Just making conversation, I asked him how old he was in the pic. When I got home, I looked up his birthday in the Our Gang book by Maltin -- and Butch got his age wrong by a few years, lol. We talked about Charley Chase, and he mentioned he was in I'LL TAKE VANILLA (which I still haven't seen), and I said, "What about YOU SAID A HATFUL?" which I had in Super 8 from Blackhawk. He was stunned. He didn't know he was in it!






Burt Lancaster was too short!
- The Birdman of Alcatraz


Offline metaldams

BLOCK-HEADS to me works as a bit of surrealism, so I can accept any illogical things which yes, as you correctly point out, are there.  Agreed Mae Busch would have made the film even better.
- Doug Sarnecky


Offline NoahYoung

I was just being nitpicky -- and I've seen it so many times it's hard for me to enjoy because I start to analyze it.
Burt Lancaster was too short!
- The Birdman of Alcatraz


Offline Dr. Mabuse


Offline metaldams

It’s good to know in 1938 that a guy can watch Stan and Ollie while the wife gets her hair done and buys some lingerie.  Local convenience at its finest.

I think SOLDIER MAN is the next Langdon, definitely a link to this film.
- Doug Sarnecky


Offline Samurai

Prior to last Saturday morning, I had only seen this offering once...about a year ago. I suspect that I must have been distracted by emails, twaater and god knows what else...as I didn't have many memories. This time, I paid attention (and DVR'd it just in case). I was completely entertained, despite the one unanimous flaw...the bi-polar Mrs. Hardy. From cranky to sweet to inexplicably mean. Mae Busch can make that work, but Ms. Gombell cannot.

That aside, I'm once again in awe of Ollie's ability to convey everything he's feeling within a 1/4 second. The first being his combination look of relief/self loathing for getting away with not remembering his 1st anniversary. The second being the brief look of shock/horror/anguish/resolve upon seeing Stan's 'missing leg'. The third provided me with my biggest laugh. After rolling out of the kitchen with the punch, Stan asks what happened. Ollie repeating 'what happened' followed by his primal OOOOHHHHHHH!!! literally had me belly laughing. He had made similar retorts to Stan's idiocy in the past, but never with such rage. It was beautiful.

This was certainly not a perfect effort, but as I previously mentioned, I was completely entertained...and that's good enough.