Laurel & Hardy: A Bio-bibliography

Greenwood Publishing Group
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This book presents a combined biographical, critical, and bibliographical estimate of Laurel & Hardy's significance in film comedy, the arts in general, and as popular culture icons. Of the two, Laurel decidedly evolves as the central player in this duo biography. The reasons for this are several, but mainly stem from Laurel's role as team spokesman; his late life accessibility; media coverage given to his private life; and the fact that he outlived Hardy by eight years--from 1957 to 1965--a period in which the ever burgeoning public fascination with the team reached new proportions. Hardy's artistic input, however, is currently being given a revisionist upgrading, which Gehring addresses.

The book is divided into five chapters. Chapter 1 is a biography of Laurel & Hardy, exploring the public and private sides of their lives. Chapter 2 is a critique of four broad influences of Laurel & Hardy--as special icons of comic frustrations; as developers of a change in film comedy pacing (which also eased their transition from silent to sound film); as movie pioneers in the innovative early use of comic sound; and, most importantly, as key participants in the evolution of the comic antihero into American mainstream humor. Chapter 3 is composed of two very early reprinted Laurel & Hardy articles and a special Encore collection. Chapter 4 is a very ambitious Laurel & Hardy bibliographical essay, assessing key reference materials and locating research collections open to the student and/or scholar. This involves many obscure, often early and/or untranslated articles drawn from research in Ulverston England--Laurel's birthplace--London and Paris. Chapter 5 is a bibliographical checklist of all sources recommended in Chapter 4. This volume should be of special interest to all Laurel & Hardy aficionados, and students/scholars of comedy.

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About the author

WES D. GEHRING is a Professor in the Department of Communications at Ball State University. He was named BSU Outstanding Young Faculty, 1982-1983 and Outstanding Researcher, 1985-1986.

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Additional Information

Publisher
Greenwood Publishing Group
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Published on
Dec 31, 1990
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Pages
307
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ISBN
9780313251726
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Best For
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Language
English
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Genres
Biography & Autobiography / General
Language Arts & Disciplines / Communication Studies
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Content Protection
This content is DRM protected.
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Eligible for Family Library

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Stan Laurel and Oliver Hardy have remained, from 1927 to the present day, the screen's most famous and popular comedy double act, celebrated by legions of fans. But despite many books about their films and individual lives, there has never been a fully researched, definitive narrative biography of the duo, from birth to death.

Louvish traces the early lives of Stanley Jefferson and Norvell Hardy and the surrounding minstrel and variety theatre, which influenced all of their later work. Louvish examines the rarely seen solo films of both our heroes, prior to their serendipitous pairing in 1927, in the long-lost short "Duck Soup." The inspired casting teamed them until their last days. Both often married, they found balancing their personal and professional lives a nearly impossible feat.

Between 1927 and 1938, they were able to successfully bridge the gap between silent and sound films, which tripped up most of their prominent colleagues. Their Hal Roach and MGM films were brilliant, but their move in 1941, to Twentieth Century Fox proved disastrous, with the nine films made there ranking as some of the most embarrassing moments of cinematic history.

In spite of this, Laurel and Hardy survived as exemplars of lasting genius, and their influence is seen to this day. The clowns were elusive behind their masks, but now Simon Louvish can finally reveal their full and complex humanity, and their passionate devotion to their art. In Stan and Ollie: The Roots of Comedy: The Double Life of Laurel and Hardy, Louvish has seamlessly woven tireless and thorough research into an authoritative biography of these two important and influential Hollywood pioneers.

The 1930s are routinely considered sound film’s greatest comedy era. Though this golden age encompassed various genres of laughter, clown comedy is the most basic type. This work examines the Depression decade’s most popular type of comedy—the clown, or personality comedian. Focusing upon the Depression era, the study filters its analysis through twelve memorable pictures. Each merits an individual chapter, in which it is critiqued. The films are deemed microcosmic representatives of the comic world and discussed in this context. While some of the comedians in this text have generated a great deal of previous analysis, funnymen like Joe E. Brown and Eddie Cantor are all but forgotten. Nevertheless, they were comedy legends in their time, and their legacy, as showcased in these movies, merits rediscovery by today’s connoisseur of comedy. Even this book’s more familiar figures, such as Charlie Chaplin and the Marx Brothers, are often simply relegated to being recognizable pop culture icons whose work has been neglected in recent years. This book attempts to address these oversights and to re-expose the brilliance and ingenuity with which the screen clowns contributed a comic resiliency that was desperately needed during the Depression and can still be greatly appreciated today. The films discussed are City Lights (1931, Chaplin), The Kid From Spain (1932, Cantor), She Done Him Wrong (1933, Mae West), Duck Soup (1933, Marx Brothers), Sons of the Desert (1933, Laurel and Hardy), Judge Priest (1934, Will Rogers), It’s a Gift (1934, W.C. Fields), Alibi Ike (1935, Brown), A Night at the Opera (1935, Marx Brothers), Modern Times (1936, Chaplin), Way Out West (1937, Laurel and Hardy), and The Cat and the Canary (1939, Bob Hope).
The 1930s are routinely considered sound film’s greatest comedy era. Though this golden age encompassed various genres of laughter, clown comedy is the most basic type. This work examines the Depression decade’s most popular type of comedy—the clown, or personality comedian. Focusing upon the Depression era, the study filters its analysis through twelve memorable pictures. Each merits an individual chapter, in which it is critiqued. The films are deemed microcosmic representatives of the comic world and discussed in this context. While some of the comedians in this text have generated a great deal of previous analysis, funnymen like Joe E. Brown and Eddie Cantor are all but forgotten. Nevertheless, they were comedy legends in their time, and their legacy, as showcased in these movies, merits rediscovery by today’s connoisseur of comedy. Even this book’s more familiar figures, such as Charlie Chaplin and the Marx Brothers, are often simply relegated to being recognizable pop culture icons whose work has been neglected in recent years. This book attempts to address these oversights and to re-expose the brilliance and ingenuity with which the screen clowns contributed a comic resiliency that was desperately needed during the Depression and can still be greatly appreciated today. The films discussed are City Lights (1931, Chaplin), The Kid From Spain (1932, Cantor), She Done Him Wrong (1933, Mae West), Duck Soup (1933, Marx Brothers), Sons of the Desert (1933, Laurel and Hardy), Judge Priest (1934, Will Rogers), It’s a Gift (1934, W.C. Fields), Alibi Ike (1935, Brown), A Night at the Opera (1935, Marx Brothers), Modern Times (1936, Chaplin), Way Out West (1937, Laurel and Hardy), and The Cat and the Canary (1939, Bob Hope).
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