Der Jüngling aus der Fremde

Stan Laurel regarded PUTTING PANTS ON PHILIP as the first ‘true' L&H film. THE SECOND HUNDRED YEARS was the first 'official' L&H film, but this was the one where Stan completely resigned himself not only to performing (he had signed on with the Hal Roach Studios as a director and 'gag-man', before certain situations - among them Oliver Hardy's accident with a leg of lamb leading to Stan having to replace him; and the extra money that performing would provide for himself and his new wife, Lois - brought about his historic return to performing, as well as writing, directing, editing and involvement in other areas of production), but also realised the fact that he was part of a team that worked well together. This, therefore, is an historic and very important film in the history of comedy.

It is also a surprisingly funny little silent film; rather different from what Laurel & Hardy would become known for and from what they are more immediately associated with today. The characters of 'Stan & Ollie do not appear - Scottish Stan Laurel plays the nephew of Oliver Hardy, a respectable man about town who is reluctant to be seen with this strange-looking fellow with a kilt and the habit of chasing pretty girls. There are some very funny moments in this well-made, charming little movie, and the performances of these two Kings of Comedy are spot-on - watch Stan's little 'scissor-kick' and smile that says, "Well waddaya know?" when he sees girls, or the hair-ruffling scene at the airport, for instance. Hilarious.

Watch this film if you can, with backing music from The Beau Hunks Orchestra (available on the VVL video releases) which enhances the 1920s feel and is very, very pleasant to listen to. It's a brilliant and underrated little film, which is why I said it was 'surprisingly' funny.

The first "official" Laurel and Hardy movie is not like the ones with which we're more familiar. In this case, Laurel is a man from Scotland and Hardy is his uncle greeting him in the US. To be certain, Stan wears a kilt and tam, while Hardy wears a porkpie hat (like Buster Keaton wore). A couple of the scenes in "Putting Pants on Philip" were probably risqué for the time (a couple of them predict Marilyn Monroe's most famous stunt).

Basically, Stan and Ollie were just beginning as a team, so they hadn't yet figured out a style. Nevertheless, the end gag is funny enough. Mostly worth seeing as a historical note.

Stan Laurel and Oliver Hardy had been circling each other at the Roach lot for two or three years by the time this, the first official Laurel & Hardy movie was made. In fact, their first movie together had been in 1919, when Hardy played a bit in Laurel's starring vehicle LUCKY DOG. They don't even act like a team here, being in constant opposition to each other, and Stan's character as a naive Scotchman is nothing at all like the Mr. Laurel we know and love.

Mr. Hardy, on the other hand, is clearly himself. If you look at his earliest surviving shorts from 1914 and 1915, you can see bits and pieces of his slow, pompous character as he begins to put it together.

It's a Laurel & Hardy short, and it's funny, even if it's not Stan and Ollie yet. Even so, Hal Roach and his team knew they were onto something.

Made before Laurel and Hardy became a solid team with the characteristics we know and love, Putting Pants on Phillip is a one-trick pony, but the Boys play it for all, maybe more, than it's worth. Shirt chasing Laurel must be taken out of his own skirt, or properly his kilt, to fit into American society. Of course, Laurel resists, and Hardy is adamant, and along the way we get our share of lantern grins, camera looks, cries, and maybe the first time Oliver Hardy meets the six foot puddle. There's a great reaction shot after Laurel inadvertently loses his drawers before walking over an air grate; a quick cut shows the women in the crowd fainting at the sight of the pants-less Laurel. After his inseam measurement is taken, a half disrobed and completely disheveled Laurel appears, as broken as any Griffith heroine.

Although the slight premise limits what it can do, this earlier Laurel and Hardy comedy has some very funny moments. The whole feature depends on just a couple of very simple comedy ideas, but Stan and Ollie are able to get good laughs out of lesser material than that. The goofy nature of the material would probably have led to a flop with most other performers, so this feature really depends on its stars to make it work.

Laurel plays a young Scot coming to the USA, wearing a kilt and bringing an overly enthusiastic eye for women, while Hardy plays his unfortunate uncle who has to keep an eye on him. Laurel successfully fits his style in with the premise, blending his familiar screen persona with that of a red-blooded Scot. Hardy has to play the straight man for much of the movie, but his expressions in the part work well, and he also gets a couple of chances to take the spotlight for himself.

The comedy writing in this one is, honestly, not that great. After a while, it just keeps coming back to the same couple of gags, and only the lively presence and fine comic timing of the two stars makes it work. But it still offers some good laughs that make it worth seeing.