Laurel & Hardy - Die Doppelgänger

Is this the most violent Laurel and Hardy film ever made? Surprisingly, while Stan and Ollie's twin brothers – Bert and Alf – are described as "bad lads", it's the originals that are the most malicious, in this sadistic – yet very funny all the same – Laurel and Hardy showcase. Stan gets to headbutt a barman and set fire to another man's chest hair, while Ollie, for his part, sticks a lightbulb in a man's mouth (James Finlayson, a regular stooge for the boys in 35 movies) then punches him in the face so he swallows the broken glass. Their supposedly rogue twins, meanwhile, merely try to save money and treat some ladies to a meal. In order to distinguish between the twins (other than the level of violence they display), musical cues are used – a sea shanty for the sailors Bert and Alf, and the Laurel and Hardy theme for Stan and Ollie.

There are lots of great sustained jokes in this movie, such as Ollie's broken spectacles, and the ultimate in a sustained gag is the mistaken identities between the sets of twins. This joke is taken so far towards its logical conclusion that the duos don't discover each other's existence until the final ninety seconds of film. This causes the plot to be far more imaginative, whereas a lesser film would have had greater reliance on the two pairs meeting. Arthur Housman is also good as the drunk, a role he seemed to make a career out of playing in many of his 159 film roles. It was a also a role he reprised with Laurel and Hardy, having played both "drunk" and "drunk sailor" in Scram!, The Live Ghost and The Fixer Uppers.

The direction by Harry Lachman is well above average for the pair. Some scenes are shot through a fish tank or the back of a bed's headrail, and there are lots of aerial shots. The split screen technology, while used sparingly, was extremely proficient for the time. One thing of note is that a couple of the sequences, such as the crushed in the telephone box scene, are slightly similar to sight gags in the Marx Brothers film of the previous year, A Night At The Opera. It's not that obvious, and may just be coincidence, but I'd rather hoped that Laurel and Hardy had inspired the Marx Brothers, and not the other way around. But it's probably funnier here anyway, particularly poor old Stan with a boot on his neck. Finally, one of the concluding scenes – Stan crying hysterically as he rolls around on concrete boots – is a real winner.

This is another take on the plot of a couple of men having long lost twin brothers. Stan and Ollie have Bert and Al who they know are bad news. Well, those two are working on a ship and are on shore leave as our heroes take their wives out for dinner. This is a series of mistaken identity things where the good guys appear to be crooked and vice versa. Even the wives are confronted by a couple of sailors on the make. Meanwhile, Stan and Ollie are seen to be jewel thieves. Jimmy Finlayson is superb as the long suffering ship's captain. This, of course, is a take on the Shakespeare play, "A Comedy of Errors." There is great fun and some of the encounters are wonderful. One of the best things is the boys got to be "bad" once in a while. One of their better efforts.

This film has an unusually complex plot for a Laurel and Hardy film. It is reminiscent of A Comedy Of Errors. In addition to playing Stanley and Oliver, the pair also play their long lost brothers Alf and Bert. The comedy fizzes along nicely although the film overall is lacking in classic moments. The main problem is that the characters of the two pairs of brother are not sufficiently differentiated so the viewer is often as confused as the characters in the film between Stanley and Oliver and Alf and Bert. The new print is generally excellent, although there are a few lapses of continuity.

Stan and Ollie also play their twin brothers Alfie and Bert in Our Relations which is their own particular spin on Shakespeare's A Comedy Of Errors.

Laurel and Hardy are both a pair of henpecked husbands in perpetual trouble with their wives and also a pair of sailors who just find trouble wherever they are. The sailors are on leave and get a job from their captain Sidney Toler to pick up a ring. They also have their usual run-in with perpetual nemesis James Finlayson who is intent on fleecing them out of their pay on shore leave and good thing he's as dumb as they are.

Our Relations is more a comedy of the usual mistaken identity situations with twins than it is a series of comedy bits that usually characterize a Laurel and Hardy short. One exception to this is a bit with Stan and Ollie getting into a crowded phone booth with movie inebriate Arthur Housman. No need for description, especially with the diet challenged Ollie as one of the people in that phone booth.

Alan Hale is also in this doing a very nice bit of slow burn comedy as the owner of a waterfront dive who runs into both sets of Stans and Ollies driving him a bit crazy. Of course no one is driven crazier than the wives of civilian Stan and Ollie, Daphne Pollard and Betty Healy. You know how these two are with the women in their lives from The Sons of The Desert. That goes double for Iris Adrian and Lorna Andre the two bimbos the sailors pick up at Alan Hale's joint.

Ironically the Comedy Of Errors would make it to Broadway two years later as Rodgers&Hart did a musical adaption of it as The Boys From Syracuse. Our Relations doesn't have the great Rodgers&Hart songs, but it sure doesn't lack for comedy with Stan and Ollie.

While Stan and Oliver sit at home eating dinner they get a letter from Oliver's mother with a picture of them with their twin brothers. Deciding it best to keep their brothers a secret from their other halves, they burn the picture. Unbeknownst to them though, these very twins have just arrived in town on a boat. Albert and Bert are not the smartest though and, before hitting the town, they allow Chief Engineer Finn to take their money to "invest" it. This means that they have no real cash when they go ashore to deliver a valuable ring for the captain. However when they meet two young ladies with expensive tastes they find themselves in a bit of a pickle.

The old "twin brothers/mistaken identity" plot is hardly the stuff of narrative gold, so I was a bit concerned that the plot would be terrible with this film. However this is actually very precisely structured for a Laurel and Hardy film and, although the plot is hardly convincing, it is very neat and tidy and moves along well. Even if the plot had been poor though, it is the laughs that matter and this film consistently delivers amusing moments even if it doesn't have much in the way of standout scenes. I was tickled all the way through it rather than roaring with laughter but this gentle humour was still enough for me.

Laurel and Hardy are both good but they weren't totally themselves. Laurel enjoyed his usual character but Hardy was given fewer withering looks which is a shame as he does them so well. Finalyson has a bigger role than normal but really I felt him more effective in short film roles that relied on his physical work rather than his delivery. Hale is enjoyable as the waiter, while Housmann is a good drunk.

Overall a solid and enjoyable Laurel & Hardy film that is a pretty tight production by their standards. Not the funniest vehicle you will find for them but certainly more than enough to please their fans.