Fra Diavolo

Stan Laurel and Oliver Hardy is one of the greatest comedic couple ever.In this movie they get to be the retainers of a singing bandit called Fra Diavolo(Dennis King).Of course, everything goes wrong, when Stanlio and Ollio are trying to do their job.The Devil's Brother is a great musical comedy.The movie contains some very funny moments, that just make you laugh.From the couple Laurel is the more childish one, who cries in these movies many times. Hardy is trying to be more adult, who is barely standing his friend.There isn't one problem, these two fellas can't manage with their own stupidness.

Dennis King is a marquis, traveling around the countryside. trying to seduce Thelma Todd. He is also the notorious bandit Fra Diavolo, although that's supposed to be a secret.

Laurel and Hardy offer a lot of comic relief to this Americanized version of the Auber operetta; although the music is used throughout the movie, there's little in the way of actual singing until halfway through. Mostly it's an excuse for Laurel and Hardy to offer a lot of comic relief Stanley provides most of the gags, including his disconcerting nimbleness, while Ollie is his perpetually disconcerted straight man and unconscious accomplice. The singing, what there is of it, is good. Miss Todd is gorgeous, although she doesn't get much to do. With the Boys to while away the time, who cares?

Laurel & Hardy could very easily have slid into musical comedies, as could the Marx Brothers. Hardy had a tenor voice, put to good use in WAY OUT WEST, and Stan (while he was not as good a singer) could talk sing quite nicely (and was prepared to do comic singing - his change of voice in singing "In the Blue Ridge Mountains of Virginia" in WAY OUT WEST is an example). As a result a musical number will frequently pop up in their movies. In SONS OF THE DESERT it's the HONALULU, BABY! number. In SWISS MISS there were several (even a ditty, supposedly composed by Walter Woolf King, entitled "Crick, crick, crick goes the cricket"). Even in their earliest features numbers appear (in PARDON US we hear "MICHIGAN"). So it was not unexpected that Hal Roach and Stan Laurel would do full scale musicals. They turned to operettas (or spoofs of operas like FRA DIAVOLO) because the costumes and settings gave opportunities for Stan to come up with new pieces of business for himself and Babe Hardy.

The actual opera by Auber is more dramatic than this comedy. Fra Diavola dies at the end (he is, after all, a villain). But here there is a light hearted element that overcomes the original. Stan and Ollie (or Stanlio and Ollio) are robbed by brigands on the road and decide to turn brigand themselves. Naturally, Ollie decides that he will protect them from discovery by claiming to be the infamous Fra Diavalo. Their initial attempt at theft is hardly successful. They confront a man with a hard luck story, and end up giving him money. Then they seem to be more successful confronting a younger man, until Ollie brags that he is Fra Diavolo. The younger man demands proof. Diavolo always sings a theme song, and everyone knows his voice. Ollie starts singing the tune, and the man (you've guessed it - it's Dennis King) continues singing it. They almost get hanged for that, but King decides to use them as minions in a plot to rob an English mi-lord and his wife (James Finlayson and Thelma Todd*).

(*Finlayson's name, as a joke, is Lord Rocburg. In reality, the character in the opera was Lord Cockburn.)

The bulk of the film deals with King and the boys in the inn run by Henry Armetta, where Finlayson and Todd are residing on their trip. King is romancing the frivolous and bored Todd, and hoping to get her jewelry. Finlayson is suspicious of her activities, but is not swift enough to catch King in action (at one point, he is mistaken for King by Ollie and Stan, who lock him up after beating him, and start telling him off - they think of course he's King, who listens to them annoyed but amused).

The music is actually not overdone, and King (who had a fine trained voice) gets several opportunities to sing. He was not the first major Broadway star to work with the boys (Lawrence Tibbett had in ROGUE SONG) nor the last headliner to do so (Dante the Magician would in A-HAUNTING WE WILL GO). But he seems to work quite nicely with them, sharing screen time, and even showing elements of comic timing and reactions. In one song number, he even shudders and turns away from an ugly woman while addressing a romantic passage in the tune.

For an early example of their use of operetta, THE DEVIL'S BROTHER is (as Stan Laurel said) one of their best films. Of course, to most people, it will always be recalled as the film where Stan drives both Ollie and Henry Armetta to distraction with his "finger wiggle" and his "earsie - eyesie - nosie" games that he can handle with ease but the other two can't quite coordinate. It is fun to watch here, and would later be subject to a rare repeat comment: in BABES IN TOYLAND, when Ollie insists that anything Stan can do Ollie can, Stan smiles and shakes his head. He then does "earsie - eyesie - nosie", much to Ollie's annoyance.

"The Devil's brother" is not an accurate translation of "Fra Diavolo." "Fra" in this sense was for "frater" not "fratello". Frater, of course, being a title for a religious who was not a priest. It was a common practice to address such a person as "Fra Giovanni" (brother John). Because of the bloodthirstiness of the actual person, Azzolino da Romano,(who was mentioned in Dante's "Inferno"- XII), he was nicknamed "Brother Devil"; in particular for his massacre of the citizens of Padua.

Of the three features L&H made based on operettas - The Devil's Brother (Auber's 'Fra Diavolo'), The Bohemian Girl (ibid, Balfe & Bunn), and Babes In Toyland (ibid, Sigmund Romberg) - I feel that this one shows off The Boys' comic abilities the best. James Finlayson, an L&H regular, is in his usual fine form, and Thelma Todd is marvelously coquettish. James C. Morton, who appeared so often as a policeman in so many of the L&H shorts, does a brilliant turn in the tiny part of the woodchopper. Best moment: Stan, ordered to hang Ollie, tightens the noose around his neck prior to hauling him up. "Stop that! You're choking me!" complains Ollie.