Maître Hardy et son valet Stan

As a curiosity, EARLY TO BED is one of the oddest films of Laurel and Hardy. It is not one of the funniest of the boys' films - with good reason. Hardy has to be chief victim of the two because he is so pretentious, and he has to be victim by the actions of his close friend Laurel (who does not know his actions are going to hurt Hardy). But Stan rarely, if ever, purposely attacks Hardy - unless he is bullied by Hardy beyond endurance. In some of their shorts he does rebel and lash back at Hardy. But it usually is very brief in duration.

The general view of Oliver Hardy is that he is just as dumb as Stan Laurel but pretentious. That's true, but if either of them happen to have any social position (except in A CHUMP AT OXFORD, where Stan turns out to be a brainy Oxford student and nobleman) it is Hardy. He is a successful businessman turned reform candidate for Mayor in one short, and an apparently wealthy stock speculator turned bridegroom in a second film. In a third film he masquerades as a wealthy hunter and home owner with Stan as the upstairs maid. This is tied to his physical presence and southern courtly behavior. But in all these shorts (except the one where Ollie is an impostor) Stan is a business associate or friend of Ollie's. It is only in EARLY TO BED that we see the actual effect of Ollie getting rich and how it changes his relationship with Stan.

For when he gets rich Ollie gets mean. He enjoys the good life (including a wardrobe that is far more like that of a man about town than the typical derby and wrinkled suit that Ollie wears). He is something of an art collector. And he can only see his pal Stan as a servant. Stan accepts the offer to be Ollie's servant, but probably figured that Ollie would treat him as a pal and close associate. Instead Ollie plays practical jokes, like ringing the doorbell, hiding, while Stan goes outside to see who rang, and then locking Stan out.

Stan puts up with this and more painful and annoying jokes, until he finally gets tired and tells Ollie he's quitting. Ollie refuses to let him (he considers Stan his possession too), and Stan accidentally knocks over one of Ollie's art treasures. It horrifies Ollie, and Stan starts purposely destroying items in Ollie's house. He also chases Hardy, who hides (as has pointed out) in an ornate fountain that has cherubs with Hardy's head sprouting water. Ollie tries to keep up a stream of water, but can't after awhile. Stan than hits him on the head to see if the head is jammed or not. And Hardy releases more water from his mouth!

It is, as most of the comments here say, a rather odd film. It has some moments of humor, but the central business of the story is so contrary to what we expect from Stan and Ollie that it leaves a bitter taste in our mouths. As most say on this thread, see the film for completeness, but you don't have to see it again afterward.

One of the lesser lights of Stan Laurel and Oliver Hardy's silent productions. Early to Bed is directed by Emmett Flynn and photographed by George Stevens.

Over the years it has proved to be one of the boy's films that most can agree is a little bit off. It's not so much that the gags are in short supply, but more so it veers towards a darker side that doesn't sit well. Plot has Ollie inheriting some cash, which quickly turns him into a completely different person. He hires Stan as his butler and promptly starts to lord it over his abode. But Stan will only take so much bullying...

The most fun comes from a number of sequences set around the water fountain in the gardens, and the carnage that ensues once Stan finally flips and goes on a mad rampage. These sequences are heightened by the jolly musical accompaniments and the quality sound effects, while a cunning canine pet is fun and the only one unhindered by the odd tone of the piece.

Not essential and only of interest to Stan & Ollie completists. 5/10

This early Laurel & Hardy comedy is something of an oddity, and although fans will want to see it at least once Early to Bed is not one of the team's more entertaining efforts. Moreover, for anyone who cares about Laurel & Hardy, that is, anyone who regards the characters they portray with fondness, this film could well be a disturbing, unpleasant experience. I'm a lifelong L&H fan and enjoy most of their output, but seeing the boys' friendship go sour in Early to Bed feels like watching helplessly while two old friends get into a vicious fistfight.

By the time this film was made the guys had developed the screen personae we all remember, complete with derbies and shabby-genteel suits. More to the point, their childlike personalities and relationship with each other were pretty well established, as we observe in the opening scene. Stan and Ollie sit on a park bench with a scruffy little dog called Buster; they may be homeless, but they aren't starving and their world is somehow in harmony. But when Ollie learns he has inherited a fortune, and magnanimously allows Stan to become his butler, things get seriously out of whack, for it quickly becomes obvious that prosperity does not bring out the best in Mr. Hardy.

For the next several scenes (which take place after Ollie has acquired a big house and filled it with possessions), we watch with growing dismay as Ollie, now a drunken playboy, torments his conscientious servant. Ollie locks Stan out of the house, bops him on the head and laughs, chases him, and pours water on him in his bed. Understandably, Stan becomes increasingly upset and exasperated with the new order of things, although he's expected to maintain decorum and address his tormentor as "Sir." These scenes are more pathetic than funny, and the (generally under-appreciated) acting skill of both men makes matters worse, for Ollie's gleeful sadism seems just as real as Stan's deepening sense of humiliation. It's only when Stan finally reaches the limit of his tolerance and retaliates that the film becomes more satisfying, for we all enjoy seeing a worm turn, and God knows Ollie deserves a comeuppance. Nevertheless, in the end this movie leaves a rather disagreeable aftertaste.

The best thing in Early to Bed is a sequence involving an ornate indoor fountain that graces the Hardy mansion, decorated with cherubs designed to resemble Ollie. The fountain becomes the climactic setting for Stan's revenge, and the boys' implied reconciliation. (The gag is a reworking of a sequence in a Mabel Normand comedy entitled Should Men Walk Home?, released a year earlier, with Oliver Hardy in a supporting role.) While this sequence is clever in its own right, the amusing egotism of the fountain's design also offers a neat satirical comment on the Nouveau Riche. The scene works well as a stand-alone excerpt in Robert Youngson's compilation The Further Perils of Laurel & Hardy. In the context of Early to Bed the fountain sequence is certainly the highlight, and the best reason to watch in the first place.

This was a strange Laurel and Hardy silent short subject. For one thing except for a dog there are no other cast members. No Jimmy Finlayson for reaction shots to their clowning.

Early To Bed also has Ollie almost turning into a bully. God knows his character gets thoroughly exasperated with Stan, but I never saw him bully Stan. As for Laurel. I've never seen him change so radically as he did except in A Chump At Oxford. When the worm turns it really turns.

One day these two with their dog are polishing a park bench with the seat of their pants when Ollie gets a letter saying he now has a fortune. Stan is concerned that there's no place for him, but Ollie offers him the position of butler and Stan takes it.

It's abundantly clear soon enough that all Ollie wants is a doormat or a punching bag. But Stan soon tires of being a doormat and when he does watch out.

This is a different Stan and Ollie, but I'm not sure I liked them this way.

This is an early Laurel & Hardy vehicle of curiosity value because it is quite clear that the boys are in the very early stages of their joint career, and their basic characters and relationship have yet to be cemented. It's Ollie Hardy who is the annoying child of the two in this silent short - although, unlike Laurel in later films, Ollie goes out of his way to be deliberately annoying to Stan, whom he has employed as a butler after he inherits a fortune from his uncle.

Although it's strange to see their roles essentially reversed, the film does have some funny moments. Roach clearly had enough faith in the boys' ability to work together with solid results to cast them here with no supporting actors (other than a dog called Buster) and this at least pays off, even if they haven't yet got the relationship right. For this reason, if nothing else, the film serves as an interesting footnote in the development of Laurel & Hardy as we know and love them.