V'là la flotte

TWO TARS (1928) is probably the best silent Laurel and Hardy ever made. It is hilarious. From the opening lamp-post gag, to the gumball machine, to the hilarious traffic jam and finally the train ending, this movie really is a rib-tickler. It's one of the greatest comedies ever made! Thelma Hill and Ruby Blaine are the girls, and Edgar Kennedy is the motorist whose car Laurel and Hardy promptly tear to shreds.

TWO TARS has gotten a deserved reputation as being one of the funniest of the Laurel & Hardy short comedies (and certainly among the best of their silent comedies) due to the last half of the film. Initially Stan and Ollie are on furlough from the navy, and meet two young ladies (Thelma Hill and Ruby Blaine). After some typical Hardy small talk (in which he drops his close relationship to Secretary of the Navy Curtis Wilbur), he and Stan decide to rent a car and take the girls for a drive in the country. Unfortunately their car ends up in a traffic jam.

Keep in mind that this was only 1928, and the expansion of American automobile use (from the days when the car was only the toy of the rich or the object of early racing figures like Barney Oldfield and Edward Vernon Rickenbacker) dated back only to 1914 when Henry Ford's Model T was put on the assembly line. By 1928 nearly 15 million of Ford's car was on the road - and there were other car companies too. And here we have a film (a short film comedy) which is about a traffic jam. Modern problems are always mirrored in the movies.

The series of confrontations L & H have are with equally grumpy motorists like Edgar Kennedy (whose front tires and fenders the boys manage to pull off in timed unison). Cars backs are dumped off, or they are reduced to accordions on wheels. Every possible disaster that could befall a 1928 car is shown. And the police are fairly powerless to do much, except to watch in amazement (at the conclusion) of the parade of mangled cars. And it is, surprisingly, very funny indeed.

Part of the beauty of this perfectly paced classic comedy is not just it's gradual compounding of incident but how resonant it's plotting is today. Who likes traffic jams? Nobody! Stan and Ollie seem almost prescient to have tapped into a vexation that plagues us even now; maybe more than ever on today's superhighways that still cannot accommodate the flow of modern commuting. It is not so much the individual performances that matter here, but the over-all building of pace and piling on of incident. I think of this film every time I'm tangled in bad traffic; so will you, but please resist the temptation to rip the fender off of the car alongside you -- it may be mine.

This is a good short feature, among the best of Laurel & Hardy's silent movies and one of several of their popular 'retribution comedies'. Stan and Ollie are "Two Tars" on leave, who pick up a couple of women and then get involved in a series of slapstick confrontations. The second reel, set in a traffic jam, is particularly funny. Two of their best supporting players appear in Charlie Hall and Edgar Kennedy. If you like Laurel & Hardy's silent films, make sure to see this one.

This Laurel and Hardy silent short might seem very familiar to Laurel and Hardy fans even if you've never seen the film before. That's because it uses a formula that worked well in many of their shorts. Basically, Stan and Ollie are trying to act tough (this time spurred on by two cute ladies) and after a small altercation develops, the two take the "tit for tat" notion to amazing heights. In this case, a tiny fender bender results in car destruction on a massive and hilarious scale. A few Laurel and Hardy films that have used similar plot construction are the great BIG BUSINESS, BATTLE OF THE CENTURY, TIT FOR TAT and the final portion of MEN O'WAR (which, incidentally ALSO has them playing sailors on shore leave).

So, if the formula is so familiar, why bother watching TWO TARS? Well, like the other films listed (and others), TWO TARS is just plain funny. Period. While the first 75% of the film is mildly funny, seeing the end results of all the destruction. The many, many sight gags are very reminiscent of the Keystone comedies and must have, for the time, cost a lot of money.

Now there is a problem with viewing this film, however. There are no DVD sets of the existing prints of all the Laurel and Hardy films. There was a videotape set produced many years ago, but it's out of print. As a result, I know of no place where you can now view this rare Laurel and Hardy film except online. Under Google Video, there's an old Blackhawk films print (probably taken from an 8 or 16mm home movie) but there is no incidental music--just silence. But, even given these limitations, it's still well worth finding and watching. Not the best Laurel and Hardy film, it IS among the better ones this fine team produced.

FYI--This short is currently playing at the Museum of Modern Art in New York with organ accompaniment. I have no idea how much longer this will be, but it's sure worth seeing--even if much of the art in the museum is too sophisticated for 99% of the public.