Stan Laurel and Oliver Hardy were comedic geniuses, individually and together, and their partnership was deservedly iconic and one of the best there was. They left behind a large body of work, a vast majority of it being entertaining to classic comedy, at their best they were hilarious and their best efforts were great examples of how to do comedy without being juvenile or distasteful.
Although a vast majority of Laurel and Hardy's previous efforts ranged from above average to very good ('45 Minutes from Hollywood' being the only misfire and mainly worth seeing as a curiosity piece and for historical interest, and even that wasn't a complete mess), 'Two Tars' for me was their first truly classic one with close to flawless execution. 'Fra Diavolo' for me is up there with their best and certainly among their funniest, 'The Music Box', 'Towed in a Hole' and 'Helpmates' are a few other examples of this and also love 'Babes in Toyland' (although somewhat different for them).
Can't really find anything wrong with it personally, was past caring this time as to whether the story was flimsy, predictable or somewhat silly, because it showcases the duo's talents really well while letting the rest of the cast shine too. It also has a lot of energy throughout, on top of being riotously funny in its best moments. Of their operetta efforts, along with 'Babes in Toyland', 'Fra Diavolo' is one of their best and actually one of my personal favourites of theirs.
From start to finish 'Fra Diavolo' is great fun, never less than very amusing and the best moments, too numerous to list (though the hanging fiasco, the hand acrobatics and the drunk scene), are hilarious. It is silly but not to an overly-contrived point, there is a wackiness that never loses its energy and the sly wit is here, some of the material may not be new as such but how it's executed actually doesn't feel too familiar and it doesn't get repetitive.
The slapstick goes with the music remarkably well, despite the worries of them not gelling with each other. A lot happens yet it doesn't ever feel rushed or over-stuffed. Despite the viewer being in no doubt how things were going to end, the ending still charms and delight and the music is infectiously tuneful with not a misfire in the score, non-operetta fans may not find it to their taste but those who are (like me) will get a kick out of it.
Laurel and Hardy are on top form here, both are well used, both have material worthy of them and they're equal rather than one being funnier than the other (before Laurel tended to be funnier and more interesting than Hardy, who tended to be underused). Their chemistry feels like a partnership here too, before 'Two Tars' you were yearning for more scenes with them together but here and on the most part from 'Two Tars' onwards we are far from robbed of that. Their comic timing is impeccable, especially Laurel's. James Finlayson and Thelma Todd are also terrific.
'Fra Diavolo' looks good visually, is full of energy and the direction gets the best out of the stars, is at ease with the material and doesn't let it get too busy or static.
Overall, love it. 10/10 Bethany Cox
Although a vast majority of Laurel and Hardy's previous efforts ranged from above average to very good ('45 Minutes from Hollywood' being the only misfire and mainly worth seeing as a curiosity piece and for historical interest, and even that wasn't a complete mess), 'Two Tars' for me was their first truly classic one with close to flawless execution. 'Fra Diavolo' for me is up there with their best and certainly among their funniest, 'The Music Box', 'Towed in a Hole' and 'Helpmates' are a few other examples of this and also love 'Babes in Toyland' (although somewhat different for them).
Can't really find anything wrong with it personally, was past caring this time as to whether the story was flimsy, predictable or somewhat silly, because it showcases the duo's talents really well while letting the rest of the cast shine too. It also has a lot of energy throughout, on top of being riotously funny in its best moments. Of their operetta efforts, along with 'Babes in Toyland', 'Fra Diavolo' is one of their best and actually one of my personal favourites of theirs.
From start to finish 'Fra Diavolo' is great fun, never less than very amusing and the best moments, too numerous to list (though the hanging fiasco, the hand acrobatics and the drunk scene), are hilarious. It is silly but not to an overly-contrived point, there is a wackiness that never loses its energy and the sly wit is here, some of the material may not be new as such but how it's executed actually doesn't feel too familiar and it doesn't get repetitive.
The slapstick goes with the music remarkably well, despite the worries of them not gelling with each other. A lot happens yet it doesn't ever feel rushed or over-stuffed. Despite the viewer being in no doubt how things were going to end, the ending still charms and delight and the music is infectiously tuneful with not a misfire in the score, non-operetta fans may not find it to their taste but those who are (like me) will get a kick out of it.
Laurel and Hardy are on top form here, both are well used, both have material worthy of them and they're equal rather than one being funnier than the other (before Laurel tended to be funnier and more interesting than Hardy, who tended to be underused). Their chemistry feels like a partnership here too, before 'Two Tars' you were yearning for more scenes with them together but here and on the most part from 'Two Tars' onwards we are far from robbed of that. Their comic timing is impeccable, especially Laurel's. James Finlayson and Thelma Todd are also terrific.
'Fra Diavolo' looks good visually, is full of energy and the direction gets the best out of the stars, is at ease with the material and doesn't let it get too busy or static.
Overall, love it. 10/10 Bethany Cox