'Stan and Ollie' (2018) Review

Stan and Ollie (2018) is a nostalgic deep dive into the duo’s strained relationship in their twilight years as they attempt to raise enough funds for a new film. They attempt to achieve this by setting off on their grueling 1953 theatre tour of the United Kingdom, while also trying to fix their personal issues, which have been bubbling under the surface for the sixteen years previous. Written by Philomena’s (2013) Jeff Pope and directed by Filth’s (2013) Jon S. Baird, the duo are brought to life in a sensitive homage in every facet that choses celebration over re-creation.

Opening with a beautiful seamless tracking shot as they walk across the studio backlot onto the set of the memorable "Way Out West" dance scene, we see them at their peak. They had the world at their fingertips, but it is clear the on screen chemistry does not translate to real life. The narrative jumps forward sixteen years, and we now see the aftermath of what has taken place; betrayal has torn them apart. This time the life of Stan Laurel and Oliver Hardy is brought to life brilliantly in-particular by the set design and the performances by Steve Coogan as Laurel, and John C. Reilly as Hardy. Each town and theatre they visit is well informed and stands out as a point in the narrative, instead of a brief pitstop in a buddy road movie. With the exception of the modern day Savoy Hotel, and parts of exterior London, although difficult to recreate it is the only time that it felt forced in terms of set design. Baird’s use of both old footage from the tour mixed with his own film weaves modern day storytelling with a sense of realism, and brings the story to life.

Coogan brilliantly embodies the genius of Stan Laurel through his gentle tone of voice, and in his clear love for his comedy partner, no matter how difficult the relationship becomes. The addition of using slapstick in everyday life is a nice touch, whether true or not, it shows how intertwined Stan’s entire being is to comedy, and also by default his partner Hardy. Reilly fills the big character of Oliver Hardy physically and in personality, unrecognisable behind prosthetics, not once does it feel like this is a cheap imitation. The extended cast most notably, Mrs. Laurel (Nina Arianda) and Mrs. Hardy (Shirley Henderson) are excellent in their supporting roles. As they, by association, become their own comedic duo due their polar opposite personalities, and personal motivations for their husbands continuously clash. But it is clear that both women play a valuable role in supporting both Laurel and Hardy through this tour, which almost broke them—and their importance in holding them together is not undermined.

Like most biopics, it focuses on dramatic storytelling over being factually sound. The focus is more on the friendship of these two comedic giants, their struggles in these twilight years of their career, but more importantly the sacrifice that both men made for the other in trying to rekindle what had been lost. Anyone who grew up watching Laurel and Hardy, no matter what age, will have a deep emotional connection to this film. As clips of old films come up, it is impossible not to think back and remember where you were, and who you were with as you watched them years before. It is a celebration of friendship and love, and in a time where there is so much negativity, this film breaks through and does what Laurel and Hardy did for people over sixty years ago. Therefore it can be enjoyed by anyone.