THOUGHTS ON THE AVENGERS

I know, I know, this is supposed to be a blog about old movies. So why do I have a post about the new Avengers movie. The original purpose for this blog was to create an interest of old movies into the minds of people today. It was intended to prove that films can be entertaining without vulgar language, excessive violence, and suggestive material.

On the weekend I watched The Avengers with my three year old son. Not once did I feel the need to cover my sons ears or eyes. That should be a sign of what we should be watching. If are kids are not old enough to watch a movie neither are we.

That's what I love most about the movies that came from the Golden Age of Hollywood. You didn't need to bother yourself with the rating of the film, all of them were good.

Now onto the Avengers.

I have been waiting to see this film since I ever heard of the Avengers concept. Now it's here and the film was just what I wanted. The casting was spot on, and the acting they delivered avoided the corniness of other superhero films. I love how they brought these heroes into the twenty-first century. My favorite character was Captain America and my son agreed. He brought out some of the old-fashioned tradition of the past.

In connection with my blog, I wish to say one other thing. With the invention of special effects, I have seen a decline in other aspects of the film making process. This movie did not let the digital show reign over the plot, the characters or their performances.

They also realized that cheap scenes created to bring in a few other followers could lose or affect another crowd. This movie proves that over-excessive violence, vulgar language and suggestive material are not the three necessary elements in a blockbuster. In fact, they're not even needed at all when you have a good plot. The use of those three theatrics are actually crutches, used to carry a film when the story is lacking.

This film set a new standard of picture making that will hopefully send a message to the future film makers of tomorrow.

WHAT'S UP DOC? (1972)

Studio: Warner Bros.

Producer: Peter Bogdanovich

Director: Peter Bogdanovich

Awards: Nominated for a Golden Globe and received a WGA Award.

Interesting Fact: This film resembled Cary Grant's Bringing Up Baby (1938). Ryan O'Neil went to Grant before making the picture to discuss his character. Grant gave him only one suggestion; "Wear silk underwear."

My Favorite Scene: When you watch a movie over again, there are usually one or two parts you fast forward to get to a favorite scene. With this picture, all you have to do is turn on the film and let the remote gather dust. Each sequence is jammed packed with high speed comedy.

Howard: What are you doing? This is a one way street!
Judy: We're only going one way.

There is no way explain the plot of this film. I have watched it over and over, and some times I'm not even sure what happened. Below is a small clip to explain the story. The quotes listed are what happened right before this scene:
Howard: Sir, my name is Howard Bannister and I'm from Ames, Iowa.
Judge Maxwell: No excuse.
Howard: No, sir, it all started when I bumped my head in the taxi... on the way in from the airport.
Judge Maxwell: Are you pleading insanity or amnesia?
Howard: Neither. I went to the drugstore to get something for a headache... the druggist tried to charge me for a radio. She said her husband would pay for it. But I didn't, of course.
Judge Maxwell: Of course.
Howard: She ripped my jacket and when Eunice came along...
Judge Maxwell: Who's Eunice?
Howard: Eunice is my fiancée.
Judge Maxwell: You have a wife AND a fiancée?
Howard: No, sir. But, she kept calling me "Steve."
Judge Maxwell: Your own fiancée calls you "Steve?"
Howard: No, sir, my wife. Or rather, the one who ISN'T my wife.
Judge Maxwell: What does the one who isn't your FIANCEE call you? Howard?
Howard: No, sir, the one who isn't my fiancée doesn't call me Howard and the one who isn't my wife doesn't call me Howard because the one who isn't my fiancée is also the one who isn't my wife. The other one who ISN'T my wife, the one who IS my fiancée... she doesn't call me "Steve." She calls me Howard. Do you see?
Judge Maxwell: Let's just skip over this part, and move on.
Howard: That night at the banquet she was there again.
Judge Maxwell: Who was there, your wife or your fiancée?
Howard: Neither.
Judge Maxwell: There's a third?
Howard: No, sir, the one who isn't either. Everyone was calling her "Burnsy."
Judge Maxwell: Why?
Howard: That's short for Burns, Eunice's last name.
Judge Maxwell: Eunice WAS there.
Howard: No, sir, BURNSY was there. Or rather, the one who ISN'T Burnsy.

This is our families all-time favorite classic. Quotes from this film seep into our everyday life: "The tie, the tie in your hand," "Your upside down sir," "To remind me to take the blue pill." "You, you, you. Uuuunice, Unice," These and many more have become a staple of speech in our homes. It is the best screwball comedy of it's time and a must see film!

Here is the beginning of the chase scene and it only gets better from here.

HAVE YOU SEEN THIS MOVIE?

THE GIRL OF THE GOLDEN WEST (1938)

Studio: Metro-Goldwyn-Mayer

Producer: Robert Z. Leonard & William Anthony McGuire

Director: Robert Z. Leonard

Awards: NONE

Interesting Fact: This story was written by David Belasco as a play in 1905. It was adapted into an opera by Giacomo Puccini in 1910. Now that it had a musical conversion it was a perfect candidate as a musical-western for MGM in 1938.

My Mother's Favorite Scene: She loves it when the song is sung that reminds the bandit of his orphan years and the little girl that sang it.

Ramerez: I hope I'll see you again sometime. Yeah?
Mary Robbins: I hope I'll see you again sometime too. Dangling on the end of a rope!

Two young orphans would later run into each other again in the most unlikely of places, the golden West. The girl had turned into a beautiful singer and saloon owner, the boy became a handsome bandit. On her way to Monterrey, she is stopped by this bandit and he falls for her. He creates a disguise as an officer in order to get to know her better, and then leaves to rob his next location. He soon discovers that his next location is the saloon owned by the girl he fell in love with on the road.

This is one of the many classics made by MGM to showcase the talented Jeanette MacDonald & Nelson Eddy. Each film of theirs includes wonderful music, historical era plot and a conflicting love story. This was MacDonald's calamity Jane moment. Usually she was dressed in an expensive gown, but here we find her in boots and straps. My mom felt that this film got to showcase Jeanette's true talent as an actress. As with all their films together; the music is amazing, the acting is superb and the love story is wonderful.

HAVE YOU SEEN THIS MOVIE?

THE ALAMO (1960)

Studio: United Artists

Producer: John Wayne

Director: John Wayne

Awards: Received the Oscar for Best Sound and was nominated for six additional Academy Awards: Best Actor in a Supporting Role (Chill Wills), Best Cinematography, Best Film Editing, Best Original Song, Best Music & Best Picture. This film has also received a Golden Globe for original score, four Laurel Awards, an NBR award & a Western Heritage Award.

Interesting Fact: The set for this film took two years to construct. The film itself was banned in Mexico.

My Mother's Favorite Scene: She loves the scene where they draw the line and the once opposing Bowie crosses it to prove his allegiance to the cause.

Gen. Sam Houston: "Where's Jim Bowie?"
Captain James Butler Bonham: "He's indisposed, sir."
Gen. Sam Houston: "Indisposed? By God if you mean drunk,
you say drunk, sir!"
Captain James Butler Bonham: "He's drunk, sir!"

As pressure builds up between the United States and Mexico, the fuse gets ready to go off in Texas. Not unlike the 300 Spartans who protected Greece from loosing their Democracy, the men protecting this mission were protecting a nation and an ideal behind them. Famous men like Davy Crockett, Jim Bowie, William Travis and others answered the call and dug in for their country. Here they held back the countless armies from Mexico for thirteen days at a place called the Alamo.

This film has a special place in my mother's heart. It's history, patriotism, casting and breathtaking scenes have made this movie a family classic. John Wayne was a man who did things whether they were popular or not. This film and others, like The Green Berets (1968), may have not had a large following at the time or even today. Regardless of this fan base, he felt the urge to create a testimony for those men who gave their lives to preserve freedom.

Trailer.

Speech on republic.

This film has some of the best music ever written.

WHAT IS YOUR FAVORITE SCENE?

DRUMS ALONG THE MOHAWK (1939)

Studio: Twentieth Century Fox

Producer: Darryl F. Zanuck

Director: John Ford

Awards: Nominated for two Oscars: Best Supporting Actress (Edna May Oliver) and Best Cinematography.

Interesting Fact: This was the first of Ford's film to be done in color.

My Mother's Favorite Scene: Her favorite is in the ending when an Indian jumps up with the patch on his eye from the villain. It cracks her up every time. This is topped of course when one of the final lines are given as the soldiers see a new flag for their country and say: "Is that what we are fighting for?"

Reverend Rosenkrantz: "O Almighty God, hear us, we beseech Thee, and bring succor and guidance to those we are about to bring to Your divine notice. First we are thinking of Mary Walaber. She is only 16 years old, but she is keeping company with a soldier from Fort Dayton. He's a Massachusetts man, and Thou knowest no good can come of that."

As a newly wed couple begins to carve out their life on the wild frontier of upstate New York, the Revolutionary War breaks out. With their farm burned to the ground and the wife miscarrying they seek shelter in another home. The husband is soon sent out to war and returns delirious. Soon they have a baby boy as the Indians begin to attack again. Everyone in the area seeks refuge at Fort Herkimer and they are hopelessly out numbered. Her husband is called upon to run through enemy lines and call for help. In a frantic race for his life, he returns with soldiers to find if the Fort has survived.

This is one of my mother's favorite films for it's acting patriotism and era. The only film in our day to come close to this picture would be The Patriot (2000). John Ford was THE greatest American director and this film showcases his amazing talent. Fonda & Colbert were perfect for the film; Fonda as a humble farmer and Colbert as the city girl getting use to he farming life. Most of all, as I mentioned above, she loves this film for it's electrifying patriotism.

HAVE YOU SEEN THIS MOVIE?

BLOSSOMS IN THE DUST (1941)

Studio: Metro-Goldwyn-Mayer

Producer: Irving Asher & Mervyn LeRoy

Director: Mervyn Leroy

Awards: Received Oscar for Best Art Direction and was nominated for three more: Best Actress (Greer Garson), Best Cinematography & Best Picture.

Interesting Fact: This film was to be the first of eight pictures to have Greer Garson & Walter Pidgeon cast together. They were the perfect couple on screen and this one has a greater emphasis on the characters courting than their other pictures.

My Mother's Favorite Scene: Her favorite scene is when she gives her speech to congress and says the famous line below.

Edna: "There are no illegitimate children. There are only illegitimate parents!"

In a day where children were marked for being born out of wedlock, there was a woman named Edna Gladney. As a child, she had an adopted sister, who was later rejected by her soon to be in-laws for this permanent mark. As a result, she committed suicide. Later in life, she had a child of her own that died on Christmas, and was forever saddened by this experience. Through the encouragement and persistence of her husband, Sam, she regained a love for children and began her own orphanage. It was when another young woman brought her a donation for the orphanage in tears, that she was reminded of her sister at youth. From that moment she waged a war against the branding of children for the choices of their parents.

This is one of those astounding true stories you don't hear about much. Through the persistence of one woman and then another and another, a label used for generations was removed from those who were too young to fight for themselves. Garson is amazing in this film and was nominated for an Oscar. The speech near the end makes your hair stand up. The fight for removing the word "bastard" from a birth certificate was still being fought when this picture was made. When it was released into the theaters it brought a swift finish to the struggle. What a spectacular picture.

Greer Garson & Walter Pidgeon for the first time.

HAVE YOU SEEN THIS MOVIE?

A GUY NAMED JOE (1943)

Studio: Metro-Goldwyn-Mayer

Producer: Everett Riskin

Director: Victor Fleming

Awards: Nominated for Best Writing Oscar in 1945.

Interesting Fact: The original ending to the film was changed by the request of the PCA censorship. Irene Dunne was to crash into a supply depot and end up with Spencer Tracy in heaven. They felt that the scene had too much of an emphasis on suicide and it was changed to what it is today.

My Mother's Favorite Scene: Her favorite scene is when Tracy is speaking with Dunne in the sky as she flies the bombing drop. It has such power and truth to it.

Pete: "That's my girl, and that's my boy."

Pete is a pilot who has the girl of his dreams, Dorinda. When he is killed in a plane crash, he becomes her guardian angel. Soon he notices a new love interest entering her life. With all the power he has he tries to keep them apart. Soon she feels conflicts in her heart for her deceased love. As she battles back and forth she makes a daring move to protect the new guy and fly his bombing raid.

This is her favorite film for two reasons. First, the cast is amazing and the acting is superb. The second reason is it's connection with heaven and the after life. Hollywood always had a consistent illustration of what it was like after death in the early years. Each scene that they depict these moments in always brought a warm feeling of peace. That is why she loves this film so much.

HAVE YOU SEEN THIS MOVIE?

MOTHER'S MONTH

In 1956, Hollywood honored six mothers as "Mothers of the year."
Here is the link for the story: click here

In honor of Mother's Day this month, I have turned to my matriarch and asked her what are her top ten films. With no surprise she listed some of my favorite films that I may have already posted on.

I should mention a little unknown fact about my mother which would explain why I created this blog in the first place. In her youth she had lived in three different parts of the country: Arizona, Utah & California. As with all children, they moved where work could be had by the father.

Her father had worked as a young boy in Hollywood at a department store and would often wait on the Barrymore family. As a teenager he became interested in Radio and a new invention that later became Television.

This love of media grew into a career and he soon found himself picking up Bob Hope and others like Edward Arnold to help them put their show over the air and record it. Now mind you, he was not seen as an errand boy to perform these jobs. As an employee of KSL he was the only one working on this position to make sure it was a success. No secretary, no agent just my grandpa.

Another interesting story about my grandpa was when my mother was in the eighth grade of Crozier Junior High in Inglewood CA. He was noticing that layoffs were coming to his job at Hughes Air Base. Working as an electronic technician he was fearful that he may be next in line. Afraid of being out of work with a family to feed, he got a job at Motorola in Arizona. Howard Hughes, thee Howard Hughes, called him on the phone while he was packing and asked why he was leaving the company. My grandpa told him the situation and Hughes said in response: "Clyde, we would never fire you. You don't take coffee breaks."

These and other experiences, throughout his life, created a great love for the work of Hollywood and the celebrities in it. This love was so great that it spilled over into my mother's life and on into all of my brothers and sisters. This is why I do what I do for this blog each day.

My Mother's Top Ten:

1. A Guy Named Joe (1943)

2. Random Harvest (1942)

3. Blossoms In the Dust (1941)

4. New Moon (1940)

5. Drums Along the Mohawk (1939)

6. The Alamo (1960)

7. Girl of the Golden West (1938)

8. It's a Wonderful Life (1946)

9. What's Up Doc? (1972)

10. Mrs. Miniver (1942)

You may notice that with the exception of two of the above listed, all of the films hover around the 1940's. My mother is a firm believer that a humbled people make truly remarkable films. Those were dark days where the sunlight that came from the screen gave hope.

With those years long gone and with nothing to keep us humble, we find the people interested in things that are low and degrading in order to find a cheap laugh.

THE THREE STOOGES

Moe, Curly & Larry

FORMATION: Three of the stooges were brothers: Moses Harry Horwitz "Moe," Samuel Horwitz "Shemp" & Jerome Lester Horwitz "Curly." The original group included Moe, Shemp & Larry during their Vaudeville acts in 1925. Moe was not just the leader on the stage and screen but he helped create the concept of the group with his good friend Ted Healy. With their start at Vaudeville, they became a success and the team soon changed to Moe, Curly & Larry. It was these three that are the most popular known of the trio.

Larry, Shemp & Moe

STUDIOS: Their first short was "Soup to Nuts" (1930) at Fox Film Corporation. Loosing a deal with the studio, due to their co-creator Ted Healy, they went back to the stage for awhile. It was in 1933 that they found themselves with MGM. Here they were in a few short and full-length films both together and apart. In 1934 they left MGM and Healy at the same time. Now they joined Columbia Pictures and became known as "The Three Stooges". Moe, Larry & Curly reached a popularity that continued on into our day during this era. They stayed with Colombia for 24 years making countless shorts for the studio with a few feature films. At the end of 1957 they were let go as the comedy shorts were declining. It was then that they turned to the medium of Television and found new success.

Joe, Larry & Moe

ENDING: Of the original trio, only Moe & Larry were left in 1969. Shemp had died of heart attack in 1955 and Curly had retired from the team in 1946, due to a stroke and then later passing away in 1952. These two were the anchors of the team and both of them passed away in 1975, leaving behind a legacy that spanned five decades.

Larry, Moe & Curly Joe

They were like three big kids, unable to comprehend an idea and then whacking each other when they didn't get their way. They brought back the slapstick of the silent era, adding to an almost violent form of it with an emphasis on sound effects. There act started before the world was torn apart from a second war and continued on into an era where mankind reached into outer space. Their shows were loved by kids and parents alike even though they received much rejection for their aggressive comedy.

This is a compilation of slap from Moe that was made by a fan.

Here is a scene that shows off the talent of Curly.

THE MARX BROTHERS

FORMATION: The Marx Brothers came from a talented family of performing artists. With five brothers in all, not including Manfred who died shortly after birth, each of them trained on their own individual talent. Though most of the family, including their Mother and Aunt, became the "The Six Mascots," It was the three older brothers that are remembered most to this day. Chico, Harpo & Groucho all had a musical talent, Harp having up to six musical instruments he could play. Soon they discovered they could change their act from music with comedy to comical music.

STUDIOS: In 1929 they were introduced to Hollywood, following a successful run on Broadway. They began at Paramount and made one of their most popular films "Duck Soup" (1933). This film was to be their last at this studio and they were soon inclined to join with MGM. There they found the story line to be more structured as they made two other of their most popular films: "A Night at the Opera" (1935) & "A Day at the Races" (1937). After this they moved to RKO for a moment and then back to MGM. Their last two films together were made at United Artists.

ENDING: This is the longest partnership in the history of comedy. They were born as a team and they died a team. In a total of twenty years at Hollywood they left a legacy of laughter with five of their films have been included on American Film Institute's top 100 comedy's films. Their last film together was "Love Happy" in 1949. All three were in a film called "The Story of Mankind" (1957), but they only appeared separate and never as a team. Groucho went on to become a Television celebrity with his show "You Bet Your Life" (1947-1961).

Harpo, Zeepo, Chico, Groucho, Gummo

In one of the most talented families in America we find these crazy brothers. I find it amazing that though they came from the same background, they all found out their special something and never strayed from it. Originally from Germany, they were one of the many entertaining us as we fought a World War with their mother country. To this day they have a following that rivals many of the other comedic acts of their time, and many of their films are treasured as classics.

This is one of their classic scenes. It was in the film "A Night at the Opera" (1935).

Here is the ever famous "Mirror Sequence" from "Duck Soup" (1933).

The other two brothers are dressed up as Groucho.

This sequence was replayed on the "I Love Lucy Show"

with Lucy dressed up as Harpo.

MARTIN & LEWIS

FORMATION: Their first debut was at the Atlantic City's 500 club in 1946. They had run into each other a few times before and had even done a small act in New York for a night, but it was in Atlantic City that they officially became partners. Dean was the straight man crooner and Jerry was the crazy nut comedian. There act was simple: Dean sings a few songs and Jerry dose everything in his power to interrupt him. Soon they both go after each other and Jerry ends with a puzzled look. Okay, maybe it wasn't that simple.

STUDIOS: In 1949, they signed on at Paramount Pictures. The intention of the studio was to combat the popular duo at Universal, Abbott & Costello. Here they made sixteen films during their partnership and a cameo in Bob Hope & Bing Crosby's "Road to Bali" (1952). Jerry Lewis later became one of Paramount's biggest stars in his independent comedies.

ENDING: There has been a lot written about the split of Martin & Lewis. It is the biggest split in Hollywood history and has a following of books and websites explaining the cause of it. What I find to be the most accurate is an interview available on YouTube.com. In it, Jerry is asked what or who caused the split. I think it is the most genuine and thoughtful explanation on the subject. Their last film together was "Hollywood or Bust" in 1956. They had ten amazing years together as partners.

What makes their breakup so interesting is that later they would tell jokes about it. They were very good friends and it showed on the screen. It was their film "Scared Stiff" (1953) that got my wife a little bit more interested in the movies of the past. She found it funny and original, even though it was in "black and white." They were one of he funniest duo's of the big screen and their films and performances are still popular today.

This is the trailer of my favorite film of theirs.

Here is a beautiful tribute video to Martin & Lewis.

This was their last reunion on Television.

HOPE & CROSBY

FORMATION: Bob & Bing were never really a team, hearsay. Both of them were big stars and putting them together in a film was dynamite. Also contrary to other partners, neither one of them was the straight man. Both of them could make you laugh, have their own musical number, and steal the girl in the end.

The truth is that their duo was more of a trio with Dorothy Lamour playing the love interest. She was the straight man in a sense and had her moments in the sun on screen. With the making of their last film with all three together, "Road to Bali" (1952), she found her success waining as her two other stars kept rising to the top.

STUDIOS: All seven of the "Road" films, with the exception of their last picture, were made at Paramount Pictures. In the "Road to Utopia" (1946) they look off to a mountain that is suddenly surrounded by stars to indicate the Paramount trademark. "The Road to Hong Kong" (1962) film is owned by United Artists.

ENDING: Since they never began as a partnership, they technically never ended as a partnership. Their last film together was "The Road to Hong Kong" in 1962. Another picture was written for them called the "Road to the Fountain of Youth" in 1977 with the original three. Sadly, Bing Crosby died on October 14th of that year and it was abandoned.

Who could of ever thought that guys who seemed to hate each other were the best of friends. There comedy technique was unique. While other duo's ran slapstick routines and play on word monologues, they were playing around with the fourth wall. The fourth wall is what separates a story from the audience and more importantly reality. They were notorious for making wise cracks on the studio, the script and each other on the screen. There jokes get even funnier when you know a little bit more about their personal lives. Even apart, their funniest jokes included some snide remark about the other.

This is a classic scene from the most famous film they made together, "Road to Morocco" (1942).

Here are some of their cameos in each others pictures.

This was on a PBS special titled "The Legendary Bing Crosby."

ABBOTT & COSTELLO

FORMATION: In 1936, Bud Abbott & Lou Costello met in a burlesque house in New York at the Minsky Theatre on 2nd Avenue. Lou was 29 and Bud was 41. They would split their money 60/40, 60 going to straight man Bud and 40 going to comedy clown Lou. Bud received more because he was the finest straight man in the business. With his talent and Lou's childish adulthood, they became the most successful partnership in vaudeville.

STUDIOS: It was in 1940 that Lou encouraged Bud to expand from Radio and bring their act to Hollywood. They signed on at Universal Studios, later saving it from going bankrupt with their successful films. In a 2 1/2 year span they made 10 full-length feature films. This was quite an impressive number in itself, but even more impressive was that it was done during World War II. Universal later faced a law suit for selling films of the duo to private parties for extra gain. They had done this without giving gratuities to Bud & Lou. They soon moved to Television and had achieved their own show in 1952, "The Abbott & Costello Show."

ENDING: In December of 1956, they performed for the last time at a night club in Las Vegas. Bud's timing was off, who was now 61, and Lou called it quits. They had performed for nearly 22 years.

With the previous routines of the silent era emphasizing on physical comedy, they brought these acts into the sound age adding to it play on word confrintations. Both sides of the argument make complete sense, but frustration ensues as Lou childish mind can't comprehend it.

This is my favorite comedic duo, and it's no wonder that my favorite comedy and Halloween movie is "Bud Abbott & Lou Costello Meet Frankenstein" (1948). Though they had a few struggles they had an amazing friendship.

Here is the trailer of my favorite film of theirs.

The "Loafer" bit.

The skit that made them famous, "Who's On First."

LAUREL & HARDY

FORMATION: For years it was believed that the one responsible for teaming up these two was Hal Roach. In fact, it was Leo McCary who noticed the reaction of the audience when they performed together, and recommended they be teamed up later on. Even though Leo discovered them, the story of what caused them to be in the same picture is even more interesting.

Hardy was cooking a leg of lamb and got his arm burned so badly that they cut down his part in another picture. This forced the studio to put him with a skinny comedian in a new picture, "The Lucky Dog" (1921), and the rest is history.

STUDIOS: Teamed up at Hal Roach Studios, they made a majority of their films there. After a disagreement with Hal Roach they moved over to 20th Century Fox & MGM in 1940.

ENDING: Though their last film was "Utopia" (1951) aka "Atoll K," they never stopped being Laurel & Hardy. It was a friendship that lasted even when the money wasn't rolling in. Hardy died of a stroke on August 7th, 1957 and Laurel followed on February 23rd, 1965. Since Laurel had lived a little longer, he was able to see the new popularity of their partnership flourish into the inspiration of new comedians. These new comics had watched them as kids and created a legacy in honor of these two great men.

I love these two men for what they taught the world about comedy and about friendship. As a boy, my mother showed me a few of their short films and I was hooked. When I grew older, I could see the effect they had on the comedians of the sixties like: Dick Van Dyke, Jerry Lewis and others. They made their films through two world wars, yet they are more popular than any tyrant or any world leader. They were the world's best friends.

Here is a clip from "Flying Deuces" (1939) that presents

Hardy's singing and Laurel's dancing.

This is a scene that you can't watch without laughing.

Dick used to sneak away from home to watch Laurel & Hardy films

as a kid. When he got home he would show off something new

he had seen Laurel do. Not only could he move like him, his face

also held a close resemblance. In this clip, on the Dick Van Dyke show,

he plays the part of his idol. After the show, he called up Laurel

out of the phone book and asked for his thoughts on it.