The Final Film of Laurel and Hardy

I reviewed this ten year old book when it first came out. However, due to the upcoming DVD release of the film it discusses; a 2K HD restoration from a complete nitrate print in the British Film Institute’s archives; I wanted to review it again.

Author Norbert Aping’s fascinating look at the creation, execution, release, and legacy of this historically significant feature is one of the most important film books I’ve encountered. And although the upcoming DVD restoration will be Region 2 (for European audiences), there are hopes that it will eventually become available in the States.

Stan Laurel and Oliver Hardy are perhaps the greatest comedy team in the history of movies – something Lou Costello of Abbott and Costello and Jerry Lewis of Martin and Lewis certainly believed. Struggling for years as solo performers in silent comedies, they teamed up in the late 1920s and redefined the concept of the comedy team. Their personalities complimented each other perfectly, and silent films like “Two Tars,” “Big Business,” and “The Finishing Touch” remain as fresh and funny in the 21st century as they had been some 90 years ago. Laurel and Hardy made an effortless transition to sound films with short classics like “Hog Wild,” Helpmates,” and their Oscar winner “The Music Box.” They also scored in features like “Sons of the Desert,” “Way Out West,” and “Blockheads.”

By 1940, their longtime home studio was changing direction, and they landed a gig at the prestigious 20th Century Fox. Comedy changed in the 1940s, with the brashness of Abbott and Costello and Bob Hope coming into vogue. Laurel and Hardy adapted well, and remained active in films until 1945, after which they started touring, doing live shows.

Laurel and Hardy had been off-screen for around five years when they were approached to do another movie in France. “Atoll K” had a pretty negative reputation for many years, due almost completely to Stan Laurel’s own memories of the experience. Laurel was ill for most of the shoot, and was also unsettled by the director’s approach to filmmaking, including shooting out of sequence. He was also annoyed by the fact that so many actors and filmmakers involved spoke different languages, but usually not English. To the end of his days, Laurel reacted to the experience as a cataclysmic mess, and biographers took his word that “Atoll K” was a cinematic disaster. “Atoll K” found its way into American cinemas around 1954, via an edited print under the title “Utopia,” much to Laurel’s chagrin. He did not think this movie would ever be made available in the States.

Fast forward to the 1980s and the video boom. Nobody thought to copyright “Utopia,” the American cut of “Atoll K,” and so its public domain status made it readily available from a variety of video outlets. While Laurel’s appearance can be initially off-putting (illness caused his weight to plummet to a frightening 114 pounds), the duo’s scenes are pleasantly amusing and, especially considering the difficulties involved in its creation, the film holds together quite well.

Norbert Aping’s book, published by McFarland in 2008, traces the entire history of the film, from its initial concept, through the scriptwriting process, the hiring of the cast, the production itself, distribution, different versions (in England it was called “Robinson Cruseoland”) and, finally its legacy as a public domain curio that was inexpensively available. With a wealth of photos and many interesting new facts, this book carefully examines the aesthetic quality of the film’s various versions (the footage is different whether you are watching the French original, the British edit, or the especially butchered American version). The idea of having an entire book about one movie is daunting and most welcome. Aping’s careful examination offers insights not only pertaining to this production, but gives us a good example of the creative and business aspects of domestic and European movie production from this period. The book is truly an outstanding study, very thorough and always interesting. It shows us how much more there is to be said about a particular movie, at all levels of production and marketing. For anyone interested in filmmaking at any level, this book is essential.

Because “Utopia” was missing some footage and its public domain status meant that the available prints were limited in quality, the release of a complete, restored version is reason for comedy film buffs to celebrate. “Atoll K” is certainly important to film history. The fact that even the grainy, edited, public domain prints were able to disprove the negative reputation that Mr. Laurel perpetuated makes this upcoming restored version even more significant.

At a time when a new film about Laurel and Hardy’s later tours in the 50s is about to be released, revisiting Norman Aping’s book as we also welcome the Region 2 release of a restored “Atoll K,” is most highly recommended.

The book is available HERE

The DVD can be pre-ordered HERE

NOTE: Thanks to Dave Lord Heath for the use of the images from the movie in this article.