I remember Laurel & Hardy from some old shows my grandfather had on VCR, and I adore John C. Reilly, so this should be a treat.
One must marvel at the nostalgic feeling from the studio scenes. It's always a treat seeing that kind of attention to detail and mood. Perhaps the perfect example is at the final performance. An anticipating crowd in glee over the memories from their youth by the mere theme the pair were so known for, The Dance of the Cuckoos.
The directing is mostly quite brilliant as Baird knows the strength of both his actors and the source material. One could argue that he could have used a few more sketches, rather than repeat the same 3, but then you would also miss the point of the repetitiveness of theatre comedy work.
Where this film really has a home-run, is in the acting of its to stars. Reilly is predictably excellent as the whimsical has-been that fully depends on his partner for jokes, logistics and life-advice (that he doesn't take very often). His fear of conflict, his pride, his gambling and his lack of self-control, making him in many ways a lesser husband, friend and man. It's later in the film he truly stars though, showing how underappreciated his dramatic talents are as Hardy's health deteriorates and everything becomes very real.
Shockingly, however, it's Coogan who still finds a way to steal the show. His razor-sharp wit, whether for humour or verbal malice is pitch perfect, as are his constant facial antics whether on stage, or waiting for a meeting in a lobby, making random eye contact with a stranger. Coogan also manages to portray the tired, ageing Laurel that's well past his prime in fame and money. But unlike his partner, he has long since realised how washed-up their careers are. Thus he protects his partner from bad news throughout, letting him live in his childlike hopefulness. Though it was never necessary.
And so they go about their business of illusory rejuvenation. Until their wives show up and present their hatred towards each other, as vented by their husbands over decades to them over dinners and late evenings. From that point, nothing can be the same. Speaking of the wives, for a piece of sheer art, observe their faces at the last performance of their husbands. One in utter joy over her man's performance and the revival of his genius. The other, panic-stricken and scared to death, fearing hers will fall dead on stage at any given moment.
The old sketches still work a charm, Coogan and Reilly delivering perfectly as the old cooks knowing their routines in and out (Laurel in particular), but still doing them with pride and gusto. Cuter still is how they both keep up parts of their personas in their private lives when communicating with each other.
As the drama increases, naturally the comedy eludes director Jon Baird. Though it's hard to avoid, I still feel it makes this film a bit more of a "game of two halves" than necessary.
But it's still nostalgic, funny, heart-warming, and very, very good.
8/10
