This well-intentioned but flawed compilation film has never been popular with Laurel & Hardy fans. Objectively speaking it's easy to understand why, but it's difficult for me to be objective about it. On its first release I went to see this movie in a packed auditorium, and had a great time. My father took me to see it. He'd loved these comedies as a boy, and knew I enjoyed Stan & Ollie on TV, so we made the trek to our neighborhood cinema. As I recall, the place was packed with middle-aged dads and their kids. Going to see this movie was like a Father and Son banquet, only more relaxed and a lot more fun. A comedy tradition was being passed from one generation to the next, and in the best possible way: in a theater full of laughter.
'The Crazy World of Laurel & Hardy' was made by the Jay Ward organization, best known for such Saturday morning cartoons as Bullwinkle and George of the Jungle. (Cheaply produced, but witty and enjoyable fare, especially compared to the competition.) I don't question the Ward team's sincerity in producing this L&H tribute, or their fondness for the subject matter. Plainly they loved old movies, as their cartoons are packed with inside jokes aimed at movie buffs. Ward & his colleagues were surely familiar with the silent comedy compilations of Robert Youngson, which were quite popular at the time. They chose to take a different approach, and focus on Laurel & Hardy's talkie shorts and features. That in itself is not a drawback, but their handling of the material is dubious.
The most effective passages in 'Crazy World' are the ones with the least amount of tampering. There are some great routines from Busy Bodies, Towed in a Hole, and other favorites. But there are too many sequences featuring gags chopped into quick montages, some of which are devoted to certain props, such as hats, doors, or automobiles. This is contrary to the more leisurely pace the guys favored, and the comic impact is weakened through repetition. To make matters worse, cartoon-style sound effects have been added. (The Roach studio did use such effects at times, though sparingly.) But for fans of L&H the biggest issue here is the musical score. In an attempt to 'modernize' the material those familiar, beloved musical pieces by Roy Shield and Marvin Hatley were stripped from the soundtrack, and newly composed music was added. It has the feel of a '60s sitcom, and is jarringly out of place.
But for all that, somehow the comedy of Laurel & Hardy mostly comes through intact. 'Crazy World' worked well enough for audiences of its time, as I can attest. Nowadays of course anyone who wants to experience these films as they were intended to be seen has multiple options. That was not the case in the pre-video, pre-internet days. This production -- whatever its aesthetic flaws -- served its purpose. It kept Laurel & Hardy before the public and provided an enjoyable experience for undiscerning viewers. One can hardly fault the producers for that.
'The Crazy World of Laurel & Hardy' was made by the Jay Ward organization, best known for such Saturday morning cartoons as Bullwinkle and George of the Jungle. (Cheaply produced, but witty and enjoyable fare, especially compared to the competition.) I don't question the Ward team's sincerity in producing this L&H tribute, or their fondness for the subject matter. Plainly they loved old movies, as their cartoons are packed with inside jokes aimed at movie buffs. Ward & his colleagues were surely familiar with the silent comedy compilations of Robert Youngson, which were quite popular at the time. They chose to take a different approach, and focus on Laurel & Hardy's talkie shorts and features. That in itself is not a drawback, but their handling of the material is dubious.
The most effective passages in 'Crazy World' are the ones with the least amount of tampering. There are some great routines from Busy Bodies, Towed in a Hole, and other favorites. But there are too many sequences featuring gags chopped into quick montages, some of which are devoted to certain props, such as hats, doors, or automobiles. This is contrary to the more leisurely pace the guys favored, and the comic impact is weakened through repetition. To make matters worse, cartoon-style sound effects have been added. (The Roach studio did use such effects at times, though sparingly.) But for fans of L&H the biggest issue here is the musical score. In an attempt to 'modernize' the material those familiar, beloved musical pieces by Roy Shield and Marvin Hatley were stripped from the soundtrack, and newly composed music was added. It has the feel of a '60s sitcom, and is jarringly out of place.
But for all that, somehow the comedy of Laurel & Hardy mostly comes through intact. 'Crazy World' worked well enough for audiences of its time, as I can attest. Nowadays of course anyone who wants to experience these films as they were intended to be seen has multiple options. That was not the case in the pre-video, pre-internet days. This production -- whatever its aesthetic flaws -- served its purpose. It kept Laurel & Hardy before the public and provided an enjoyable experience for undiscerning viewers. One can hardly fault the producers for that.
