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New Laurel and Hardy movie.
The world premiere of Stan & Ollie will take place on 21st October at the Cineworld, Leicester Square, London, attended by Steve Coogan and John C. Reilly, who star as the legendary movie comedy duo. Director Jon S. Baird, BAFTA award-winning writer Jeff Pope, producer Faye Ward and cast members will also be in attendance. Entertainment One (eOne) and the BFI London Film Festival are also pleased to announce that there will be simultaneous preview screenings of Stan & Ollie taking place at cinemas across the UK
The movie focuses on Stan and Olllie's personal appearances in Britain and will be released in the UK and Ireland by Entertainment One on January 11th 2019.

Watch the Trailer:


Media comment.

(Following world premier screening).


OCTOBER 21, 2018 PH

There’s a scene in Stan & Ollie, in the offices of a London production company, in which Steve Coogan, playing Stan Laurel, sits down to wait for his appointment and arches his back just enough that his bowler hat rises off his head. And then lets it fall back on again. In the next few minutes he performs a silent slapstick comedy routine that is as exquisitely delicate as it is hilarious. The receptionist gazes at him with contempt. She doesn’t recognise him, and she isn’t impressed. It’s a sublime moment in Jon S Baird’s bittersweet film, which expresses on what exactly it means to be a has-been in a world of novelties, to be dismissed by the ignorant and constantly rediscovered even by the faithful.
It’s 1953, and Laurel and Hardy find themselves on tour in Britain. Their toxic split is several years behind them, but they are back together to transfer their movie hits to the stage and they are competing with new talent at every turn: Norman Wisdom in the theatres, and Abbott and Costello in the cinemas. Stan and Ollie are reduced to the smallest halls, and horribly diminished audiences. Even their most loyal fans assume they have retired, or worse. Still, when they perform Hard-Boiled Eggs and Nuts, or The Trail of the Lonesome Pine, the audience is in hysterics. Stan, forever the brains of the outfit, keeps Ollie’s spirits up by promising a movie at the end of the tour. But if he can’t even win over the producer’s receptionist, that prospect looks doubtful.
John C Reilly plays Ollie, trapped in a fat suit, but nevertheless conveying the confusion and sadness of a man clinging on to his last chance of fame, and the comedy partner who gives him the gags he needs to win over each night’s audience. It’s a fine, even heartrending performance, but this is Coogan’s movie. The poignancy of Stan Laurel, a man with his best days behind him, but driven at all hours by a obsession with gag-making, is the culmination of many of his best characters, from the fame-hungry Alan Partridge to his own namesake in The Trip. His mania for for jokes will get him and his partner through these dark days, but what happens when the double-act eventually has to split. On tour, Ollie’s health fails, inevitably, prompting another crisis, just when it looks like they were on the up-and-up.
For me, a little Laurel and Hardy goes a long way, and I approached this film with trepidation. But it’s a thing of subdued beauty, a mediation on growing old and the power of friendship. And this is a real friendship, almost a lifeline, even if it was born of a professional partnership, an inspired wheeze courtesyof producer Hal Roach.
Baird trades endearingly on the nostalgia generated by his famous duo – shooting them in a simple two-shot, in silhouette or zeroing in on those two famous titfers, to remind us of the inspiration for his tale.
What did I like most about this film? Coogan’s jug-eared impersonation for sure. The secondary double-act of Shirley Henderson and Nina Ariana as the duo’s wives is a close call too. But most of all perhaps the magic of that all-pervasive melancholy tone. It means when the two boys skid into a familiar routine or gag in the middle of the straight business of everyday life it takes you unawares, and reminds you of the importance of laughter, or the value of friendship, and just how funny these two mismatched clowns could be.

Middleburg Film Review: 'Stan & Ollie' Packs Laughs and Tears with Career Best Turns from Steve Coogan and John C. Reillly • AwardsCircuit - By Clayton Davis

2018 MIDDLEBURG FILM FESTIVAL: The phrase “movie magic” has been tossed around for decades but I can’t think of a more perfect recent example than what is witnessed in Jon S. Baird‘s deeply felt and incredibly moving “Stan & Ollie.” Boasting two gargantuan performances from Steve Coogan and John C. Reilly, the film is a refreshing look at aging Hollywood, while examing the friendship of two figures that meant so much to each other. Immaculately constructed, “Stan & Ollie” assembles a multitude of laughs, while not holding back to bring out a few tears.
“Stan & Ollie,” tells the story of Stan Laurel (Coogan) and Oliver Hardy (Reilly), the world’s most famous comedy duo. When the two attempt to reignite their film careers, they embark on what becomes their swan song, all along a grueling theatre tour of post-war Britain.
The film lives and ignites with the two ingenious achievements by Coogan and Reilly. Coogan’s search and discovery into Stan’s deep-rooted insecurity is enlightening. He invites the viewer on the journey, showing his most fragile elements, before walloping the audience with his charismatic wit.
Reilly falls into Ollie with impeccable precision and genuine sensitivity. More than just a makeup trick, Reilly delivers a searing, realistic depiction of an emotional and delicately damaged soul. Shattering each scene he takes part in, not since “Chicago” has he proved his worth in the industry and gave a gift that will be felt for years to come.
One of the more surprising and enjoyable elements are the one-two punch turns from Shirley Henderson and Nina Arianda as Laurel and Hardy’s wives Lucielle and Ida. Henderson’s mousy words are believed in her pleading for her husband’s well-being, while Arianda’s comedic timing is just as brilliant as her dramatic calls. All these components measure up to one of the year’s best ensembles along with Danny Huston‘s biting producer and Rufus Jones‘ hilarious and skeevy tour manager.
Laurie Rose‘s camera work is perfectly executed, as the film’s brown hue adds to its classic feel. A near ten-minute opening, almost entirely one shot, is a rapture. John Paul Kelly‘s production design along with Guy Speranza‘s costume work are two ingredients that make this sweet film all the sweeter. Rolfe Kent‘s music is his best composition since “Sideways,” as he walks the viewer to near tears, focusing on the moments with strings and piano tunes that are brilliantly accomplished.
Baird’s direction may feel standard, but he doesn’t paint a picture other than one of friendship, understanding, and love. The respect and adoration for Laurel and Hardy are apparent in every frame, showcasing his more inventive sensibilities. Jeff Pope‘s script packs a jolt, showing the struggles of old Hollywood splendidly. Letting Laurel and Hardy perform their renditions and bits on more than one occasion drives home what their legacy has meant to cinema.
“Stan & Ollie” is the kind of film you want to love, and are acutely attuned to its spirit. Its lavish sets and harmonious performances are just the surface of what it delivers. It cuts to the core of the men, following their uncertainty in a world that’s forgotten them without sacrificing their humanity. Intelligent and beautiful, the chamber in which Baird and team pack the story is a beautiful slice of cinematic history that is wholly satisfying.

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