Editing Laurel and Hardy (section)

==History as Laurel and Hardy==
===Hal Roach===
[[Hal Roach]] recounted how Laurel and Hardy became a team: Hardy was already working for Roach (and others) when Roach hired Laurel, whom he had seen in vaudeville. Laurel had very light blue eyes, and Roach discovered that, due to the technology of film at that time, Laurel's eyes would not photograph properly—blue photographed as white. This problem is apparent in their first silent film together, ''[[The Lucky Dog]]'', where an attempt was made to compensate for the problem by applying heavy makeup to Laurel's eyes. For about a year, Roach had Laurel work at the studio as a writer. Then [[panchromatic film]] was developed; they tested Laurel, and found the problem was solved. Laurel and Hardy were then put together in a film, and they seemed to complement each other. Comedy teams were usually composed of a straight man and a funny man, but these two were both comedians; however, each knew how to play the straight man when the script required it. Roach said, "You could always cut to a close-up of either one, and their reaction was good for another laugh."<ref>[https://nickredfern.wordpress.com/2010/04/22/stan-laurels-eyes/] {{Webarchive|url=https://web.archive.org/web/20181004021126/https://nickredfern.wordpress.com/2010/04/22/stan-laurels-eyes/|date=October 4, 2018}} Redfern Nick. ''Research into Film''. April 22, quoting from ''The Silent Picture'', issue 6, Spring 1970, p. 4</ref>

===Leo McCarey===
Screenwriter, director and producer for Hal Roach Studios, [[Leo McCarey]] recounted a story on the NBC television program [[This Is Your Life (American franchise)|This Is Your Life]] on December 1, 1954 of how a leg of lamb brought Laurel and Hardy together.<ref>{{YouTube|id=ZisHJguKKhw&t|time=15m37s}}</ref><ref>{{cite web |url=https://www.newsfromme.com/pov/col131/ |title=Point of View: Laurel & Hardy Part 1 |last=Evanier |first=Mark |date=May 23, 1997 |website= |publisher= |access-date=October 22, 2024 |quote=He was cooking a leg of lamb when some scalding gravy splashed on his arm, taking him out of commission.}}</ref><ref>{{cite web |url=https://www.irishamerica.com/2018/12/stan-ollie-and-the-irish/ |title=Stan & Ollie and the Irish |last=Lewis |first=Dave |date=February 1, 2009 |website= |publisher= |access-date=October 22, 2024 |quote=Hardy, who was known for his hearty appetite, burned himself while cooking a leg of lamb, so badly that he couldn't finish a film he was working on with McCarey, who asked Laurel, who at the time was working as a gag writer at the studio, to step in.}}</ref>

{{Blockquote|text=Babe (Oliver Hardy) was cooking a leg of lamb and for some reason he left his arm in the oven too long or something and he got it so badly blistered that we had to cut down his part in the next picture. So we decided to put Stan in the picture to bolster up the comedy; and so when we saw the two of them on the screen together we decided: "There's a real team." And from that time on they really went places. All on account of - ''Hardy had a little lamb.''|author=Leo McCarey}}

===Style of comedy and characterizations===
[[File:Laurel and Hardy in Lucky Dog.jpg|thumb|right|Laurel and Hardy in ''[[The Lucky Dog]]'' (1921)]]
The humor of Laurel and Hardy was [[Physical comedy|highly visual]], with [[slapstick]] used for emphasis.<ref name="Bann"/> They often had physical arguments (in character) which were quite complex and involved a [[Cartoon violence|cartoonish]] style of violence. Their ineptitude and misfortune precluded them from making any real progress, even in the simplest endeavors. Much of their comedy involves "milking" a joke, where a simple idea provides a basis for multiple, ongoing gags without following a defined narrative.

Stan Laurel was of average height and weight, but appeared comparatively small and slight next to Oliver Hardy, who was {{convert|6|ft|1|in|cm|abbr=on}}<ref name=Encyclopedia>{{harvnb|Mitchell|2010}}</ref> and weighed about {{convert|280|lb|kg stlb|abbr=on|sigfig=3}} in his prime. Details of their hair and clothing were used to enhance this natural contrast. Laurel kept his hair short on the sides and back, growing it long on top to create a natural "fright wig". Typically, at times of shock, he simultaneously screwed up his face to appear as if crying while pulling up his hair. In contrast, Hardy's thinning hair was pasted on his forehead in spit curls and he sported a [[toothbrush moustache]]. To achieve a flat-footed walk, Laurel removed the heels from his shoes. Both wore [[bowler hat]]s, with Laurel's being narrower than Hardy's, and with a flattened brim.<ref>St. Mark, Tyler. [http://www.laurel-and-hardy.com/archive/articles/2010-08-hatfacts.pdf "Laurel & Hardy: The Hat Facts (Part 1)."] {{Webarchive|url=https://web.archive.org/web/20140321144325/http://www.laurel-and-hardy.com/archive/articles/2010-08-hatfacts.pdf |date=March 21, 2014 }} ''laurel-and-hardy.com'', 2010. Retrieved: December 8, 2013.</ref> The characters' normal attire called for [[Collar (clothing)|wing collar]] shirts, with Hardy wearing a necktie which he would twiddle when he was particularly self-conscious; and Laurel, a [[bow tie]]. Hardy's [[Sport coat|sports jacket]] was a little small and done up with one straining button, whereas Laurel's [[double-breasted]] jacket was loose-fitting.

A popular routine was a "[[tit for tat]]" fight with an adversary. It could be with their wives—often played by [[Mae Busch]], [[Anita Garvin]], or [[Daphne Pollard]]—or with a neighbor, often played by [[Charlie Hall (actor, born 1899)|Charlie Hall]] or [[James Finlayson (actor)|James Finlayson]]. Laurel and Hardy would accidentally damage someone's property, and the injured party would retaliate by ruining something belonging to Laurel or Hardy.<ref name="Bann">Bann, Richard W.. [http://www.laurel-and-hardy.com/players/players-legacy.html "The Legacy of Mr. Laurel & Mr. Hardy."] {{Webarchive|url=https://web.archive.org/web/20130916114518/http://laurel-and-hardy.com/players/players-legacy.html |date=September 16, 2013 }} ''laurel-and-hardy.com''. Retrieved: December 8, 2013.</ref> After calmly surveying the damage, one or the other of the "offended" parties found something else to vandalize, and the conflict escalated until both sides were simultaneously destroying items in front of each other.<ref name="Martin" /> An early example of the routine occurs in their classic short ''[[Big Business (1929 film)|Big Business]]'' (1929), which was added to the [[National Film Registry]] in 1992. Another short film which revolves around such an altercation was titled ''[[Tit for Tat (1935 film)|Tit for Tat]]'' (1935).

One of their best-remembered dialogue devices was the "Tell me that again" routine. Laurel would tell Hardy a genuinely smart idea he came up with, and Hardy would reply, "Tell me that again." Laurel would then try to repeat the idea, but, having instantly forgotten it, babble utter nonsense. Hardy, who had difficulty understanding Laurel's idea when expressed clearly, would then understand the jumbled version perfectly. While much of their comedy remained visual, humorous dialogue often occurred in Laurel and Hardy's talking films as well. Examples include:
* "You can lead a horse to water, but a pencil must be led." (Laurel, ''[[Brats (1930 film)|Brats]]'')<ref name="Martin"/>
* "I was dreaming I was awake, but I woke up and found meself asleep." (Laurel, ''[[Oliver the Eighth]]'')
* "A lot of weather we've been having lately." (Hardy, ''[[Way Out West (1937 film)|Way Out West]]'')

In some cases, their comedy bordered on the surreal, in a style Laurel called "white magic".<ref name="Bann"/><ref>{{harvnb|McCabe|1975|p=18}}</ref> For example, in the 1937 film ''Way Out West'', Laurel flicks his thumb upward as if working a [[lighter]]. His thumb ignites and he matter-of-factly lights Hardy's pipe. Amazed at seeing this, Hardy unsuccessfully attempts to duplicate it throughout the film. Much later he finally succeeds, only to be terrified when his thumb catches fire. Laurel expands the joke in the 1938 film ''[[Block-Heads]]'' by pouring tobacco into his clenched fist and smoking it as though it were a pipe, again to Hardy's bemusement. This time, the joke ends when a match Laurel was using relights itself, Hardy throws it into the fireplace, and it explodes with a loud bang.

Rather than showing Hardy suffering the pain of misfortunes, such as falling down stairs or being beaten by a thug, banging and crashing sound effects were often used so the audience could visualize the mayhem.<ref name="Bann"/> The 1927 film ''[[Sailors, Beware!]]'' was a significant one for Hardy because two of his enduring trademarks were developed. The first was his "tie twiddle" to demonstrate embarrassment.<ref name="Bann"/> Hardy, while acting, had received a pail of water in the face. He said, "I had been expecting it, but I didn't expect it at that particular moment. It threw me mentally and I couldn't think what to do next, so I waved the tie in a kind of tiddly-widdly fashion to show embarrassment while trying to look friendly."<ref>{{harvnb|McCabe|1987|p=123}}</ref> His second trademark was the "camera look", where he breaks the [[fourth wall]] and, in frustration, stares directly at the audience.<ref name="Martin"/> Hardy said: "I had to become exasperated, so I just stared right into the camera and registered my disgust."<ref>{{harvnb|McCabe|1987|p=124}}</ref> Offscreen, Laurel and Hardy were quite the opposite of their movie characters: Laurel was the industrious "idea man", while Hardy was more easygoing.<ref name="Gehring p. 5">{{harvnb|Gehring|1990|p=5}}</ref>

===Catchphrases===
Laurel and Hardy's best-known catchphrase is, <!-- DO NOT ALTER THIS QUOTE WITHOUT DISCUSSION ON THE TALK PAGE -->"Well, here's another nice mess you've gotten me into!"<ref name="Martin"/> <!-- DO NOT ALTER THIS QUOTE WITHOUT DISCUSSION ON THE TALK PAGE --> It was earlier used by [[W. S. Gilbert]] in both ''[[The Mikado]]'' (1885) and ''[[The Grand Duke]]'' (1896). It was first used by Hardy in ''[[The Laurel-Hardy Murder Case]]'' in 1930. In popular culture, the catchphrase is often misquoted as "Well, here's another ''fine'' mess you've gotten me into", which was never spoken by Hardy—a misunderstanding that stems from the title of their film ''[[Another Fine Mess]]''.<ref>{{harvnb|Andrews|1997|p=389}}</ref> When Hardy said the phrase, Laurel's frequent, iconic response was to start to cry, pull his hair up, exclaim "Well, I couldn't help it...", then whimper and speak gibberish.

Some variations on the phrase occurred. For example, in ''[[Chickens Come Home]]'', Ollie impatiently says to Stan, "Well...", and Stan continues for him: "Here's another nice mess I've gotten you into." The films ''[[Thicker than Water (1935 film)|Thicker than Water]]'' and ''[[The Fixer Uppers]]'' use the phrase "Well, here's another nice kettle of fish you've pickled me in!" In ''[[Saps at Sea]]'', the phrase becomes "Well, here's another nice bucket of suds you've gotten me into!" The catchphrase, in its original form, was used as the last line of dialogue in the duo's last film, ''[[Atoll K]]'' (1951).

In moments of particular distress or frustration, Hardy often exclaims, "Why don't you do something to ''help'' me?", as Laurel stands helplessly by.

"OH!" (or drawn out as "Ohhhhh-OH!") was another catchphrase used by Hardy. He uses the expression in the duo's first sound film, ''[[Unaccustomed As We Are]]'' (1929), when his character's wife smashes a record over his head.<ref name="Gehring 1990, p. 42" />

Mustachioed Scottish actor [[James Finlayson (actor)|James Finlayson]], who appeared in 33 Laurel and Hardy films, used a variation: "D'oh!"<ref name="Martin">{{cite web |last=Chilton |first=Martin |title=Laurel and Hardy: It's still comedy genius |url=https://www.telegraph.co.uk/culture/comedy/10496680/Laurel-and-Hardy-its-still-comedy-genius.html |website=The Telegraph |date=December 5, 2013 |access-date=December 8, 2013 |archive-url=https://web.archive.org/web/20150623112619/http://www.telegraph.co.uk/culture/comedy/10496680/Laurel-and-Hardy-its-still-comedy-genius.html |archive-date=June 23, 2015}}</ref> The phrase, expressing surprise, impatience, or incredulity, inspired the trademark "[[D'oh!]]" of character [[Homer Simpson]] (voiced by [[Dan Castellaneta]]) in the long-running animated comedy ''[[The Simpsons]]''.<ref>{{cite web |title=What's the story with... Homer's D'oh! |url=http://www.heraldscotland.com/what-s-the-story-with-homer-s-d-oh-1.840349 |website=The Herald (Glasgow) |date=July 21, 2007 |access-date=July 25, 2010 |archive-url=https://web.archive.org/web/20100515054417/http://www.heraldscotland.com/what-s-the-story-with-homer-s-d-oh-1.840349 |archive-date=May 15, 2010}}</ref>

===Films===
{{main|Laurel and Hardy filmography}}
Laurel and Hardy appeared together in 107 films over three decades, beginning with separate appearances before officially teaming in 1927. Their work progressed from silent shorts to sound films and feature-length productions, while retaining their signature comedic style throughout evolving industry trends.
====Silent films====
[[File:The Lucky Dog (1921).webm|thumb|right|Laurel and Hardy appeared for the first time together in ''[[The Lucky Dog]]'' (1921).]]
Laurel's and Hardy's first film pairing, although as separate performers, was in the silent ''[[The Lucky Dog]]''. Its production details have not survived, but film historian Bo Berglund has placed it between September 1920 and January 1921.<ref>{{harvnb|Mitchell|2010|p=181}}</ref> According to interviews they gave in the 1930s, the pair's acquaintance at the time was casual, and both had forgotten their initial film entirely.<ref>{{harvnb|Barr|1967|p=9}}</ref> The plot sees Laurel's character befriended by a stray dog which, after some lucky escapes, saves him from being blown up by dynamite. Hardy's character is a mugger attempting to rob Laurel.<ref>{{harvnb|Mitchell|2010|p=180}}</ref> They later signed separate contracts with the [[Hal Roach Studios]], and next appeared in the 1926 film ''[[45 Minutes from Hollywood|45 Minutes From Hollywood]]''.<ref>{{harvnb|Gehring|1990|p=273}}</ref>

Hal Roach is considered the most important person in the development of Laurel's and Hardy's film careers. He brought them together, and they worked for Roach for almost 20 years.<ref>{{harvnb|McCabe|1987|p=98}}</ref> Director [[Charley Rogers]], who worked closely with the three men for many years, said, "It could not have happened if Laurel, Hardy, and Roach had not met at the right place and the right time."<ref>{{harvnb|McCabe|1987|p=100}}</ref> Their first "official" film together was ''[[Putting Pants on Philip]]'',<ref>{{harvnb|Gehring|1990|p=62}}</ref> released December 3, 1927.<ref>{{harvnb|Gehring|1990|p=263}}</ref> The plot involves Laurel as Philip, a young Scotsman who arrives in the United States in full [[kilt]]ed splendor, and suffers mishaps involving the kilts. His uncle, played by Hardy, tries to put trousers on him.<ref>{{harvnb|Mitchell|2010|p=229}}</ref> Also in 1927, the pair starred in ''[[The Battle of the Century]]'', a classic pie-throwing short involving over 3,000 real pies; only a fragment of the film was known to exist until the first half resurfaced in the 1970s; a more complete print was discovered in 2015 by historian Jon Mirsalis.

[[File:Hollywoodparty.jpg|left|thumb|250px|Laurel and Hardy with [[Lupe Vélez]] in ''[[Hollywood Party (1934 film)|Hollywood Party]]'' (1934)]]
Laurel said to the duo's biographer [[John McCabe (writer)|John McCabe]]: "Of all the questions we're asked, the most frequent is, how did we come together? I always explain that we came together naturally."<ref>{{harvnb|McCabe|1987|p=117}}</ref> Laurel and Hardy were joined by accident and grew by indirection.<ref>{{harvnb|McCabe|1987|p=118}}</ref> In 1926, both were part of the Roach Comedy All Stars, a stock company of actors who took part in a series of films. Laurel's and Hardy's parts gradually grew larger, while those of their fellow stars diminished, because Laurel and Hardy had superior pantomime skills.<ref>{{harvnb|McCabe|1987|p=120}}</ref> Their teaming was suggested by [[Leo McCarey]], their supervising director from 1927 to 1930. During that period, McCarey and Laurel jointly devised the team's format.<ref>{{harvnb|Mitchell|2010|p=188}}</ref> McCarey also influenced the slowing of their comedy action from the silent era's typically frantic pace to a more natural one. The formula worked so well that Laurel and Hardy played the same characters for the next 30 years.<ref>{{harvnb|Skretvedt|1987|p=54}}</ref>

Although Roach employed writers and directors such as [[H. M. Walker]], [[Leo McCarey]], [[James Parrott]], and [[James W. Horne]] on the Laurel and Hardy films, Laurel, who had a considerable background in comedy writing, often rewrote entire sequences and scripts. He also encouraged the cast and crew to improvise, then meticulously reviewed the footage during editing.<ref name="Mitchell28">{{harvnb|Mitchell|2010|p=28}}</ref> By 1929, he was the pair's head writer, and it was reported that the writing sessions were gleefully chaotic. Stan had three or four writers who competed with him in a perpetual game of [[One-upmanship|'Can You Top This?']]<ref>{{harvnb|Skretvedt|1987|p=50}}</ref> Hardy was quite happy to leave the writing to his partner. He said, "After all, just doing the gags was hard enough work, especially if you have taken as many falls and been dumped in as many mudholes as I have. I think I earned my money."<ref>{{harvnb|McCabe|1987|p=54}}</ref> Laurel eventually became so involved in their films' productions, many film historians and aficionados consider him an uncredited director. He ran the Laurel and Hardy set, no matter who was in the director's chair, but never asserted his authority. Roach remarked: "Laurel bossed the production. With any director, if Laurel said 'I don't like this idea,' the director didn't say 'Well, you're going to do it anyway.' That was understood."<ref>{{harvnb|Skretvedt|1987|pp=59–61}}</ref> As Laurel made so many suggestions, there was not much left for the credited director to do.<ref>{{harvnb|Skretvedt|1987|p=61}}</ref>

[[File:The Flying Deuces (1939) 1.jpg|thumb|right|Laurel and Hardy in the 1939 film ''[[The Flying Deuces]]'']]
Their 1929 release ''[[Big Business (1929 film)|Big Business]]'' is by far the most critically acclaimed of the silents.<ref>{{harvnb|Mitchell|2010|p=39}}</ref> Laurel and Hardy are Christmas tree salesmen who are drawn into a classic tit-for-tat battle, with a character played by [[James Finlayson (actor)|James Finlayson]], that eventually destroys his house and their car.<ref>{{harvnb|Mitchell|2010|p=38}}</ref> ''Big Business'' was added to the United States [[National Film Registry]] as a national treasure in 1992.<ref>{{cite web |title=Complete National Film Registry Listing |url=https://www.loc.gov/programs/national-film-preservation-board/film-registry/complete-national-film-registry-listing/ |website=Library of Congress |access-date=March 22, 2020 |archive-url=https://web.archive.org/web/20200303055247/https://www.loc.gov/programs/national-film-preservation-board/film-registry/complete-national-film-registry-listing/ |archive-date=March 3, 2020}}</ref>

====Sound films====
In 1929 the [[silent era]] of film was coming to an end. Many silent-film actors failed to make the transition to "[[Sound film|talkies]]"—some, because they felt sound was irrelevant to their craft of conveying stories with body language; and others, because their spoken voices were considered inadequate for the new medium.<ref>{{harvnb|Sagert|2010|p=40}}</ref> However, the addition of spoken dialogue only enhanced Laurel's and Hardy's performances; both had extensive theatrical experience and could use their voices to great comic effect. Their films also continued to feature much visual comedy.<ref>{{harvnb|McCabe|1987|p=153}}</ref> In these ways, they made a seamless transition to their first sound film, ''[[Unaccustomed As We Are]]'' (1929),<ref name="Gehring 1990, p. 42">{{harvnb|Gehring|1990|p=42}}</ref> whose title was a play on the familiar phrase, "Unaccustomed as I am to public speaking".<ref>{{harvnb|Mitchell|2010|p=305}}</ref> In the opening dialogue, Laurel and Hardy began by [[parody|spoofing]] the slow and self-conscious speech of the early talking actors—a routine they would use regularly.<ref>{{harvnb|Louvish|2002|p=252}}</ref>

''[[The Music Box]]'' (1932), with the pair delivering a piano up a long flight of steps,<ref>{{harvnb|Skretvedt|1987|p=230}}</ref> won an [[Academy Awards|Academy Award]] for Best Live Action Short Subject.<ref>{{harvnb|McCabe|2004b|p=111}}</ref> ''The Music Box'' remains one of the duo's most widely known films.

Laurel and Hardy were favorites around the world, and Hal Roach catered to international audiences by filming many of their early talkies in other languages. They spoke their dialogue phonetically, in Spanish, Italian, French, or German.<ref>{{cite web |last=Fullerton |first=Pat |title=Laurel & Hardy Overseas |url=http://www.patfullerton.com/lh/movies/foreign.html |archive-url=https://archive.today/20120906124815/http://www.patfullerton.com/lh/movies/foreign.html |archive-date=September 6, 2012 |access-date=April 20, 2011 |website=patfullerton.com}}</ref> The plots remained similar to the English versions, although the supporting actors were often changed to those fluent in the native language. ''[[Pardon Us]]'' (1931) was reshot in all four foreign languages. ''[[Blotto (film)|Blotto]]'', ''[[Hog Wild (1930 film)|Hog Wild]]'' and ''[[Be Big!]]'' were remade in French and Spanish versions. ''[[Night Owls (1930 film)|Night Owls]]'' was remade in both Spanish and Italian, and ''[[Below Zero (1930 film)|Below Zero]]'' and ''[[Chickens Come Home]]'' in Spanish.

====Feature films====
Just as Laurel and Hardy's teaming was accidental, so was their entry into the field of feature films. In the words of biographer John McCabe, "Roach planned to use the MGM set [built for ''[[The Big House (1930 film)|The Big House]]''] for a simple prison-break two-reeler but MGM suddenly added a proviso: Laurel and Hardy would have to do a picture for them in exchange. Roach would not agree so he built his own prison set, a very expensive item for a two-reeler. So expensive was it indeed that he added four more reels to bring it into the feature category and, it was hoped, the bigger market."<ref>{{harvnb|McCabe|1987|p=162}}</ref> The experiment was successful, and the team continued to make features along with their established short subjects until 1935, when they converted to features exclusively.

''[[Sons of the Desert]]'' (1933) is often cited as Laurel and Hardy's best feature-length film.<ref>{{harvnb|Mitchell|2010|p=268}}</ref> The situation-comedy script by actor-playwright [[Frank Craven]] and screenwriter Byron Morgan is stronger than usual for a Laurel & Hardy comedy, and versatile director [[William A. Seiter]], who had made light comedies with [[Reginald Denny (actor)|Reginald Denny]] as well as outlandish ones with [[Wheeler and Woolsey]], handled the film with a more controlled sense of pace and style than other directors of the team's features. Stan and Ollie are henpecked husbands who want to attend a convention held by the Sons of the Desert fraternal lodge. They tell their wives that Ollie requires an ocean voyage to [[Honolulu]] for his health, and they sneak off to the convention. They are unaware that the Honolulu-bound ship they were supposedly aboard is sinking, and the wives confront their errant husbands when they get home.

''[[Babes in Toyland (1934 film)|Babes in Toyland]]'' (1934) remains a perennial on American television during the Christmas season.<ref>{{harvnb|Mitchell|2010|p=27}}</ref> When interviewed, Hal Roach spoke scathingly about the film and Laurel's behavior. Roach himself had written a treatment detailing the characters and storyline, only to find that Laurel considered Roach's effort totally unsuitable. Roach, affronted, tried to argue in favor of his treatment, but Laurel was adamant. Roach angrily gave up and allowed Laurel to make the film his way.<ref name="Lawrence">{{cite book |last=Lawrence |first=Danny |title=The Making of Stan Laurel: Echoes of a British Boyhood |url=https://books.google.com/books?id=-h3-oAEoQMYC&pg=PA90 |publisher=McFarland |year=2011 |isbn=978-0-7864-6409-8}}</ref> The rift damaged Roach-Laurel relations to the point that Roach said that after ''Toyland'', he did not want to produce for Laurel and Hardy. Although their association continued for another six years, Roach no longer took an active hand in Laurel and Hardy films.<ref name="Mitchell28" />

''[[Way Out West (1937 film)|Way Out West]]'' (1937) was a personal favorite of both Stan Laurel and Oliver Hardy. A satire of the [[Gene Autry]] musical westerns sweeping America at the time, the film combines Laurel and Hardy's slapstick routines with songs and dances performed by the stars.

It appeared that the team would split permanently in 1938. Hal Roach had become dissatisfied with his distribution arrangement with [[Metro-Goldwyn-Mayer]], and had begun releasing his films through [[United Artists]]. He still owed MGM one last feature, and made the Laurel and Hardy comedy ''[[Block-Heads]]'', with the announcement that this would be Laurel and Hardy's farewell film. Stan Laurel's contract with Roach then expired, and Roach did not renew it. Oliver Hardy's contract was still in force, however, and Roach starred Hardy solo in the antebellum comedy ''[[Zenobia (film)|Zenobia]]'' (1939), with [[Harry Langdon]] as Hardy's comic foil. This fueled rumors that Laurel and Hardy had split on bad terms.

After ''Zenobia'', Laurel rejoined Hardy and the team signed with independent producer [[Boris Morros]] for the comedy feature ''[[The Flying Deuces]]'' (1939). Meanwhile, Hal Roach wanted to demonstrate his new idea of making four-reel, 40-minute featurettes—twice the length of standard two-reel, 20-minute comedies—which Roach felt could fit more conveniently into double-feature programs. He referred to these extended films as [[Hal Roach's Streamliners|"streamliners"]]. To test his theory, Roach rehired Laurel and Hardy.<ref>{{harvnb|MacGillivray|2009|p=3}}</ref> The resulting films, ''[[A Chump at Oxford]]'' and ''[[Saps at Sea]]'' (both 1940), were prepared as featurettes. United Artists overruled Roach and insisted that they be released as full-length features.<ref>''Variety'', "UA Orders Hal Roach to Tack On Footage to Laurel-Hardy 4-Reelers," November 15, 1939, p. 2.</ref>

Hoping for greater artistic freedom, Laurel and Hardy split with Roach, and signed with [[20th Century-Fox]] in 1941 and MGM in 1942.<ref>{{harvnb|MacGillivray|2009|p=6}}</ref> However, their working conditions were now completely different: they were simply hired actors, relegated to both studios' B-film units, and not initially allowed to contribute to the scripts or improvise, as they had always done.<ref>{{harvnb|MacGillivray|2009|p=9}}</ref> When their films proved popular, the studios allowed them more input,<ref>{{harvnb|MacGillivray|2009|p=190}}</ref> and they starred in eight features until the end of 1944. These films, while far from their best work, were still very successful. Budgeted between $300,000 and $450,000 each, they earned millions at the box office for Fox and MGM. The Fox films were so profitable that the studio kept making Laurel and Hardy comedies after it discontinued its other "B" series films.<ref>{{harvnb|MacGillivray|2009|p=126}}</ref>

The busy team decided to take a rest during 1946, but 1947 saw their first European tour in 15 years. A film based in the charters of "Robin Hood" was planned during the tour, but not realized. In 1947, Laurel and Hardy famously attended the reopening of the Dungeness loop of the [[Romney, Hythe and Dymchurch Railway]], where they performed improvised routines with a steam locomotive for the benefit of local crowds and dignitaries.

In 1948, on the team's return to America, Laurel was sidelined by illness and temporarily unable to work. He encouraged Hardy to take movie roles on his own. Hardy's friend [[John Wayne]] hired him to co-star in ''[[The Fighting Kentuckian]]'' for [[Republic Pictures]], and [[Bing Crosby]] got him a small part in [[Frank Capra]]'s ''[[Riding High (1950 film)|Riding High]]''.

In 1950–51, Laurel and Hardy made their final feature-length film together, ''[[Atoll K]]''. A French-Italian co-production directed by [[Léo Joannon]], it was plagued by problems with language barriers, production issues, and both actors' serious health issues. When Laurel received the script's final draft, he felt its heavy political content overshadowed the comedy. He quickly rewrote it, with screen comic [[Monte Collins]] contributing visual gags, and hired old friend [[Alfred J. Goulding|Alfred Goulding]] to direct the Laurel and Hardy scenes.<ref name="Lawrence"/> During filming, Hardy developed an irregular heartbeat, while Laurel experienced painful prostate complications that caused his weight to drop to 114 pounds.<ref name="McGarry73">{{harvnb|McGarry|1992|p=73}}</ref> Critics were disappointed with the storyline, English dubbing, and Laurel's sickly physical appearance.<ref name="Encyclopedia" /> The film was not commercially successful on its first release, and brought an end to Laurel and Hardy's film careers.<ref name="McGarry73"/> ''Atoll K'' did finally turn a profit when it was rereleased in other countries. In 1954, an American distributor removed 18 minutes of footage and released it as ''Utopia''; widely released on film and video, it is the film's best-known version.

After ''Atoll K'' wrapped in April 1951, Laurel and Hardy returned to America and used the remainder of the year to rest. Stan appeared, in character, in a silent TV newsreel, ''Swim Meet'', judging a local California swimming contest.

Most Laurel and Hardy films have survived and are still in circulation. Only three of their 107 films are considered [[lost film|lost]] and have not been seen in complete form since the 1930s.<ref>Dorman, Trevor. [http://www.laurelandhardy.org/MissingFilms.html "A Guide to the lost films of Laurel and Hardy – Update."] {{Webarchive|url=https://web.archive.org/web/20101217083857/http://laurelandhardy.org/MissingFilms.html |date=December 17, 2010}} ''The Laurel and Hardy Magazine''. Retrieved: April 20, 2011.</ref> The silent film ''[[Hats Off (1927 film)|Hats Off]]'' from 1927 has vanished completely. The first half of ''[[Now I'll Tell One]]'' (1927) is lost, and the second half has yet to be released on video. ''The Battle of the Century'' (1927), after years of obscurity, is now almost complete but a few minutes are missing. In the 1930 operatic Technicolor musical ''[[The Rogue Song]]'', Laurel and Hardy appeared as comedy relief in 10 sequences; only one exists. The complete soundtrack has survived.<ref>{{harvnb|Haines|1993|p=13}}</ref>

===Radio===
Laurel and Hardy made at least two audition recordings for radio: a half-hour NBC series based on the skit ''Driver's License'',<ref name="MaltinRadio">{{cite web |last=Maltin |first=Leonard |author-link=Leonard Maltin |title=Laurel & Hardy Behind The Mike, Take Two |url=https://leonardmaltin.com/laurel-hardy-behind-the-mike-take-two/ |website=Leonard Maltin's Movie Crazy |date=August 27, 2018 |access-date=January 13, 2022}}</ref> and a 1944 NBC pilot for ''The Laurel and Hardy Show'', casting Stan and Ollie in different occupations each episode. The surviving audition record, "Mr. Slater's Poultry Market," has Stan and Ollie as meat-market butchers mistaken for vicious gangsters.<ref>{{harvnb|MacGillivray|2009|pp=132–133}}</ref> A third attempt was commissioned by [[BBC Radio]] in 1953: ''Laurel and Hardy Go to the Moon'', a series of science-fiction comedies. A sample script was written by Tony Hawes and [[Denis Gifford]], and the comedians staged a read-through, which was not recorded. The team was forced to withdraw due to Hardy's declining health, and the project was abandoned.<ref>{{harvnb|MacGillivray|2009|pp=247–248}}</ref>

===Final years===
Following the making of ''Atoll K'', Laurel and Hardy took some months off to deal with health issues. On their return to the European stage in 1952, they undertook a well-received series of public appearances, performing a short Laurel-written sketch, "A Spot of Trouble". The following year, Laurel wrote a routine titled "Birds of a Feather".<ref name="McCabe398">{{harvnb|McCabe|1975|p=398}}</ref> On September 9, 1953, their boat arrived in [[Cobh]] in Ireland. Laurel recounted their reception:

{{blockquote|The love and affection we found that day at Cobh was simply unbelievable. There were hundreds of boats blowing whistles and mobs and mobs of people screaming on the docks. We just couldn't understand what it was all about. And then something happened that I can never forget. All the church bells in Cobh started to ring out our theme song "Dance of the Cuckoos" and Babe (Oliver Hardy) looked at me and we cried. I'll never forget that day. Never.<ref>{{cite web |last=Baker |first=Glenn A. |title=History's harbour |url=http://www.smh.com.au/travel/historys-harbour-20110310-1bpeu.html |website=The Sydney Morning Herald |date=March 13, 2011 |archive-url=https://web.archive.org/web/20120110225757/http://www.smh.com.au/travel/historys-harbour-20110310-1bpeu.html |archive-date=January 10, 2012 |access-date=April 16, 2012}}</ref>}}

[[File:Laurel and Hardy This is your Life.jpg|left|thumb|Laurel and Hardy on NBC's ''[[This Is Your Life (American franchise)|This Is Your Life]]'', December 1, 1954]]

On May 17, 1954, Laurel and Hardy made their last live stage performance in Plymouth, UK at the [[Palace Theatre, Plymouth|Palace Theatre]]. On December 1, 1954, they made their only American television appearance when they were surprised and interviewed by [[Ralph Edwards]] on his live NBC-TV program ''[[This Is Your Life (American franchise)|This Is Your Life]]''. Lured to the Knickerbocker Hotel under the pretense of a business meeting with producer [[Bernard Delfont]], the doors opened to their suite, #205, flooding the room with light and Edwards' voice. The telecast was preserved on a [[kinescope]] and later released on home video. Partly due to the broadcast's positive response, the team began renegotiating with [[Hal Roach Jr.]] for a series of color [[NBC|NBC Television]] specials, to be called ''Laurel and Hardy's Fabulous Fables''. However, the plans had to be shelved as the aging comedians continued to suffer from declining health.<ref name="McCabe398"/> In 1955, ''TV Guide'' ran a color spread on the team with current photos. That year, they made their final public appearance together while taking part in ''This Is Music Hall'', a [[BBC Television]] program about the [[Grand Order of Water Rats]], a British variety organization. Laurel and Hardy provided a filmed insert where they reminisced about their friends in British variety. They made their final appearance on camera in 1956 in a private home movie, shot by a family friend at the Reseda, California home of Stan Laurel's daughter, Lois. The three-minute film has no audio.<ref>{{cite web |last=Rascher |first=Matthias |title=1956 Home movie: Laurel & Hardy together for the last time |url=http://www.openculture.com/2011/05/1956_home_movie_laurel_hardy_together_for_the_last_time.html |website=Openculture.com |date=May 13, 2011 |archive-url=https://web.archive.org/web/20131212004159/http://www.openculture.com/2011/05/1956_home_movie_laurel_hardy_together_for_the_last_time.html |archive-date=December 12, 2013 |access-date=December 7, 2013}}</ref>

In 1956, while following his doctor's orders to improve his health due to a heart condition, Hardy lost over {{convert|100|lb|kg st}}, but nonetheless suffered several strokes causing reduced mobility and speech. Despite his long and successful career, Hardy's home was sold to help cover his medical expenses.<ref name="Lawrence" /> He died of a stroke on August 7, 1957, and longtime friend Bob Chatterton said Hardy weighed just {{convert|138|lb|kg st}} at the time of his death. Hardy was laid to rest at Pierce Brothers' [[Valhalla Memorial Park Cemetery|Valhalla Memorial Park]], North Hollywood.<ref>{{harvnb|Smith|1984|p=191}}</ref> Following Hardy's death, scenes from Laurel and Hardy's early films were seen again in theaters, featured in [[Robert Youngson]]'s silent-film compilation ''[[The Golden Age of Comedy]]''.

For the remaining eight years of his life, Stan Laurel refused to perform, and declined [[Stanley Kramer]]'s offer of a cameo in the 1963 film ''[[It's a Mad, Mad, Mad, Mad World]]''.<ref name="Bowen">{{cite web |last=Bowen |first=Peter |title=Stan Laurel dies |url=http://www.focusfeatures.com/article/stan__laurel_dies |website=Focus Features |date=February 23, 2010 |archive-url=https://web.archive.org/web/20131211214415/http://www.focusfeatures.com/article/stan__laurel_dies |archive-date=December 11, 2013 |access-date=December 7, 2013}}</ref> In 1960, Laurel was given a special Academy Award for his contributions to film comedy, but was unable to attend the ceremony due to poor health. Actor [[Danny Kaye]] accepted the award on his behalf.<ref>{{cite web |title=Letters from Stan.com 1961 |url=http://www.lettersfromstan.com/stan_1961-04.html |website=The Stan Laurel Correspondence Archive Project |archive-url=https://web.archive.org/web/20131211123240/http://www.lettersfromstan.com/stan_1961-04.html |archive-date=December 11, 2013 |access-date=December 7, 2013}}</ref> Despite not appearing on screen after Hardy's death, Laurel did contribute gags to several comedy filmmakers. His favorite TV comedy was [[Leonard B. Stern]]'s ''[[I'm Dickens, He's Fenster]]'', co-starring [[John Astin]] and [[Marty Ingels]] as carpenters. Laurel enjoyed the Astin–Ingels chemistry and sent two-man gags to Stern.

During this period, most of his communication was in the form of written correspondence, and he insisted on personally answering every fan letter.<ref name="Bowen"/> Late in life, he welcomed visitors from the new generation of comedians and celebrities, including [[Dick Cavett]], [[Jerry Lewis]], [[Peter Sellers]], [[Marcel Marceau]], [[Johnny Carson]], and [[Dick Van Dyke]].<ref>{{cite web |title=The Fine Mess Maker at Home |url=https://opinionator.blogs.nytimes.com/2012/09/07/the-fine-mess-maker-at-home/ |website=The New York Times |archive-url=https://web.archive.org/web/20190122073048/https://opinionator.blogs.nytimes.com/2012/09/07/the-fine-mess-maker-at-home/ |archive-date=January 22, 2019 |access-date=January 29, 2019}}</ref> Jerry Lewis offered Laurel a job as consultant, but he chose to help only on Lewis's 1960 feature ''[[The Bellboy]]''.{{Citation needed|date=January 2020}}

Dick Van Dyke was a longtime fan and based his comedy and dancing styles on Laurel's. When he discovered Laurel's home number in the phone book and called him, Laurel invited him over for the afternoon.<ref>{{cite web |title=Dick Van Dyke finds his life reflects Stan Laurel's |url=https://www.baltimoresun.com/news/bs-xpm-1991-07-19-1991200181-story.html |website=The Baltimore Sun |archive-url=https://web.archive.org/web/20191017185707/https://www.baltimoresun.com/news/bs-xpm-1991-07-19-1991200181-story.html |archive-date=October 17, 2019 |access-date=October 16, 2019}}</ref> Van Dyke hosted a television tribute to Stan Laurel the year he died.

Laurel lived to see the duo's work rediscovered through television and classic film revivals. He died on February 23, 1965, in [[Santa Monica, California|Santa Monica]] and is buried at [[Forest Lawn Memorial Park (Hollywood Hills)|Forest Lawn–Hollywood Hills]] in Los Angeles.<ref>{{harvnb|Smith|1984|p=187}}</ref>

===Supporting cast members===
Laurel and Hardy's films included a supporting cast of comic actors, some of whom appeared regularly:<ref>[http://laurelandhardyfilms.com/people/all#/ "Laurel and Hardy Films: The People."] {{Webarchive|url=https://web.archive.org/web/20111003002530/http://laurelandhardyfilms.com/people/all#/ |date=October 3, 2011 }} ''laurelandhardyfilms.com,'' Retrieved: April 3, 2011.</ref>
*[[Harry Bernard]] (former vaudeville partner of Charley Chase) played supporting roles as a waiter, bartender, or policeman.
*[[Mae Busch]] often played the formidable Mrs. Hardy and other characters, particularly sultry ''femmes fatales.''
*[[Charley Chase]], the Hal Roach film star and brother of [[James Parrott]], a writer/director of several Laurel and Hardy films, made four appearances.
*[[Dorothy Coburn]] appeared in nearly a dozen early silent shorts.
*[[Baldwin Cooke]] (former vaudeville partner of Stan Laurel) played supporting roles as a waiter, colleague, or neighbor.
*[[Richard Cramer]] appeared as a scowling, menacing villain or opponent.
*[[Peter Cushing]], well before becoming a star in [[Hammer Horror]] films, played one of the students in ''[[A Chump at Oxford]]''.
*[[Bobby Dunn]] appeared as a cross-eyed bartender and telegram messenger, as well as the genial shoplifter in ''[[Tit for Tat (1935 film)|Tit for Tat]]''.
*[[Eddie Dunn (actor)|Eddie Dunn]] made several appearances, notably as the belligerent taxi driver in ''[[Me and My Pal (1933 film)|Me and My Pal]]''. 
*[[James Finlayson (actor)|James Finlayson]], a balding, mustachioed Scotsman known for displays of indignation and squinting, pop-eyed "double takes," made 33 appearances and is perhaps their most celebrated foil.
*[[Anita Garvin]] appeared in a number of Laurel and Hardy films, often cast as Mrs. Laurel.
*[[Billy Gilbert]] made many appearances, most notably as bombastic, blustery characters such as those in ''[[The Music Box]]'' (1932) and ''[[Block-Heads]]''.
*[[Charlie Hall (actor, born 1899)|Charlie Hall]], who usually played angry, diminutive adversaries, appeared nearly 50 times.
*[[Jean Harlow]] had a small role in the silent short ''[[Double Whoopee]]'' (1929) and two other films in the early part of her career.
*[[Arthur Housman]] made several appearances as a comic drunk.
*[[Isabelle Keith]] was the only actress to appear as wife to both Laurel ''and'' Hardy (in ''[[Perfect Day (1929 film)|Perfect Day]]'' and ''[[Be Big!]]'', respectively).
*[[Edgar Kennedy]], master of the "slow burn," often appeared as a cop, a hostile neighbor, or a relative.
*[[Walter Long (actor)|Walter Long]] played grizzled, unshaven, physically threatening villains.
*[[Sam Lufkin]] appeared several times, usually as a husky authority figure.
*[[Charles B. Middleton|Charles Middleton]] made a handful of appearances, usually as a sourpuss adversary.
*[[James C. Morton]] appeared as a bartender or exasperated policeman.
*[[Vivien Oakland]] appeared in several early silent films, and later talkies including ''[[Scram!]]'' and ''[[Way Out West (1937 film)|Way Out West]]''.
*[[Blanche Payson]], a former policewoman, was featured in several sound shorts, including Oliver's formidable wife in ''[[Helpmates]]''.
*[[Daphne Pollard]] was featured as Oliver's diminutive but daunting wife.
*[[Viola Richard]] appeared in several early silent films, most notably as the beautiful cave girl in ''[[Flying Elephants]]'' (1928).
*[[Charley Rogers]], an English actor and gag writer, appeared several times.
*[[Tiny Sandford]] was a tall, burly, physically imposing [[character actor]] who played authority figures, usually policemen.
*[[Thelma Todd]] appeared several times before her own career as a comic leading lady.
*[[Ben Turpin]], the [[Esotropia|cross-eyed]] [[Mack Sennett]] comedy star, made two memorable appearances.
*[[Ellinor Vanderveer]] made many appearances as a dowager, high society matron, or posh party guest.

===Music===
{{Main|Laurel and Hardy music}}

The duo's famous signature tune, known variously as "The Cuckoo Song", "Ku-Ku" or "The Dance of the Cuckoos", was composed by Roach musical director [[Marvin Hatley]] as the on-the-hour chime for [[KTNQ|KFVD]],<ref name="laurelandhardycentral">{{cite web |title=The Music of Laurel and Hardy |url=https://laurelandhardycentral.com/music-1.html |archive-url=https://web.archive.org/web/20161022043248/http://laurelandhardycentral.com/music-1.html |archive-date=October 22, 2016 |url-status=usurped |website=Laurel and Hardy Central |access-date=January 13, 2022 |quote=Though it is one of those songs that seems to have always been around, like "Happy Birthday" or "Auld Lang Syne", it was actually written in 1928 by Thomas Marvin Hatley. Born in Reed, Oklahoma on April 3, 1905, Hatley could play almost any musical instrument by the time he entered his late teens. While attending UCLA in California, Hatley found work at KFVD, a radio station located on the Hal Roach Studios lot. He wrote the simple and endearing "Ku-Ku" as a radio time signal.}}</ref><ref name="Picking-Bann-BRATS">{{cite web |last=Bann |first=Richard W. |title=Film notes: BRATS (1930) Hal Roach Studios |url=http://www.picking.com/brats.html |website=Patrick J. Picking |access-date=April 9, 2024}}</ref><ref name="classicthemes">{{cite web |title=Laurel and Hardy |url=https://classicthemes.com/50sTVThemes/themePages/laurelAndHardy.html |website=classicthemes.com |access-date=January 13, 2022}}</ref> the Roach studio's radio station.<ref>{{cite web |last=Heath |first=Dave Lord |title=A Walking Tour of the Hal Roach Studios Back Lot: Map, Key, and Notes |url=https://www.lordheath.com/menu1_1240.html |website=Another Nice Mess |access-date=January 13, 2022}}</ref><ref>{{cite web |title=Call Change History: KFVD-KPOP-KGBS-KTNQ, Los Angeles |url=https://www.radioheritage.net/Story28.asp |website=Radio Heritage Foundation |access-date=January 13, 2022}}</ref><ref>{{harvnb|Louvish|2001|p=267}}</ref>

Laurel heard the tune on the station and asked Hatley if they could use it as the Laurel and Hardy theme song. The original theme, recorded by two clarinets in 1930, was recorded again with a full orchestra in 1935. [[Leroy Shield]] composed the majority of the music used in the Laurel and Hardy short sound films.<ref>{{harvnb|Louvish|2002|p=268}}</ref>

A compilation of songs from their films, titled ''Trail of the Lonesome Pine'', was released in 1975. The [[The Trail of the Lonesome Pine (song)|title track]] was released as a single in the UK and reached number 2 in the [[UK Singles Chart]].<ref>{{cite web |title=Laurel and Hardy |url=https://www.officialcharts.com/artist/20280/laurel-and-hardy/ |website=Official Charts Company |date=November 22, 1975 |access-date=April 9, 2024}}</ref>