How to Turn a Mediocre Biography into a Terrible Biography -- Stan: The Life of Stan Laurel

Even the cover sucks.

I'm a huge fan of biographies and autobiographies. One of the best books I've read in the past ten years is The Rise of Theodore Roosevelt (seriously, that man was a champ!). Until recently, I don't recall ever being unsatisfied by one*. Obviously, I choose the books based on an interest in the subject, but after reading Stan: The Life of Stan Laurel, it's apparent that an interest in the subject is not all you need.

Stan (the book, as opposed to Stan, the man, who will be referred to as Laurel) is certainly an easy enough read and mildly informative, but the author, Fred Lawrence Guiles writes from the perspective of an uninformed fan. He assures the reader that he has done research, yet there are no foot/endnotes and it isn't apparent he interviewed anyone for the biography (or even culled past interviews if he couldn't get in contact with key characters). Guiles continually asserts that Laurel was nearly as great, if not equal to, Charlie Chaplin** in writing gags, yet gives no insight into how. The reader is told that Laurel was a driving force in his career, yet there is no one there to confirm the claim. Guiles' authority is undermined by his vagueness. Basically, all I got out of Stan was that Laurel had a trouble with women and alcohol. Pretty bland.

If the above represented the worst of the book, that would be fine. I'd put it back on the shelf to be forgotten. An easy, mildly interesting, ultimately fleeting read. Then, the reader begins to get insights into what kind of person Guiles is, culminating with (and this will be a long quote):

Jean Arthur is important to this chronicle of the fortunes of Stan Laurel because she as much as anyone was a transitional figure. She was in some ways as innocent as Stan and Babe. She was daft in ways that were akin to those small madnesses that set Stan apart from Lloyd and even Chaplin. If she had ever appeared as Mrs. Laurel in one of their comedies, she would have seemed almost too much at home. There would have been nothing for Stan to play against, since she was as much not-of-this-world as he. But Jean was attractive, warm and in every way enchanting. Beginning with her role opposite Gary Cooper in Mr. Deeds Goes to Town (1936), she was the first -- albeit quite innocently -- to bring down the curtain on slapstick as a favourite movie mode. Shortly after word, Irene Dunne joined her with Theodora Goes Wild (1936), and Carold Lombard, whose My Man Godfrey (1936) had come out at about the same time as Theodora.

Laurel and Hardy would survive this female revolution for another two years, but after 1938 it would be downhill for the rest of their careers. Some writers remarked that the movies had "grown up." Actually, as we survey the devastation and loss, the movies suffered a grievous wound that would never heal and audiences a deprivation of incalculable dimensions (emphasis mine).

There's a lot to unpack here, and I'm not sure I'm up to the task, so I'll start with the obvious: how can one possibly claim that women gaining prominence as comedians ruined Laurel and Hardy and CINEMA AS A WHOLE? Guiles leaps to the most extreme conclusion possible ignoring the fact that Laurel and Hardy had been making films as a team ten years by that point and that Laurel had been making movies since 1917. Perhaps they were just running their course and it's meer coincidence that women were making popular, funny movies at the same time. Additionally, Guiles book was published initially in 1980 and released again (with some additional commentary from the author) in 1991. Is the author suggesting that the 1970's, often held up as the greatest decade of filmmaking alongside the 1930's, would have been EVEN BETTER if funny women hadn't become so damn popular? And these lists are by no means comprehensive or even authoritative (as it's all subjective), but is he suggesting that it would be filled with movies of an incomprehensible greatness if only Laurel and Hardy had remained on top?

I've got news for Fred Lawrence Guiles (whose works include not one but TWO biographies of Marilyn Monroe alongside Jane Fonda, Tyrone Power, Marion Davies and Andy Warhol), movies were just fine. Simply because your preferred funny people stopped*** making the funny as funny as you liked and other people's funny was preferred, that doesn't mean cinema broke. And it certainly doesn't mean you get to write stupid things for other people to read in your mediocre book.

Some joy to cleanse the palate:






*As a side discussion, I find that I'm generally satisfied with all the books I read. At least to the extent that I have no qualms finishing them, thought there are some I struggled through ( On the Road and other that I finished simply to claim I finished them (Thomas Pynchon's Against the Day, which, of its 1000+ pages, I remember dirigibles and the Chicago World's Fair. But I finished it!). I chalk it up to knowing that a book can be  a significant time investment so I try to stick with things somewhat in my taste wheelhouse.


**From my perspective, this could easily be true. I find most of Chaplin's work to be fairly dull, overly saccharine, and immensely on-the-nose. The man wasn't subtle. His most interesting film (to me), Monsieur Verdoux, offers many good ideas and he kills them all with a terribly obvious and awkward speech at the end. Give me Buster Keaton any and every day, followed by Laurel and Hardy, then the Marx Brothers, Harold Lloyd, Abbott and Costello...


***Did you know stoppled is a word? It means plugged or clogged. Do with that what you will.

Michael Ian Black Is My Comedy Idol

I'm not cool enough to have liked Michael Ian Black going all the way back to The State and I'm barely cool enough to have enjoyed his antics on Viva Variety (DVD release, please). The series that really made me a fan of MIB was Ed and from that point on, I was his. I actively avoided the I Love the '80s series until I was flipping through the channels and saw MIB's talking head (note: I hate the '80s). The man can do no wrong in my book (OK, one wrong, but he totally makes up for it).

Most people know Michael Ian Black for his snarky, sarcastic persona. And rightly so, as he does it so well. But what really made me his acolyte were his moments of stark honesty (there are actually more appropriate example of this, one of which is the skydiving story available on his album Very Famous and the other is about his first experience with pot and can be found on the Education episode [39] of The RISK! Podcast). Well, that and, aside from the "one wrong" link above, we share very similar ideas (I'm also in awe of his ability to self-promote. From LeWar to his efforts to be Taco Bell's spokesman). 

So, obviously, I bought his book You're Not Doing It Right: Tales of Marriage, Sex, Death, and Other Humiliations and it has delivered those honest moments along with lots of hilarity (the pot story is also in this book). The book is particularly appropriate for me since he discusses getting married and having children, both of which I'll be doing this year. Of course, if it wasn't written by Michael Ian Black, I wouldn't care because it's not that different from anyone else writing about marriage and kids (I love Bill Cosby, but have no desire to read his books on the same subject). But here's a microcosm of what I think sets MIB apart:

So yeah... Michael Ian Black rules and you should all read his book(s). I'll leave you with this to get you started:

Weekly Film Rec: Hatchet

Sorry about missing out on my "Weekly" features, but I've been relatively busy/lazy. Anyway, I picked this week's film based on discussing it briefly last night and realizing some very hardcore genre fans hadn't seen it yet. And no, it's not based on a kids book.



I'm certain I've talked about Hatchet on this site before. For a while, I was making everyone I knew watch the film. I've probably seen it myself more than any other film since 2007 because of this and it never gets old. A big reason for this is Hatchet has amazing practical gore effects. The reactions it gets in a room full of people cannot be matched generally because people don't know exactly what to expect (well... until the first scene at least). There is nothing cheesy about the effects either. How they achieved what they did on such a low budget is pretty astounding.

Hatchet is a throwback to 80s slasher movies. A group of people are alone and lost in a Louisiana swamp and a massive killer is after them. It's been seen a million times before. What sets Hatchet apart (aside from the amazing effects) is the characters. Most of them are incredibly likable, even if they're a bit sleazy, and all are entertaining. Best of all, they can all act (well, there may be one exception). Joel David Moore has been in a ton of TV shows and was in Avatar so everyone on the planet can pretty much recognize him. Deon Richmond is a name no one has any reason to know, but when you find out where you recognize him from...

...you'll be happy to discover he's still hilarious. Moore and Richmond have great chemistry and I found that their friendship was much like a lot of mine, especially in the way they talk. There are many other recognizable faces, if not names: Robert Englund, Tony Todd, Kane Hodder, Joel Murray (Bill's brother), Joshua Leonard, Richard Riehle, and Partika Darbo (and an amazing tidbit I just learned: Mercedes McNab is the Girl Scout selling cookies in The Addams Family!).

Something that the above trailer doesn't even try to get across, which is surprising given the work of much of the cast, is how freaking funny the movie is. I tend to like my horror with a sense of humor, so this is perfect for me. Even in the tensest of situations, writer/director Adam Green takes time out for a funny line or situation. This helps to lighten the mood to where the audience lets their guard down and can really be surprised. (In addition to the normal funny, there is a great joke about how a character didn't actually go to NYU, but to Hofstra. Maybe it's not great to you, but my old roommate and I had just seen a douche from Hofstra give an "inspirational" speech as part of a student award his brother won at BU and it was nice to see is institution taken down a notch [the only other time I've heard Hofstra mentioned was in Bill Cosby's stand-up act]).

Unfortunately, Green's other films, Spiral and Frozen, haven't lived up to his first feature, though they both have their moments (Spiral was film in Portland, incidentally, though Frozen is the better picture [those are unrelated thoughts in the same parenthetical. In no way to I believe that because a film is shot in Portland that it should therefore be the better film]), but Hatchet is just filled with unbridled joy, even if it is about innocent people being massacred by some mutant reincarnate. I've yet to see Hatchet 2, but am looking forward to it. Hopefully Green will catch the same magic.

As a final note, Hatchet was the last film to shoot in a pre-Katrina New Orleans.