maxcellus46 At this point in the history of Hal Roach Studios, Mr. Roach wanted to progress beyond the "two reeler" concepts and begin to compete with MGM and the other large studios by making feature films exclusively. His main concept was to produce what he termed "streamlined" comedies which would run just about an hour or a little more. The purpose being that he could produce feature length films on a shoestring budget and therefore be more competitive with the large studios. Not a bad idea, in concept. With "Our Relations" Stan Laurel wanted to show that if Roach would allow them to spend more money on production, that he and Ollie could make "A" grade comedies instead of just the quicky type two-reelers. Stan produced this film and the next one to follow, "Way Out West", and it shows what he had been after for a very long time. "Our Relations" is a breezy, fast paced comedy that shows L&H not only capable of the 'ol slapstick bits but also most capable of handling situational comedy as the type Cary Grant and other similar stars were performing at this time. There's lots of original gags and lines in this film demonstrating the apt writing of one of the old masters by this time, Felix Adler, who also wrote for numerous Three Stooges shorts. In a way I'm saddened by this film because it was one of the very few times in L&H's careers that production values were not a concern and they obviously had absolute creative control over their performances. It's a shame that Hal Roach didn't appreciate them enough to keep them on past 1940 and continue with their logical progress toward even greater things. Had he done that, there would have been much more to enjoy from them and maybe they might have even given Abbott & Costello a real run for their money. Whatever the case, if you enjoy L&H, don't miss this one!

BJJManchester A variation on Shakespeare's 'COMEDY OF ERRORS' (there are occasional references to the bard through the film),OUR RELATIONS is one of Laurel and Hardy's better features.It is certainly the most stylishly-produced film they ever made,and arguably the best from a technical viewpoint.If there is a fault it is with the overly-complex and overly-plotted storyline;it does rather mitigate against truly classic and hilarious routines that were evident in SONS OF THE DESERT and WAY OUT WEST(their best feature films),because there is so much story conveyed.And it's debatable if the familiar 'double' device,which was becoming hackneyed even in 1936,can squeeze that much humour out of it's various confusions and mistaken identities.The large number of characters supporting Stan and Ollie are also something of a distraction;some are relevant to the story,others are not so and abruptly depart somewhat improbably during the narrative.These quibbles aside,the film is consistently amusing throughout,with familiar L & H foils (Finlayson,Housman),and those not so familiar (Toler,Hale) giving fine support.The most impressive aspect of OUR RELATIONS is it's technical sheen;it is very handsomely produced;the nightclub set particularly is highly impressive,and possibly the most elaborate and polished production design ever seen in a Laurel and Hardy film.Behind the camera,aspects are pretty accomplished too.Director Harry Lachman,usually more comfortable with straight drama (DANTE'S INFERNO with Spencer Tracy was his other most notable cinematic achievement) handles the comic sequences nicely,and commendably directs with a slick,speedy pace.This quickness has a slight downside;it would have been better if Lachman had sat back on a few occasions to allow L & H to indulge in their slower,yet more nuanced and subtle routines.We do see this near the beginning when Ollie reads a letter from his mother,and Stan conspires to break Ollie's reading glasses.This familiar and intimate bit of business is possibly the funniest scene in the film;the welter of plot complication after means we see virtually none of this well-versed style of theirs from this point on.Their encounters with the various many characters are amusing alright (especially Fin,who is well and truly savaged in his battle with the boys on this occasion),but OUR RELATIONS may have been even superior if Lachman had utilised a more methodical pace and concentration on L & H.Rudolph Mate,one of Hollywood's best Black and White cinematographers of the 30's and 40's, does a very accomplished job on the visuals,with some unexpectedly dramatic lighting,especially with the latter gangster sequence.This scene itself is rather over-stretched and perhaps even a trifle intimidating,with Tiny Sandford,in his final L & H film,not entirely comfortable as a brutish thug here.After being dispatched(entirely by mistake)on the dockside,the gangsters involved unconvincingly vanish from the scene,though Stan,Ollie,Alf and Bert finally meet at the end after all these complications.OUR RELATIONS is not quite the best Laurel and Hardy feature,but only a small handful(WAY OUT WEST,SONS OF THE DESERT,BLOCKHEADS)could probably regard themselves as superior.There are no musical numbers or romantic sub-plots,perhaps because there's so much plot and incident abound! It would have been preferable had there been more emphasis on just L & H themselves,but from a technical and production point of view,OUR RELATIONS is Laurel and Hardy's most polished film;and while not their funniest,is still very amusing.Rating:7 and a half out of 10.

bob the moo While Stan and Oliver sit at home eating dinner they get a letter from Oliver's mother with a picture of them with their twin brothers. Deciding it best to keep their brothers a secret from their other halves, they burn the picture. Unbeknownst to them though, these very twins have just arrived in town on a boat. Albert and Bert are not the smartest though and, before hitting the town, they allow Chief Engineer Finn to take their money to "invest" it. This means that they have no real cash when they go ashore to deliver a valuable ring for the captain. However when they meet two young ladies with expensive tastes they find themselves in a bit of a pickle.The old "twin brothers/mistaken identity" plot is hardly the stuff of narrative gold, so I was a bit concerned that the plot would be terrible with this film. However this is actually very precisely structured for a Laurel and Hardy film and, although the plot is hardly convincing, it is very neat and tidy and moves along well. Even if the plot had been poor though, it is the laughs that matter and this film consistently delivers amusing moments even if it doesn't have much in the way of standout scenes. I was tickled all the way through it rather than roaring with laughter but this gentle humour was still enough for me.Laurel and Hardy are both good but they weren't totally themselves. Laurel enjoyed his usual character but Hardy was given fewer withering looks which is a shame as he does them so well. Finalyson has a bigger role than normal but really I felt him more effective in short film roles that relied on his physical work rather than his delivery. Hale is enjoyable as the waiter, while Housmann is a good drunk.Overall a solid and enjoyable Laurel & Hardy film that is a pretty tight production by their standards. Not the funniest vehicle you will find for them but certainly more than enough to please their fans.

Ron Oliver A couple of ordinary fellows find that life can get very complicated when they are mistaken for their long lost identical twins. Laurel & Hardy are a delight once more in OUR RELATIONS, an enjoyable film which lets the Boys simply do what they did best - just act silly. Looking very much like an expanded short subject, the fast moving plot rushes from one absurdity to another, pulling the happy viewer along with it. Highlight: in the tiny phone booth.Stan & Ollie are given great assistance from a supporting cast of old pros: Daphne Pollard & Betty Healy as their long-suffering wives; Arthur Housman in his familiar role of a hilarious drunk; Sidney Toler as a ferocious ship's captain; and no-nonsense Alan Hale, very humorous as a burly waiter encountered by the Boys at a local beer garden. Funny James Finlayson, the Boys' frequent foil, has a meatier role than usual as a parsimonious Scots.