The last fall of the Fat and the Skinny

The last fall of the Fat and the Skinny


The essence of the actor's work and imagination was extracted by Spencer Tracy in a glorious anti-rhetorical phrase: "It is enough to know the paper and not to trip over the furniture". And to hell with the Method! However, in the case of Lauren and Hardy, known as El Gordo and El Flaco in Spain, the sentence may well be subverted: the important thing was to trip over the furniture. Or with whatever. Force the gaffe of the protagonists until the laughter starts. Whether it was a music box sliding down a flight of stairs or lighting a thumb to take a puff. That is the basis of the "slapstick", the comedy of blow and thump, whose main dynamite is the human body and its ability to be exposed to pain, contortion or reaction to objects. Still today, this genre of clownish origin remains a mainstay of comedy. It's amazing how after millions of years of human evolution or a century of cinema, if you will, something as basic as falling off your ass when breaking a chair keeps tearing off our smile. What makes us laugh is, in the end, the exaggeration of a daily gesture, as was already pointed out in "El regador watered" (1885) by the Lumière. El Gordo y el Flaco was the quintessential duo of the "slapstick" during the 1930s – from the mute to the sonorous – before Abbott and Costello, Dean Martin and Jerry Lewis. Only such charismatic individuals as Charles Chaplin and Buster Keaton (one for their social depth, the other for their legendary immutability) or the Marx brothers, who filled their vitriol scripts, could be above Stan and Ollie, as they were also known to these two counter-dandies to whom, despite the mushroom hat and good manners, everything came out in the least elegant way possible. Of course, they never lost hope. Optimism is the main sign of Fat and Skinny. In his shorts and lengths, there is much less burden of melancholy than in a single glance of Charlot on camera. But that does not mean that Stan Laurel and Olivier Hardy did not have another mask beyond that of the clown. Once removed this, was the one that does not take off: reality. In her it tries to dig a film of which we could see yesterday an advance and that in the United States has been pointing Oscar in some way, probably through his acting duo: John C. Reilly and Steve Coogan. This is "Stan & Ollie", which premieres in March in Spain and tells the latest tour of the comic couple by theaters in the United Kingdom once his film star has been eclipsed and his career points to the end. Just as it is inevitable to laugh at the pain (mild to moderate) of others, it is also a human need to remove makeup from the clown, to see him cry to his naked face. Even with the incorrigible optimists Laurel and Hardy, used to take all the furniture in the room ahead. Or Spencer Tracy himself if he gives it up.

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