Perfect Day | |
---|---|
Directed by | James Parrott |
Written by | Leo McCarey (story) Hal Roach (story) H.M. Walker |
Produced by | Hal Roach |
Starring | Stan Laurel Oliver Hardy Edgar Kennedy Kay Deslys Isabelle Keith |
Cinematography | Art Lloyd George Stevens |
Edited by | Richard C. Currier |
Music by | William Axt S. Williams Leroy Shield (1937 reissue) |
Distributed by | Metro-Goldwyn-Mayer |
Release date |
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Running time | 19:40 |
Country | United States |
Language | English |
Perfect Day is a 1929 short comedy film starring Laurel and Hardy.
Two familial units embark on a Sunday outing, utilizing a Ford Model T as their mode of transportation. However, their journey is fraught with challenges stemming from the unreliable nature of the vehicle. Laurel, Hardy, their respective spouses, and the cantankerous Uncle Edgar encounter a series of mishaps necessitating repeated exits and reentries into the automobile, punctuated by the refrain "goodbye."
Tensions escalate when a dispute with a neighbor escalates into a potential conflict involving thrown projectiles, prompting the intervention of the local clergyman to defuse the situation. Despite these setbacks, the families persist in their excursion, only to encounter further adversity in the form of an unexpectedly deep pothole, derailing their plans yet again.
Perfect Day was written in May 1929 and filmed between June 1–8, 1929. [1] The original 1929 release of Perfect Day contained no music other than that used over the opening credits. The Roach Studios would reissue the film in 1937 with an added music score being utilized at the time in other Roach comedies. The 1929 version was considered lost until the 2011 DVD release Laurel and Hardy: The Essential Collection, when the original Vitaphone disc track sans the incidental music became available. [2]
Adding the soundtrack in 1937 to the existing film resulted in a slight reduction of the correct frame ratio: several scenes feature a slightly cropped picture at the top and left hand sides to allow for inclusion of the soundtrack strip. [1]
The UCLA Film and Television Archive screened a newly restored version of the film at the 2019 UCLA Festival of Preservation. The archive "continues its mission to save the Hal Roach films of Laurel and Hardy," Head of Preservation Scott MacQueen wrote. "No body of classic comedy has been as badly abused as the Laurel and Hardy negatives, mercilessly pushed through laboratory meat grinders for decades to extract every showprint to garner every last nickel from a relentless audience. Restoring these films includes not only finding the pictorially and physically best surviving copies, but authentic content such as day-and-date title sequences lost when reissue distributors appended their own credit cards." For Perfect Day, "the original soundtrack (replaced in the mid-1930s with new music mixes) had to be recovered. Digital technology now permits us to achieve repairs once thought impossible" so that this film "looks and sounds as it did nearly 90 years ago." [3]
The script for Perfect Day originally concluded with the family partaking in their picnic, but this was discarded when the extended gags centering on the troublesome Model T provided enough comic material to sustain the entire film. [1]
Perfect Day was also filmed outdoors, which freed it from the stagebound claustrophobia common to many early talkies. The opening scene is the only one set indoors (the sound of whirring cameras can be heard in some shots), while the exterior sound recording was technically impressive during an era of filmmaking when most actors had to stand close to the overhead microphone. The live outdoor recording also revealed the improvisatory nature of most early Laurel and Hardy. A seated Edgar Kennedy manages to ad lib "Oh, shit!", which escaped the scrutiny of movie and television censors. [2]
Laurel and Hardy's home was 3120 Vera Avenue in Los Angeles. [4] The house next door (the neighbor with the garden hose) was 3116 Vera Avenue. [5] Both homes still stand as of 2024 and look very much like they do in the film. [6]
Despite the fact that the film industry was still adjusting to the making talking pictures, Laurel and Hardy mastered the new technology early on; the overall excellence and high reputation of Perfect Day bears testimony to the team's fruitful use of the new medium. Using sound effects to punctuate a visual gag — a technique The Three Stooges would build their entire film career around — was still in its infancy in 1929. The loud, ringing CLANG heard when Stan is beaned on the head with the Model T's clutch would be termed by a 1929 film reviewer as "the funniest effect so far heard in a comedy." [1] The second half of the Stooges' 1948 film Pardon My Clutch and its remake, Wham Bam Slam , is a remake of Perfect Day. [7]
Chapters — called Tents — of The Sons of the Desert, the international Laurel and Hardy Appreciation Society, all take their names from L&H films. The Perfect Day Tent is in Amsterdam, The Netherlands.
Laurel and Hardy were a British-American comedy team during the early Classical Hollywood era of American cinema, consisting of Englishman Stan Laurel (1890–1965) and American Oliver Hardy (1892–1957). Starting their career as a duo in the silent film era, they later successfully transitioned to "talkies". From the late 1920s to the mid-1950s, they were internationally famous for their slapstick comedy, with Laurel playing the clumsy, childlike friend to Hardy's pompous bully. Their signature theme song, known as "The Cuckoo Song", "Ku-Ku", or "The Dance of the Cuckoos" was heard over their films' opening credits, and became as emblematic of them as their bowler hats.
The Music Box is a Laurel and Hardy short film comedy released in 1932. It was directed by James Parrott, produced by Hal Roach and distributed by Metro-Goldwyn-Mayer. The film, which depicts the pair attempting to move a piano up a long flight of steps, won the first Academy Award for Best Live Action Short (Comedy) in 1932. In 1997, it was selected for preservation in the National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". The film is widely seen as the most iconic Laurel and Hardy short, with the featured stairs becoming a popular tourist attraction.
Big Business is a 1929 silent Laurel and Hardy comedy short subject directed by James W. Horne and supervised by Leo McCarey from a McCarey (uncredited) and H. M. Walker script. The film, largely about tit-for-tat vandalism between Laurel and Hardy as Christmas tree salesmen and the man who rejects them, was deemed culturally significant and entered into the National Film Registry in 1992.
We Faw Down is a synchronized sound short subject film directed by Leo McCarey starring comedy duo Laurel and Hardy. It was released by Metro-Goldwyn-Mayer on December 29, 1928. While the film has no audible dialog, it was released with a synchronized orchestral musical score with sound effects. It was remade in part with their film Sons of the Desert in 1933.
Helpmates is a Laurel and Hardy Pre-Code short film comedy. It was directed by James Parrott, produced by Hal Roach and released by Metro-Goldwyn Mayer on January 23, 1932.
Duck Soup is a 1927 American silent comedy short film starring Stan Laurel and Oliver Hardy prior to their official billing as the duo Laurel and Hardy. The team appeared in a total of 107 films between 1921 and 1951.
Putting Pants On Philip is a silent short film starring British/American comedy duo Laurel and Hardy. Made in 1927, it is their first official film together as a team.
The Second Hundred Years is a 1927 American silent comedy short film starring Stan Laurel and Oliver Hardy prior to their official billing as the duo Laurel and Hardy. The team appeared in a total of 107 films between 1921 and 1951.
Liberty is a synchronized sound short subject film, directed by Leo McCarey starring comedy duo Laurel and Hardy. While the film has no audible dialog, it was released with a synchronized orchestral musical score with sound effects. It was released by Metro-Goldwyn-Mayer on January 26, 1929.
Wrong Again is a 1929 synchronized sound short subject film directed by Leo McCarey and starring Laurel and Hardy. While the film has no audible dialog, it was released with a synchronized orchestral musical score with sound effects. It was filmed in October and November 1928, and released February 23, 1929, by Metro-Goldwyn-Mayer.
Bacon Grabbers is a 1929 synchronized sound short subject comedy film starring Laurel and Hardy. While the film has no audible dialog, it was released with a synchronized organ musical score with sound effects.
Angora Love is a 1929 synchronized sound short subject comedy film starring Laurel and Hardy, released on December 14, 1929. While the film has no audible dialog, it was released with a synchronized organ musical score with sound effects. This would prove to be the last Laurel and Hardy film to be released without any audible dialog.
Leave 'Em Laughing is a 1928 two-reel silent film starring Stan Laurel and Oliver Hardy. Produced by the Hal Roach Studios, it was shot in October 1927 and released January 28, 1928 by Metro-Goldwyn-Mayer.
Another Fine Mess is a 1930 short comedy film directed by James Parrott and starring Laurel and Hardy. It is based on the 1908 play Home from the Honeymoon by Arthur J. Jefferson, Stan Laurel's father, and is a remake of their earlier silent film Duck Soup.
Berth Marks is the second sound film starring Laurel and Hardy and was released on June 1, 1929.
Towed in a Hole is a 1932 pre-Code comedy film starring Laurel and Hardy. The "two-reeler" short was produced by Hal Roach, directed by George Marshall, and distributed by Metro-Goldwyn-Mayer.
The Hoose-Gow is a 1929 American short comedy film starring Laurel and Hardy, directed by James Parrott, and produced by Hal Roach.
Hog Wild is a 1930 American pre-Code Laurel and Hardy film, directed by James Parrott.
Laurel and Hardy were primarily comedy film actors. However, many of their films featured songs, and some are considered as musicals in their own right. The composer Leroy Shield scored most of Laurel and Hardy sound shorts although they were often misattributed to Marvin Hatley.
The Beau Hunks are a Dutch revivalist music ensemble who have performed and recorded the vintage works of composers Leroy Shield, Marvin Hatley, Raymond Scott, Edward MacDowell, Ferde Grofé, and others. They have been referred to as a "documentary orchestra", because they perform note-perfect renditions of music which is obscure and often commercially unavailable. For some projects for which no sheet music was known to exist, they had to reconstruct charts from original recordings extracted from films.