I did have mixed feelings about this one, its reputation
has never been great and it was filmed as Stan Laurel was visibly very unwell…
but, you know what, he’s still our wonderful man and, turns out, the film has
been somewhat under-rated. Yes, it’s not the greatest film, it’s no masterpiece,
but it has charm, a small army of able assistants and for goodness sakes, it
has two of the greatest comedians ever recorded on film.
The BFI have done a splendid job of reconstructing the
longest-possible version of a film that has been butchered over the years and
this edition restores much narrative sense for a film distributed in a cut-down
82-minute version as Utopia in the US
and Robinson Crusoeland in the UK.
This version is 98 minutes and is based on a high-quality English language 35mm
master along with French and Italian footage – it was a Franco-Italian
co-production.
Atoll K was “a courageous attempt to do something
different” in the words of William K Everson whether it was through force of
circumstance or just the European sensibilities of a storyline that embraces
broader concerns than the Boys most famous domestic comedies. Directed by Léo
Joannon the accompanying extras explain the problems of production – not least
the language barrier(s) and the disruptions caused by health issues… all in all
is surprisingly coherent in the end.
The film starts with Stan and Ollie at the lawyers where
the former is informed of a substantial inheritance that is quickly reduced in
front of his eyes as various legal fees and taxes take their toll… still, they
may be down on the cash but Mr Hardy does still have a whole island in the bag.
The two set off to Marseille to take possession of a yacht to take them there.
At the port the Boys end up with a cook who is a “stateless
refugee” Antoine (Max Elloy) – a very “now” reference but also, of course
post-War, they also gain a stowaway in Italian bricklayer Giovanni Copini (Adriano
Rimoldi). This Franco-Italian second stringers reflect the film’s co-production
as well as the need to pick up some of the physical comedy workload for the
boys.
Max Elloy, Stan, Ollie and Adriano Rimoldi - The Allies of Comedy |
Various disasters ensue and they find themselves
shipwrecked on an un-mapped island after a storm. But, whilst they christen the
island Crusoeland they are not alone
and are joined by Chérie Lamour, a nightclub singer (Suzy Delair – a French starlet
who does well in the circumstances) busy fleeing her jealous fiancé, Jack
Frazer, a naval lieutenant (Luigi Tosi).
The motley crew establish their island as a new republic
with Ollie as president and Stan as The People – “the will of the people” bringing
bitter, Brexit smiles to this living room… it’s going to be a Utopia with no
taxes and free movement guaranteed.
But this arrangement cuts both ways – blimey this is a Brexit film! – as the island is
soon flooded with Chérie’s fiancé and others looking to exploit the rich uranium
reserves. The Rule of No Laws is soon overthrown by the Right of Might and the
Boys are threatened with execution: it’s Passport
to Pimlico meets The Road to Utopia…
Suzy sings and soon begins The Uranium Rush |
Glenn Mitchell, who provides an excellent commentary
along with essay notes, reminds us that Laurel’s health improved and the duo
went on to make two more successful European visits where, in the end, the love
the took was equal to the love they made.
But, if the main feature itself isn’t enough to make to open
your wallet then the massed extras will be: there’s a video essay from Chris Seguin,
archive footage of the lads on tour in the UK and a fascinating interview Stan
gave in 1957 just a week after Ollie died.
Creighton Hale and Mabel in Should Men Walk Home? (1927) |
I always felt that Stan may have lifted his mournful look
to the audience from Mabel, who started out before them all in 1910, here you
can see for yourself. Overall it's a great set and a must for all fans of Stan, Ollie, Mabs and silent comedy in general.
Oliver Hardy tries to catch a break/drink in in Should Men Walk Home? (1927) |
Something in Her Eye (1915) |
Do You Love Your Wife (1919) |
Somewhere in Wrong (1925) |
Mother's Baby Boy (1914) |
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