II. Anmerkungen zum Buchtext, Teil II - Einsnull
II. Anmerkungen zum Buchtext, Teil II - Einsnull II. Anmerkungen zum Buchtext, Teil II - Einsnull
Kirch also launched the first Laurel and Hardy interactive multimedia project, a CD-ROM entitled Hal Roach Studio Tour, a worthwhile if overpriced release with clips, photos, biographical and filmographic notes, but also a few errors. A more generally known, and at least as informative, resource turned out to be their later web page www.laurel-and-hardy.com, which is especially noteworthy for a collection of Richard Bann essays on Laurel and Hardy’s films and their restoration. In 1994, rench-German cultural TV station arte decided that every Sunday at 7pm was a good opportunity to devote half an hour to vintage slapstick. To viewers accustomed to the earlier, not quite authentic TV versions, a pleasant surprise was in store. ine versions with appropriate score and brief film historic introductions, the show – from film collector’s Serge Bromberg’s Lobster ilms – also presented the occasional Laurel or Hardy gem, such as Stan in TWINS or the uncut version of SMITHY, the Laurel two-reeler usually only available in a cut-down version. The slapstick shows went on for years (including other surprises such as an exhaustive Max Linder retrospective), but another Lobster product provided the next sensation. In December 1998, the documentary QUAND LE RIRE ÉTAIT OU casually presented an unfamiliar, rench dubbed clip. Laurel and Hardy peek into a telescope to observe M-G-M’s «more stars than in heaven» in a piece of a rare 1936 rench trailer, which was hitherto virtually unknown even to scholars. Only one year later, another intriguing fragment resurfaced when Danish collector and archivist Peter Mikkelsen obtained a piece of 35mm film – originally supplied with a toy projector – with Gøg og Gokke, which he quickly identified as PARDON US. Or not quite. Something seemed different with the faces of the supporting actors. And indeed it was. Mikkelsen had obtained a fragment from the rare phonetic German variant discussed before. This was even reported in the German media, and some Laurel and Hardy fans certainly had the jaw-dropping and first-time-ever experience of hearing their idols try to speak German – in the daily television news. It was, once again, arte who chose a Laurel and Hardy tribute for a very special occasion. Around the turn of the millennium, at Christmas time, Laurel and Hardy returned to the cultural channel with a festival of their films, and the German premiere of the compilation DANCE O THE CUCKOOS. However, as far as media go, Laurel and Hardy truly entered the new millennium when home entertainment company Kinowelt, following a mouthwatering ‹BEST O› release, launched a comprehensive series of Laurel and Hardy DVDs. The new medium offered a way to please all tastes. Based on the restored Kirch versions, German soundtracks were included (in many cases with annotations by the author of this book), but those wishing to experience the unaltered original version now finally had the chance to remove subtitles and enjoy the original track. The first release, a joint European DVD project of sorts, went even further. LAUGHING GRAVY offered the opportunity to present, on one disc, original film, expanded three reel version, German TV adaptation, and most intriguingly both the Spanish and rench phonetic versions, plus BE BIG of course. When rights issues prevented similar endeavours with the subsequent titles, Kinowelt instead added the phonetic German clip, the occasional solo short, Charley Chase films or documentary material to the subsequent discs. Any online pleas of fans to include the atrocious, crudely colourised versions from the 80s, which ironically time had rendered more technically outdated than their black and white source material, were, though, courageously rejected. Regardless of the bankruptcy of KirchMedia and a threatening bankruptcy of Kinowelt, the series is still ongoing and will eventually be the most comprehensive and best quality home theatre collection of Laurel and Hardy films – original or German versions — ever assembled. And where German comedy aficionados typically had to import US discs to enjoy pristine editions of, say, Buster Keaton’s films, it was now US fans who, deprived of their own releases, often bought a multi-region, multi-system player just to be able to enjoy the soon-legendary German Kinowelt discs. Nearly 30 of them have been issued to date, and similar Laurel and Hardy DVD collections of comparable quality have meanwhile been launched in the Netherlands and the United Kingdom. With the advent of the Kinowelt DVDs, the story of Stan and Ollie in Germany had come full circle: Dick und Doof had become Laurel and Hardy again. And it appears the laughter will go on forever.
Deutsche Inseratmatern von 1937 für RITTER OHNE URCHT UND TADEL (WAY OUT WEST, 1937)
- Seite 595 und 596: The Live Ghost Gespenst an Bord = D
- Seite 597 und 598: With Love and Hisses Käse mit Knob
- Seite 599 und 600: Way Out West Dick und Doof im Wilde
- Seite 601 und 602: Going Bye-Bye! Der große ang = Dic
- Seite 603 und 604: Towed In A Hole Dick und Doof kaufe
- Seite 605 und 606: XVI. Übersicht über die Kinos (mi
- Seite 607 und 608: Lange Leitung Blockheads W.B.T.-Lic
- Seite 609 und 610: Dick und Doof die Schwerenöter Bea
- Seite 611 und 612: Dick und Doof wie immer auf eigene
- Seite 613 und 614: Deutsches Plakat von 2003 zum Kabar
- Seite 615 und 616: WIR SIND VOM SCHOTTISCHEN INFANTERI
- Seite 617 und 618: XVIII. Quiz-Fragen zu Laurel und Ha
- Seite 619 und 620: 13. Was will der Küchenchef in SWI
- Seite 621 und 622: 2. Hier im Bild sehen wir Oliver Ha
- Seite 623 und 624: XIX. Antworten auf die Quiz-ragen A
- Seite 625 und 626: * Als Alles oder nichts ausgestrahl
- Seite 627 und 628: XX. Adressen der deutschen Laurel-u
- Seite 629 und 630: XXI. English Summary or Internation
- Seite 631 und 632: The next appearances of the emergin
- Seite 633 und 634: Some dialogue modifications were im
- Seite 635 und 636: Bluhm was born on August 5, 1907 in
- Seite 637 und 638: Keaton has meanwhile resurfaced (CA
- Seite 639 und 640: In September 1951, the dubbing supe
- Seite 641 und 642: Youngson’s next film, WHEN COMEDY
- Seite 643 und 644: cast, plus the short TIT OR TAT add
- Seite 645: or the new dub tracks, Walter Bluhm
- Seite 649 und 650: At any rate, obviously the history
- Seite 651 und 652: singing! As is well-known, the film
- Seite 653 und 654: Cuts were also imposed on Laurel an
- Seite 655 und 656: 900 club members were to expect «a
- Seite 657 und 658: a musical setting as effective as t
- Seite 659 und 660: ATOLL K was followed by another ela
- Seite 661 und 662: team’s American successors into t
- Seite 663 und 664: should relate to the dry nordic sen
- Seite 665 und 666: Kirch also launched the first Laure
- Seite 667 und 668: XXII. English Captions or Illustrat
- Seite 669 und 670: Page 62, top They really were calle
- Seite 671 und 672: Page 122, bottom left Stage setting
- Seite 673 und 674: Page 178 Article in «ilmpost Magaz
- Seite 675 und 676: Page 203, top «Without dressing»
- Seite 677 und 678: Page 241, top German 1951 center sp
- Seite 679 und 680: Page 271 Take 126 to 129 of the Ger
- Seite 681 und 682: Page 300 Bus + rollercoater = plast
- Seite 683 und 684: Page 340 Rough scetches in the Köh
- Seite 685 und 686: Page 367 German 1962 lobby card for
- Seite 687 und 688: Page 397 «Detrimental for adolesce
- Seite 689 und 690: Page 429, top Rudolf Günter Wagner
- Seite 691 und 692: Page 459 NWD-Unitas 1972 advertisin
- Seite 693 und 694: Page 487, top Title sequence of the
- Seite 695 und 696: Page 517 left: The first ever Germa
Kirch also launched the first Laurel and Hardy interactive multimedia project, a CD-ROM entitled Hal Roach<br />
Studio Tour, a worthwhile if overpriced release with clips, photos, biographical and filmographic notes,<br />
but also a few errors. A more generally known, and at least as informative, resource turned out to be their<br />
later web page www.laurel-and-hardy.com, which is especially noteworthy for a collection of Richard Bann<br />
essays on Laurel and Hardy’s films and their restoration.<br />
In 1994, rench-German cultural TV station arte decided that every Sunday at 7pm was a good opportunity<br />
to devote half an hour to vintage slapstick. To viewers accustomed to the earlier, not quite authentic<br />
TV versions, a pleasant surprise was in store. ine versions with appropriate score and brief film historic introductions,<br />
the show – from film collector’s Serge Bromberg’s Lobster ilms – also presented the occasional<br />
Laurel or Hardy gem, such as Stan in TWINS or the uncut version of SMITHY, the Laurel two-reeler usually<br />
only available in a cut-down version. The slapstick shows went on for years (including other surprises such<br />
as an exhaustive Max Linder retrospective), but another Lobster product provided the next sensation. In<br />
December 1998, the documentary QUAND LE RIRE ÉTAIT OU casually presented an unfamiliar, rench dubbed<br />
clip. Laurel and Hardy peek into a telescope to observe M-G-M’s «more stars than in heaven» in a piece of a<br />
rare 1936 rench trailer, which was hitherto virtually unknown even to scholars.<br />
Only one year later, another intriguing fragment resurfaced when Danish collector and archivist Peter<br />
Mikkelsen obtained a piece of 35mm film – originally supplied with a toy projector – with Gøg og Gokke,<br />
which he quickly identified as PARDON US. Or not quite. Something seemed different with the faces of the<br />
supporting actors. And indeed it was. Mikkelsen had obtained a fragment from the rare phonetic German<br />
variant discussed before. This was even reported in the German media, and some Laurel and Hardy fans certainly<br />
had the jaw-dropping and first-time-ever experience of hearing their idols try to speak German – in<br />
the daily television news.<br />
It was, once again, arte who chose a Laurel and Hardy tribute for a very special occasion. Around the<br />
turn of the millennium, at Christmas time, Laurel and Hardy returned to the cultural channel with a festival<br />
of their films, and the German premiere of the compilation DANCE O THE CUCKOOS. However, as far as media<br />
go, Laurel and Hardy truly entered the new millennium when home entertainment company Kinowelt, following<br />
a mouthwatering ‹BEST O› release, launched a comprehensive series of Laurel and Hardy DVDs. The<br />
new medium offered a way to please all tastes. Based on the restored Kirch versions, German soundtracks<br />
were included (in many cases with annotations by the author of this book), but those wishing to experience<br />
the unaltered original version now finally had the chance to remove subtitles and enjoy the original<br />
track. The first release, a joint European DVD project of sorts, went even further. LAUGHING GRAVY offered<br />
the opportunity to present, on one disc, original film, expanded three reel version, German TV adaptation,<br />
and most intriguingly both the Spanish and rench phonetic versions, plus BE BIG of course. When rights issues<br />
prevented similar endeavours with the subsequent titles, Kinowelt instead added the phonetic German<br />
clip, the occasional solo short, Charley Chase films or documentary material to the subsequent discs. Any<br />
online pleas of fans to include the atrocious, crudely colourised versions from the 80s, which ironically<br />
time had rendered more technically outdated than their black and white source material, were, though,<br />
courageously rejected.<br />
Regardless of the bankruptcy of KirchMedia and a threatening bankruptcy of Kinowelt, the series is still<br />
ongoing and will eventually be the most comprehensive and best quality home theatre collection of Laurel<br />
and Hardy films – original or German versions — ever assembled. And where German comedy aficionados<br />
typically had to import US discs to enjoy pristine editions of, say, Buster Keaton’s films, it was now US fans<br />
who, deprived of their own releases, often bought a multi-region, multi-system player just to be able to enjoy<br />
the soon-legendary German Kinowelt discs. Nearly 30 of them have been issued to date, and similar<br />
Laurel and Hardy DVD collections of comparable quality have meanwhile been launched in the Netherlands<br />
and the United Kingdom.<br />
With the advent of the Kinowelt DVDs, the story of Stan and Ollie in Germany had come full circle: Dick<br />
und Doof had become Laurel and Hardy again. And it appears the laughter will go on forever.