II. Anmerkungen zum Buchtext, Teil II - Einsnull
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II. Anmerkungen zum Buchtext, Teil II - Einsnull

II. Anmerkungen zum Buchtext, Teil II - Einsnull II. Anmerkungen zum Buchtext, Teil II - Einsnull

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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)

Deutsche Inseratmatern von 1937 für RITTER OHNE URCHT UND TADEL (WAY OUT WEST, 1937)

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