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Doubling down on notoriety, Yu’s film invites another renowned horror figure to participate, Elm Street’s cunning Freddy Krueger, whose conniving wit alongside his red striped sweater and eerie claws fatally haunting the dreams of his victims matches Jason’s own reputation. Cunningham’s original Friday the 13 th in 1980. Endowed with iconicity, Jason Voorhees’ bloodthirsty machete slaying its way through Camp Crystal Lake remains as notorious as the villain himself even forty years after the release of Sean S.
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As its rather nonchalant title suggests, the picture pits two pivotal figures of the slasher genre, Elm Street’s nightmarish Freddy Krueger and Crystal Lake’s drowning boy Jason Voorhees against one another, all the while maintaining an ironic distance, which is ultimately created to elicit a comedic response despite the horrific pictures presented. Tapping into two vast and durable horror franchises, the film experiments with the afterlives of these seminal villains proposing a vaudeville aesthetic. It is this binary structure of American vaudeville which is translated into Ronny Yu’s contemporary slasher-crossover Freddy vs Jason. At the height of its popularity in the 1940s and 1950s, American vaudeville had produced numerous renowned comedic acts such as Abbott and Costello or Laurel and Hardy, marking itself as a type of comedy which hinges on a power dynamic relying on the often diametrically opposed relationship between two actors. There are also some Snub Pollard clips, and a brief look at a Jean Harlow film THE UNKISSED MAN(1929), in which she causes Bryant Washburn's blood pressure to pop.When in his short story ‘The Killers’ Ernest Hemingway characterizes the proverbial killers as a vaudeville team in appearance, the text not only implies a comedic undercurrent within the fictionalized murderous agency, but also exposes these killers explicitly as a double act.
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For me one of the highlights of this compilation is a seven-minute excerpt from a classic Charley Chase film THE WAY OF ALL PANTS(1927), in which he loses his trousers. These include FLYING ELEPHANTS, SUGAR DADDIES, DO DETECTIVES THINK?, THE SECOND HUNDRED YEARS, LEAVE ∞M LAUGHING, YOU'RE DARN TOOTIN', HABEAS CORPUS, THAT'S MY WIFE, ANGORA LOVE, SHOULD MARRIED MEN GO HOME?, and EARLY TO BED. The film contains excerpts from many of L&H's silent shorts. These are THE VILLAIN, THE HOBO and HIS DAY OUT. The film includes examples of the duo's solo work with clips from an early Stan Laurel one-reeler JUST RAMBLING ALONG(1918), and clips from three Billy West shorts from 1917-8 that Babe Hardy appeared in. This film is a compilation by Robert Youngson that looks at the rise to comic greatness of the world's favourite comedy duo during the period before they entered the talkies. THE FURTHER PERILS OF LAUREL AND HARDY (1967) was released in September 2001 on video (PAL format) in the UK by Orbit Media.