Our Relations

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Our Relations - 123Movies

Our Relations

7.3

/10

3733 rated

1936•1 h 11 m•United States

Two pairs of long-lost twin brothers experience high jinks involving a valuable ring, cases of mistaken identity, and gangsters.

Comedy

Family

Cast (31)

Recommended

Reviews

Reyloh Ree

23/04/2025 16:18

OUR RELATIONS Aspect ratio: 1.37:1 Sound format: Mono (Black and white) During an eventful day out, Stan and Ollie become confused with their long-lost twin brothers, with far-reaching consequences. The first of two films co-produced by Hal Roach and Stan Laurel (the other was WAY OUT WEST), this entertaining farce has 'class' written all over it. Beautifully photographed by acclaimed cinematographer Rudolph Maté (later the director of WHEN WORLDS COLLIDE, amongst many others) and written by a couple of newcomers to the L&H universe (Felix Adler and Richard Connell) from the story 'The Money Box' by W.W. Jacobs, the film's elaborate plot line revolves around a series of comic coincidences involving the boys' uncomprehending wives (Betty Healey and the diminutive Daphne Pollard), a couple of gold-diggers (Iris Adrian and Lona Andre), a belligerent sea captain (Sidney Toler) and an incredulous restaurateur (Alan Hale). Though uncredited on the print itself, Laurel appears to have bolstered the screenplay with a number of 'typical' L&H routines - the movie opens on a shot of the boys and their wives passing teacups in an endless circle around the dinner table, for example - but these items are shoehorned into an extremely busy scenario which ends in a frantic dockside encounter with a couple of smart-looking gangsters (the equally smart-looking Ralf Harolde and Noel Madison). While there's laughs to be had from the convoluted plot developments and farcical situations, the movie lacks some of the charm and intimacy of L&H's shorter entries. Also starring Arthur Housman (a fabulous comic drunk in many similar movies) and L&H regular James Finlayson. Directed by Harry Lachman (DANTE'S INFERNO).

Queen Taaooma

19/04/2025 16:12

Stan and Ollie go out with their wives, Betty (Betty Healy) and Daphne (Daphne Pollard). However, Stan and Ollie's sailor twins, Alf and Bert, are also in town which leads to many misunderstandings. There is also a plot about giving an engagement ring to the ship's captain (Sidney Toler) which is resolved at the end of the story. I find that Laurel and Hardy are always a joy to watch but I usually end up disappointed with the laughs. This film falls into that category. It's not funny, just mildly amusing in parts. And there are some sections which are just purely tedious, eg, the phone booth slapstick and the never-ending swaying when their feet are set in concrete. There are a few funny moments, eg, Ollie's confused face with each misunderstanding at the bar but the plot of the twins being mistaken for each other has moments that confuse the audience, especially at the high class venue "The Pirate" towards the end of the film. Overall, the film is OK but I don't remember laughing.

ʊsɛʀզʊɛɛռ B

14/04/2025 16:09

A variation on Shakespeare's 'COMEDY OF ERRORS' (there are occasional references to the bard through the film),OUR RELATIONS is one of Laurel and Hardy's better features.It is certainly the most stylishly-produced film they ever made,and arguably the best from a technical viewpoint.If there is a fault it is with the overly-complex and overly-plotted storyline;it does rather mitigate against truly classic and hilarious routines that were evident in SONS OF THE DESERT and WAY OUT WEST(their best feature films),because there is so much story conveyed.And it's debatable if the familiar 'double' device,which was becoming hackneyed even in 1936,can squeeze that much humour out of it's various confusions and mistaken identities.The large number of characters supporting Stan and Ollie are also something of a distraction;some are relevant to the story,others are not so and abruptly depart somewhat improbably during the narrative. These quibbles aside,the film is consistently amusing throughout,with familiar L & H foils (Finlayson,Housman),and those not so familiar (Toler,Hale) giving fine support.The most impressive aspect of OUR RELATIONS is it's technical sheen;it is very handsomely produced;the nightclub set particularly is highly impressive,and possibly the most elaborate and polished production design ever seen in a Laurel and Hardy film.Behind the camera,aspects are pretty accomplished too.Director Harry Lachman,usually more comfortable with straight drama (DANTE'S INFERNO with Spencer Tracy was his other most notable cinematic achievement) handles the comic sequences nicely,and commendably directs with a slick,speedy pace.This quickness has a slight downside;it would have been better if Lachman had sat back on a few occasions to allow L & H to indulge in their slower,yet more nuanced and subtle routines.We do see this near the beginning when Ollie reads a letter from his mother,and Stan conspires to break Ollie's reading glasses.This familiar and intimate bit of business is possibly the funniest scene in the film;the welter of plot complication after means we see virtually none of this well-versed style of theirs from this point on.Their encounters with the various many characters are amusing alright (especially Fin,who is well and truly savaged in his battle with the boys on this occasion),but OUR RELATIONS may have been even superior if Lachman had utilised a more methodical pace and concentration on L & H.Rudolph Mate,one of Hollywood's best Black and White cinematographers of the 30's and 40's, does a very accomplished job on the visuals,with some unexpectedly dramatic lighting,especially with the latter gangster sequence.This scene itself is rather over-stretched and perhaps even a trifle intimidating,with Tiny Sandford,in his final L & H film,not entirely comfortable as a brutish thug here.After being dispatched(entirely by mistake)on the dockside,the gangsters involved unconvincingly vanish from the scene,though Stan,Ollie,Alf and Bert finally meet at the end after all these complications. OUR RELATIONS is not quite the best Laurel and Hardy feature,but only a small handful(WAY OUT WEST,SONS OF THE DESERT,BLOCKHEADS)could probably regard themselves as superior.There are no musical numbers or romantic sub-plots,perhaps because there's so much plot and incident abound! It would have been preferable had there been more emphasis on just L & H themselves,but from a technical and production point of view,OUR RELATIONS is Laurel and Hardy's most polished film;and while not their funniest,is still very amusing. Rating:7 and a half out of 10.

Alex...Unusual

11/04/2025 16:08

Stan's and Oliver's long lost twin brothers, sailors Alf Laurel and Bert Hardy are on shore.Lots of misunderstandings happen, when there are two Laurels and two Hardies in town.Our Relations is a classic L&H film with many funny scenes in it.Many scenes that make you laugh at loud.The movie offers you many funny situations from the beginning to the end.A must see for Stan and Ollie fans.It offers you double fun with the boys.

Seeta.❤ G.c

09/04/2025 16:07

This is the first feature-length Laurel and Hardy movie I'd seen. Before this I'd only caught bits and pieces of the shorts if they happened to be on TV while I was waiting for something else. It made me decide to watch as many of their movies as I can. Our Relations is an inventive comedy, and made me realise how lazy slapstick has become - someone simply falling over is now thought of as enough to raise a smile from the audience. Here, every scene and every prop has its potential realised completely. What surprised me was how violent some of it was (setting someone's chest hair on fire, putting a light bulb in someone's mouth and punching their jaw so it explodes) but it is done more in the spirit of Tom and Jerry than Itchy and Scratchy, and throws in some cartoon sound effects just to make sure. It's no revelation pointing out that Laurel and Hardy have real charm and great timing, but I want to point it out anyway. I found it impossible to take my eyes off them regardless of who else was on screen, and they work so well as a double act and are so great individually that I couldn't decide on a favourite. I'm glad I finally watched one of their movies, and I feel now like I felt when I watched my first Hitchcock; that there's all those movies waiting for me, and all I have to do is work my way through them.

Lojay

06/04/2025 16:05

The sudden arrival of long lost twins creates a crisis for the clumsy but staid Laurel and Hardy that creates instant war in their marriages. Their brothers are irresponsible seamen whose inability to pay a restaurant check results in trouble for their twins when they show up at the same restaurant. The presence of the two young opportunistic females whom the other brothers wined and dined is issue enough, but when seaman James Finlayson shows up with an incriminating picture, the situation gets out of hand. It's only a matter of time before the wives encounter the twins, and more confusion explodes. Finlayson, with thick Scottish accent, is hysterical, while Alan Hale Sr. gets to take on the Edgar Kennedy slow burn as the restaurant owner. Arthur Housman adds more fun as a drunk who instantly considers sobriety when he begins seeing seeing double of everybody. Diminutive Daphne Pollard, a comic genius in her own right, is hysterical as Oliver's hot-headed wife, while Betty Brown is perfectly cast as Laurel's equally nitwit wife. Some of the gags are taken out of their classic shorts, but make sense in the context of an expanded storyline. Zany comedy rarely gets better than this.

Khalid lidlissi

05/04/2025 16:05

While Stan and Oliver sit at home eating dinner they get a letter from Oliver's mother with a picture of them with their twin brothers. Deciding it best to keep their brothers a secret from their other halves, they burn the picture. Unbeknownst to them though, these very twins have just arrived in town on a boat. Albert and Bert are not the smartest though and, before hitting the town, they allow Chief Engineer Finn to take their money to "invest" it. This means that they have no real cash when they go ashore to deliver a valuable ring for the captain. However when they meet two young ladies with expensive tastes they find themselves in a bit of a pickle. The old "twin brothers/mistaken identity" plot is hardly the stuff of narrative gold, so I was a bit concerned that the plot would be terrible with this film. However this is actually very precisely structured for a Laurel and Hardy film and, although the plot is hardly convincing, it is very neat and tidy and moves along well. Even if the plot had been poor though, it is the laughs that matter and this film consistently delivers amusing moments even if it doesn't have much in the way of standout scenes. I was tickled all the way through it rather than roaring with laughter but this gentle humour was still enough for me. Laurel and Hardy are both good but they weren't totally themselves. Laurel enjoyed his usual character but Hardy was given fewer withering looks which is a shame as he does them so well. Finalyson has a bigger role than normal but really I felt him more effective in short film roles that relied on his physical work rather than his delivery. Hale is enjoyable as the waiter, while Housmann is a good drunk. Overall a solid and enjoyable Laurel & Hardy film that is a pretty tight production by their standards. Not the funniest vehicle you will find for them but certainly more than enough to please their fans.

Sam G Jnr

05/04/2025 16:05

Is this the most violent Laurel and Hardy film ever made? Surprisingly, while Stan and Ollie's twin brothers Bert and Alf are described as "bad lads", it's the originals that are the most malicious, in this sadistic yet very funny all the same Laurel and Hardy showcase. Stan gets to headbutt a barman and set fire to another man's chest hair, while Ollie, for his part, sticks a lightbulb in a man's mouth (James Finlayson, a regular stooge for the boys in 35 movies) then punches him in the face so he swallows the broken glass. Their supposedly rogue twins, meanwhile, merely try to save money and treat some ladies to a meal. In order to distinguish between the twins (other than the level of violence they display), musical cues are used a sea shanty for the sailors Bert and Alf, and the Laurel and Hardy theme for Stan and Ollie. There are lots of great sustained jokes in this movie, such as Ollie's broken spectacles, and the ultimate in a sustained gag is the mistaken identities between the sets of twins. This joke is taken so far towards its logical conclusion that the duos don't discover each other's existence until the final ninety seconds of film. This causes the plot to be far more imaginative, whereas a lesser film would have had greater reliance on the two pairs meeting. Arthur Housman is also good as the drunk, a role he seemed to make a career out of playing in many of his 159 film roles. It was a also a role he reprised with Laurel and Hardy, having played both "drunk" and "drunk sailor" in Scram!, The Live Ghost and The Fixer Uppers. The direction by Harry Lachman is well above average for the pair. Some scenes are shot through a fish tank or the back of a bed's headrail, and there are lots of aerial shots. The split screen technology, while used sparingly, was extremely proficient for the time. One thing of note is that a couple of the sequences, such as the crushed in the telephone box scene, are slightly similar to sight gags in the Marx Brothers film of the previous year, A Night At The Opera. It's not that obvious, and may just be coincidence, but I'd rather hoped that Laurel and Hardy had inspired the Marx Brothers, and not the other way around. But it's probably funnier here anyway, particularly poor old Stan with a boot on his neck. Finally, one of the concluding scenes Stan crying hysterically as he rolls around on concrete boots is a real winner.

seni senayt

02/04/2025 16:03

This and its companion were the only projects the boys ever said they didn't like. And it has fallen to the bottom of the listings, in part because of limited availability. But I like it because I am particularly attuned to self-referential films. Explicit self reference (outside of shows about shows) was already becoming a fashionable idea in Hollywood. In this case, we have a plot taken from Shakespeare and characters (as always) inspired by Longfellow. So a running joke, repeated 6 or seven times, has (at key points) one of them saying "Shakespeare" and the other responding "Longfellow." Also, there's a developing joke from Lewis Carroll about what goes up a chimney? Developing jokes depend on the thing being said differently each time. (The play is on flew/flue.) I consider this their second best because there's more effort than just the stock physical comedy. Ted's Evaluation -- 2 of 3: Has some interesting elements.

قطوسه ♥️

31/03/2025 16:02

At this point in the history of Hal Roach Studios, Mr. Roach wanted to progress beyond the "two reeler" concepts and begin to compete with MGM and the other large studios by making feature films exclusively. His main concept was to produce what he termed "streamlined" comedies which would run just about an hour or a little more. The purpose being that he could produce feature length films on a shoestring budget and therefore be more competitive with the large studios. Not a bad idea, in concept. With "Our Relations" Stan Laurel wanted to show that if Roach would allow them to spend more money on production, that he and Ollie could make "A" grade comedies instead of just the quicky type two-reelers. Stan produced this film and the next one to follow, "Way Out West", and it shows what he had been after for a very long time. "Our Relations" is a breezy, fast paced comedy that shows L&H not only capable of the 'ol slapstick bits but also most capable of handling situational comedy as the type Cary Grant and other similar stars were performing at this time. There's lots of original gags and lines in this film demonstrating the apt writing of one of the old masters by this time, Felix Adler, who also wrote for numerous Three Stooges shorts. In a way I'm saddened by this film because it was one of the very few times in L&H's careers that production values were not a concern and they obviously had absolute creative control over their performances. It's a shame that Hal Roach didn't appreciate them enough to keep them on past 1940 and continue with their logical progress toward even greater things. Had he done that, there would have been much more to enjoy from them and maybe they might have even given Abbott & Costello a real run for their money. Whatever the case, if you enjoy L&H, don't miss this one!