Zenobia a comedy that matched Oliver Hardy and ... Harry Langdon

By Doug Gibson

"Zenobia," a 1939 Hal Roach comedy feature is an charming film, albeit one that failed to attract audiences. It's mostly forgotten today, except for routine once-a-year airings on Turner Classic Movies. (It did, however, recently get a Blu-Ray release.) The film, from Hal Roach, pairs rotund Oliver Hardy with silent- and early-talkies era comedian Harry Langdon. This was because Hardy's iconic partner, Stan Laurel, was engaged in a contract dispute with Roach. Langdon, a close friend of both Laurel and Hardy, stepped in to film "Zenobia," with no real intention of taking Stan Laurel's place, although there was talk of a second Hardy/Langdon feature, that ended after "Zenobia" failed at the box office. Laurel eventually returned to Hal Roach, but soon after the pair left for good, moving to 20th Century Fox.

But let's talk about "Zenobia." It takes place in Carterville, Mississippi, in the post-Civil War deep South, although to be honest the residents there appear to have been spared the recent horrors of war. Hardy plays -- way out of character -- Dr. Henry Tibbett, a mild-mannered country doctor whose finances are a bit shaky because long ago he decided not to use his medical skills to get wealthy. Nevertheless, he lives in a rented mansion with Mrs. Tibbett (Billie Burke), his daughter Mary (Jean Parker) and their three servants, Zero (Stepin Fetchit) Dehlia (Hattie McDaniel) and their child Zeke (Phillip Hurlic). Daughter Mary is engaged to marry a rich young man, Jeff Carter, played by James Ellison. Jeff's snobbish mother, Mrs. Carter (Alice Brady) loathes the match is working to get back with a former girlfriend, Virginia, played by June Lang.

Despite this subplot, this is a gentle film, and no matter how dastardly the machination of Mrs. Carter and Virginia to dash Jeff and Mary's love, there's never any danger of the pair being split up. All ends well and even mean Mrs. Carter apologizes at the end. What's most interesting is that Burke -- who was Glinda the Good Witch in Wizard of Oz -- provides most of the comedy, and not Hardy. Burke proves herself adept at comedy, playing a scatterbrained but quick-witted, and loyal spouse to Hardy's gentle, good-natured Dr. Tibbetts.

This domestic set up is damaged by the performance of Fetch-it as the servant, Zero, who perpetuates a racist stereotype that unfortunately was a part of Hollywood in that era. "Zero" mumbles, whines, cowers and cringes throughout the film. However, the contrast between his performance and that of McDaniel is interesting. McDaniel, who won an Oscar as Mammy in Gone With the Wind, delivers a strong performance, in which she never surrenders her dignity or self-respect.

Now, time to mention the main plot and Harry Langdon's excellent contribution to "Zenobia." Langdon plays Professor McCrackle, a traveling tonic salesman who also has an elephant, named "Zenobia," who travels with him. One day, when Zenobia is feeling poorly, McCrackle begs Dr. Tibbetts to treat his elephant. Because he's such a nice man, Tibbetts treats Zenobia. His treatment works so well that the elephant becomes enamored of the doctor and won't leave him alone, following poor Hardy's doctor and occasionally picking him up. Upset that he's no longer number one with his elephant, Langdon's McCrackle is convinced, with some help by the scheming Mrs. Carter, to file an alienation of affection lawsuit against Dr. Tibbetts.

It's an amusing plot, and Langdon is excellent in scenes with Hardy. He's too good a comedian and actor to try to imitate Laurel. Instead, Langdon utilizes his understated comedic talents and blend of timidity, deadpan blank face and "Little Elf" voice to generate a fair share of laughs. His best scenes with Hardy are when Zenobia is being treated by the doctor, as well as his efforts to keep the elephant away from Hardy's Tibbetts. In the final courtroom scene, which is the strongest point of the film, Langdon is hilarious as he is constantly interrupted while trying to testify using a memorized script.

So why did the film fail? It cost $637,000 and grossed only $351,000 worldwide, according to the Langdon biography "Little Elf. " It's not Langdon's fault. One reason may be that audiences were so used to Laurel and Hardy comedies that they couldn't accept Oliver Hardy in a role that was mostly non-comedy. In fact, when he's treating Zenobia is the closest he gets to traditional "Hardy comedy" and audiences probably wanted more. Also, while Burke is very good in comedy, and witty, it must have seemed strange to audiences to see her, and not Oliver Hardy, getting the laughs. Another reason may be that there is very little drama in this comedy. As mean as Mrs. Carter, Virginia, and others are, you don't really feel that there's any tension in the film. The New York Times described Zenobia as "Gone With the Wind" as devised by Hal Roach, and there's truth to that. Carterville seems like somewhere in NeverLand, an alternative multiverse. Finally the biggest reason Zenobia failed so badly was that the public didn't want to see Hardy with anyone else other than Stan Laurel.

The New York Times also gave props to Langdon, writing (from Wikipedia) "...Harry Langdon has adopted the partnership prerequistes formerly reserved for Stan Laurel...Harry Langdon's pale and beautifuly [sic?] blank countenance...has probably already excited the professional jealousy of Mr. Laurel..."

However, Langdon never intended to attempt to supplant Laurel, a man who went out of his way to help Langdon through tough stretches in the 1930s, and is due a lot of credit for providing momentum that insured the last several years of Langdon's career was fairly busy, and prosperous. Scenes in the otherwise excellent film, "Stan and Ollie," that purport to show that Hardy was upset at Laurel for briefly leaving Hal Roach and saddling him with Langdon are fictional.

Zenobia is worth watching, and I'm glad it's frequently on TCM, as it provides both a glimpse at the versitility of Oliver Hardy and the comic talents of Harry Langdon. 

Harry Langdon as The Shrimp is an early-talkie comedy gem

Review and observations by Doug Gibson

During the years 1929 and 1930, Harry Langdon starred in eight talkie comedy shorts for Hal Roach Studios. A screen shot from the film, "The Shrimp," is above. Thanks to the "Frank Capra Fibs" legacy, Langdon's Roach shorts have been breezily derided and scorned for decades. The truth is, five of the six films I have seen (two have lost sound discs) I find better-than average examples of early-early sound comedy shorts.

And "The Shrimp," I believe Harry's penultimate film with Hal Roach, is a gem. I consider it a classic within its admittedly small genre, sound comedy shorts prior to the early 1930s. Co-stars include an already-established comedy star, Max Davidson, a budding star, Thelma Todd, and a reliable heavy of the genre, Jim Mason. I've read that Hal Roach Studios was a fun place for actors to work, and the cast seems as if it's having some energetic fun.

The plot involves Harry living in a boarding house. He's weak, timid and easily bullied. He does admire the daughter of the house (Nancy Drexel), and she seems to like him, urging him to stand up to his tormentors. Harry, in a halting sing-song, toddler-like voice, one that was used in his vaudeville appearances and some films during his entire career, says he will stand up to them.

However, dinner is a disaster as Harry is viciously and sadistically bullied by Jim (Mason), and his girlfriend (Todd). Most of the other boarders unfeelingly laugh at his plight. The cruelty does allow the talented Harry Langdon to create a lot of pathos. One particularly funny scene is Harry trying to get at least one bite as food is passed around the large table.

We soon find out that Harry works, or volunteers, as a product tester for a goofy, well-known scientist (Davidson). In a highly publicized event, courtesy of the experiment, Harry assumes the personality of a rambunctious dog. Harry quickly runs away from the event and returns to his boarding house with a whole new attitude, and aggression.

As mentioned, these are early talkies and somewhat crafted in the style of a silent film. I think the same movie, without changes, could also have been as effective as a silent with subtitles. I wonder if "The Shrimp" played older movie theaters as a silent?

I will not give away too many details of the hysterically funny climax of the film where Harry settles scores with, among others, the lazy father of the boarding house, and in a big fight, with Jim the bully. It is fast-paced and funny, and the credit goes to Langdon, who despite no changes in his body or even tone of voice, become head of the household, and "the boss," through the sheer brute will and tenacity of, say, a bulldog. In the last scene, Harry's focus is taken away by the presence of a cat, that, of course, needs to be chased. For a second, Harry eyes a telephone pole with interest, a nice subtle joke, the type of mild, off-color humor Langdon used in the late '20s, particularly in his penultimate silent feature, "The Chaser."

Readers can find "The Shrimp" on the Internet if one searches thoroughly. I'm not going to give a link for two reasons. One, I don't want it lifted, and two, Kit Parker Films (also known as Sprocket Vault Classic Films) is releasing via DVD, in April, Harry Langdon at Hal Roach: 1929-1930. It will have all eight films I have read, and that must mean the two without sound discs will be included. There will also be a Spanish version of one of the Roach shorts, which will be fascinating, and other extras. To my knowledge, this may be the first factory release of any of Langdon's talkie shorts. I am extremely excited about this release. I have already pre-ordered it.

Book details comedy shorts of Thelma Todd with ZaSu Pitts, Patsy Kelly

Review by Doug Gibson

With old comedy shorts, most are unknown to the average viewed (but not the genre fan). With the Hal Roach comedy shorts, Laurel and Hardy and Our Gang have become iconic. There were others, of course, as popular nearly 90 years ago.

Film authority James L. Neibaur recently penned "The Hal Roach Comedy Shorts of Thelma Todd, ZaSu Pitts and Patsy Kelly," McFarland, buy here. The past decade or so, I've occasionally seen Thelma Todd and Patsy Kelly shorts from the early and mid '30s as extras on TCM. I've enjoyed them. Recently, a DVD of Todd's shorts with Pitt was released. There is also a collection of the Todd and Kelly shorts.

Todd made 17 shorts with Pitts, and 21 with Kelly. Thelma Todd was a beautiful blonde and was the "It" girl in the shorts. Pitts was more fluttery and hesitant, Kelly more brassy and impetuous. All were extremely talented comic actors and the shorts were popular. Neibaur uses a successful formula that he has done in other books. He provides early bios of the principles, a detailed account of each film history, along with summaries, tidbits from production and the stars' lives, reviews, and what the stars were doing between comedy shorts. All were pretty in other films, Roach often giving his actors time to work at other studios as Hal Roach studio did take hiatuses.

One of the best Todd/Pitts shorts is 1931's "On the Loose." It's not because it has a cameo of Laurel & Hardy, although it's a funny scene. I like it because it exemplifies the strength of the Todd/Pitts/Kelly series. They are working women in the midst of The Great Depression, roommates trying to balance economic survival and looking for a good man. Neibaur notes that the films serve as a time capsule, a glimpse into the times. In "On the Loose," Coney Island is featured (the stars are tired of their dates constantly taking them there). I love the scenes of the park in 1931. You can watch "On the Loose" below:

My favorite Todd/Kelly short is "Babes in the Goods," from 1934. Again, the pair are working girls struggling to hold onto a job during tough economic times. They are tasked with setting up a department store window with hilarious results. Kelly really shines in this role.

I spent hours poring through Neibaur's book, thoroughly enjoying the recaps of the shows. I don't have the DVDs so I Googled shorts and was able to find a lot to watch at YouTube and DailyMotion. The history of the stars is interesting. Pitts left amicably to pursue more features work. Todd died tragically in late 1935, in a car of carbon monoxide poisoning. Although theories abound, we'll probably never know if it was a suicide, accident, or murder. Kelly, Neibaur notes, lived as an open lesbian in 1930s Hollywood. She suffered sand inhalation in a car wreck in the 1930s and was told she only had 10 years to live. That was wrong; she lived several decades longer.

After Todd's death, there were three films left on contract. Pert Kelton starred with Kelly in one and the final two matched Kelly with Russian-born Lyda Roberti. Roach was pleased enough with Kelly and Roberti to star the pair in a film. However, health problems forced Roberti to retire from acting after that feature and she died in 1938.

Neibaur has written a gem of a film history book here and it merits a successful release. It can also be purchased, including via Kindle, at Amazon here.

As I have noted, I think these shorts blended realism with humor. Women probably could identify with these stories of struggling individuals living through tough times and trying to find love and economic success. I hope Turner Classic Movies will provide viewers several hours of the Thelma Todd, ZaSu Pitts and :Patsy Kelly shorts. (Below is a photo of Pitts (left)  and Todd in the film, "On the Loose."

Laurel and Hardy very funny in Our Wife

Review by Doug Gibson

I recently watched "Our Wife," a very funny Stan Laurel and Oliver Hardy short from 1931. Produced by Hal Roach Studios, the plot involves rotund Ollie wanting to marry his equally rotund sweetheart, Dulcy, (played by Babe London). Unfortunately, Dulcy's dad, played by comedy short legend James Finlayson, absolutely forbids his dumpling to marry Hardy. So, with the help of mild-mannered Stan, the comedy pair ineptly plan to spring Dulcy from her home and elope.

This is my second-favorite Laurel and Hardy short. Only "The Music Box" is better. The comic timing is superb and the cast is an iconic dream. Besides Ollie, Stan and Finlayson, the minister who married Ollie and Dulcy is played by cross-eyed silent and early sound comic Ben Turpin. Turpin, born in 1869, was a genuine pioneer of the comedy silent era. One of his early, early films, 1909's "Ben Gets a Duck and is Ducked," filmed in Chicago, had him going into a public duck pond. He was arrested by police officers not amused at the film company's permit-less filming efforts!

The best scene in "Our Wife" involves Ollie, Dulcy and Stan trying to fit into an impossibly tiny getaway car, procured by the hapless Stan. The film is easy to find as part of collections offered via amazon, etc. It also pops up on Turner Classic Movies once in a while. But, thanks to YouTube, you can watch the film above. More info is here.

The Charley Chase Scrapbook details a bittersweet life with laughter

Review by Doug Gibson

A while back I reviewed "... The Harry Langdon Scrapbook," a fascinating visual treat of the comic's life and career. It was a treat from small publishing house Walker and Anthony and it prompted me to want to read and review another vintage comic scrapbook subject, Charley Chase. It's "The Charley Chase Scrapbook."

Chase, with an iconic face, worked very had to build his career as Charles Parrott, comic actor. Once living in poverty, he moved himself into prominence as a vaudevillian and early silent comedy actor. He gained initial acting stature, starting as an extra, with movie man Al Christie, and moved to Keystone and Mack Sennett, mostly as a director and writer. Pay disputes prompted him to freelance a while, again directing more often. He worked, among others, with Fox-Films and Bulls-Eye, mostly behind the camera, often directing Billy West, a Chaplin imitator who was popular.

During these years he married a dancer and English teacher named BeBe Eltinge, and two girls were added over a few years, Polly, who later acted with her father, and June, many of whom's recollections were gathered and eventually used in the Scrapbook. Charley's marriage with BeBe was a strong union that remained until his death.

Chase eventually gained stardom with Hal Roach studios. About that time he took the "Chase" last name, selecting it out of a phone book. His younger brother, James Parrott, who acted as Paul Parrott, came to Hal Roach a little before Charley and was a director, writer and briefly an actor. By 1926, Chase's career was rolling; but James', due to poor health, was slowly receding The rise of Laurel and Hardy and Our Gang comedy teams would eventually eclipse Charley Chase's stature at Roach's studio.

Concern over his brother, and a problem with alcoholism, would plague Chase the rest of his life. In the early days of sound, a medium he was well equipped for with a great singing voice, a bad ulcer nearly killed Chase. He rebounded with Roach studios working consistently for the first several years of the 1930s.

In my opinion, and many may disagree, Chase was at his best in the sound era. He was a very talented silent comedian, among the Top 10, but his voice and mannerisms work well with sound, and are well suited to talkies. In the Laurel and Hardy feature, "Sons of the Desert," Chase is superb as a pushy but likable prankster with the boys at a lodge convention. And although he did his best work overall with Roach studios, The Heckler, a Columbia comedy short he made late in life, captures Chase's talent so well as he plays an abrasive, jokester fan at a tennis match. He's great with an outraged Vernon Dent.

Eventually, Chase left Hal Roach studios. A note from Chase in The Scrapbook shows that he took his disappointing departure with humor and grace. Chase stayed busy, soon signing with Columbia's comedy shorts department, and doing what he was best at, acting, directing and writing. One of his better-known directed shorts is "Violent is the Word For Curly," from 1938.

Concern over the health of his deteriorating brother, James, wore Chase down in the 1930s. Before drug addiction literally destroyed his career, James directed the classic Laurel and Hardy short "The Music Box" and some Chase's films as well. But drug abuse demolished James' career, and eventually cost him his life in May 1939.

According to the Scrapbook, Chase blamed himself for his brother's death, and continued to drink heavily. Although he had a loving family and a still-strong career with Columbia, the excess drinking contributed to the heart attack that killed Charley Chase 13 months later, on June 20, 1940. He died in his home.

The Scrapbook is designed much like the Langdon one, with stills, posters, writings, drawings, family photos, handwritten entries, newspaper interviews, drawings, articles, and other communications providing a montage of his life. These scrapbooks provide readers glimpses into the personalities of the subjects. You witness Chase's drive and love of his craft. In this case, the picture is worth at least hundreds of words.

Many of the Scrapbook items are from Chase's personal collections, preserved by his grandson Charley Preshaw. The pictures of Chase, late in life, holding grandson Preshaw as an infant, provide a warm, human look at the comedy legend.

Chase rubbed acting shoulders with the best of his era. The book serves as a history of his era, a glimpse into a time capsule that fits on a coffee table. "The Charley Chase Scrapbook" is not inexpensive. It's a small press labor of love. It's a must for Chase fans, or fans of Hal Roach's vintage comedy. I recommend it for early film comedy fans as a fitting  inclusion in your genre bookcase.

Zenobia: Hal Roach comedy feature that matched Oliver Hardy and Harry Langdon

By Doug Gibson

"Zenobia," a 1939 Hal Roach comedy feature is an charming film, albeit one that failed to attract audiences. It's mostly forgotten today, except for routine once-a-year airings on Turner Classic Movies. The film, from Hal Roach, pairs rotund Oliver Hardy with silent- and early-talkies era comedian Harry Langdon. This was because Hardy's iconic partner, Stan Laurel, was engaged in a contract dispute with Roach. Langdon, a close friend of both Laurel and Hardy, stepped in to film "Zenobia," with no real intention of taking Stan Laurel's place, although there was talk of a second Hardy/Langdon feature, that ended after "Zenobia" failed at the box office. Laurel eventually returned to Hal Roach, but soon after the pair left for good, moving to 20th Century Fox.

But let's talk about "Zenobia." It takes place in Carterville, Mississippi, in the post-Civil War deep South, although to be honest the residents there appear to have been spared the recent horrors of war. Hardy plays -- way out of character -- Dr. Henry Tibbett, a mild-mannered country doctor whose finances are a bit shaky because long ago he decided not to use his medical skills to get wealthy. Nevertheless, he lives in a rented mansion with Mrs. Tibbett (Billie Burke), his daughter Mary (Jean Parker) and their three servants, Zero (Stepin Fetchit) Dehlia (Hattie McDaniel) and their child Zeke (Phillip Hurlic). Daughter Mary is engaged to marry a rich young man, Jeff Carter, played by James Ellison. Jeff's snobbish mother, Mrs. Carter (Alice Brady) loathes the match is working to get back with a former girlfriend, Virginia, played by June Lang.

Despite this subplot, this is a gentle film, and no matter how dastardly the machination of Mrs. Carter and Virginia to dash Jeff and Mary's love, there's never any danger of the pair being split up. All ends well and even mean Mrs. Carter apologizes at the end. What's most interesting is that Burke -- who was Glinda the Good Witch in Wizard of Oz -- provides most of the comedy, and not Hardy. Burke proves herself adept at comedy, playing a scatterbrained but quick-witted, and loyal spouse to Hardy's gentle, good-natured Dr. Tibbetts. (watch a scene of Burke's wit above)

This domestic set up is damaged by the performance of Fetch-it as the servant, Zero, who perpetuates a racist stereotype that unfortunately was a part of Hollywood in that era. "Zero" mumbles, whines, cowers and cringes throughout the film. However, the contrast between his performance and that of McDaniel is interesting. McDaniel, who won an Oscar as Mammy in Gone With the Wind, delivers a strong performance, in which she never surrenders her dignity or self-respect.

Now, time to mention the main plot and Harry Langdon's excellent contribution to "Zenobia." Langdon plays Professor McCrackle, a traveling tonic salesman who also has an elephant, named "Zenobia," who travels with him. One day, when Zenobia is feeling poorly, McCrackle begs Dr. Tibbetts to treat his elephant. Because he's such a nice man, Tibbetts treats Zenobia. His treatment works so well that the elephant becomes enamored of the doctor and won't leave him alone, following poor Hardy's doctor and occasionally picking him up. Upset that he's no longer number one with his elephant, Langdon's McCrackle is convinced, with some help by the scheming Mrs. Carter, to file an alienation of affection lawsuit against Dr. Tibbetts.

It's an amusing plot, and Langdon is excellent in scenes with Hardy. He's too good a comedian and actor to try to imitate Laurel. Instead, Langdon utilizes his understated comedic talents and blend of timidity, deadpan blank face and "Little Elf" voice to generate a fair share of laughs. His best scenes with Hardy are when Zenobia is being treated by the doctor, as well as his efforts to keep the elephant away from Hardy's Tibbetts. In the final courtroom scene, which is the strongest point of the film, Langdon is hilarious as he is constantly interrupted while trying to testify using a memorized script.

So why did the film fail? It cost $637,000 and grossed only $351,000 worldwide, according to the Langdon biography "Little Elf. " It's not Langdon's fault. One reason may be that audiences were so used to Laurel and Hardy comedies that they couldn't accept Oliver Hardy in a role that was mostly non-comedy. In fact, when he's treating Zenobia is the closest he gets to traditional "Hardy comedy" and audiences probably wanted more. Also, while Burke is very good in comedy, and witty, it must have seemed strange to audiences to see her, and not Oliver Hardy, getting the laughs. Another reason may be that there is very little drama in this comedy. As mean as Mrs. Carter, Virginia, and others are, you don't really feel that there's any tension in the film. The New York Times described Zenobia as "Gone With the Wind" as devised by Hal Roach, and there's truth to that. Carterville seems like somewhere in NeverLand, an alternative multiverse. Finally the biggest reason Zenobia failed so badly was that the public didn't want to see Hardy with anyone else other than Stan Laurel.

The New York Times also gave props to Langdon, writing (from Wikipedia) "...Harry Langdon has adopted the partnership prerequistes formerly reserved for Stan Laurel...Harry Langdon's pale and beautifuly [sic?] blank countenance...has probably already excited the professional jealousy of Mr. Laurel..."

However, Langdon never intended to attempt to supplant Laurel, a man who went out of his way to help Langdon through tough stretches in the 1930s, and is due a lot of credit for providing momentum that insured the last several years of Langdon's career was fairly busy, and prosperous.

Zenobia is worth watching, and I'm glad it's frequently on TCM, as it provides both a glimpse at the versitility of Oliver Hardy and the comic talents of Harry Langdon. Watch it above via YouTube.

Zenobia, a Hal Roach comedy that matched Harry Langdon and Oliver Hardy

By Doug Gibson

"Zenobia," a 1939 Hal Roach comedy feature is an charming film, albeit one that failed to attract audiences. It's mostly forgotten today, except for routine once-a-year airings on Turner Classic Movies. The film, from Hal Roach, pairs rotund Oliver Hardy with silent- and early-talkies era comedian Harry Langdon. This was because Hardy's iconic partner, Stan Laurel, was engaged in a contract dispute with Roach. Langdon, a close friend of both Laurel and Hardy, stepped in to film "Zenobia," with no real intention of taking Stan Laurel's place, although there was talk of a second Hardy/Langdon feature, that ended after "Zenobia" failed at the box office. Laurel eventually returned to Hal Roach, but soon after the pair left for good, moving to 20th Century Fox.

But let's talk about "Zenobia." It takes place in Carterville, Mississippi, in the post-Civil War deep South, although to be honest the residents there appear to have been spared the recent horrors of war. Hardy plays -- way out of character -- Dr. Henry Tibbett, a mild-mannered country doctor whose finances are a bit shaky because long ago he decided not to use his medical skills to get wealthy. Nevertheless, he lives in a rented mansion with Mrs. Tibbett (Billie Burke), his daughter Mary (Jean Parker) and their three servants, Zero (Stepin Fetchit) Dehlia (Hattie McDaniel) and their child Zeke (Phillip Hurlic). Daughter Mary is engaged to marry a rich young man, Jeff Carter, played by James Ellison. Jeff's snobbish mother, Mrs. Carter (Alice Brady) loathes the match is working to get back with a former girlfriend, Virginia, played by June Lang.

Despite this subplot, this is a gentle film, and no matter how dastardly the machination of Mrs. Carter and Virginia to dash Jeff and Mary's love, there's never any danger of the pair being split up. All ends well and even mean Mrs. Carter apologizes at the end. What's most interesting is that Burke -- who was Glinda the Good Witch in Wizard of Oz -- provides most of the comedy, and not Hardy. Burke proves herself adept at comedy, playing a scatterbrained but quick-witted, and loyal spouse to Hardy's gentle, good-natured Dr. Tibbetts. (watch a scene of Burke's wit above)

This domestic set up is damaged by the performance of Fetch-it as the servant, Zero, who perpetuates a racist stereotype that unfortunately was a part of Hollywood in that era. "Zero" mumbles, whines, cowers and cringes throughout the film. However, the contrast between his performance and that of McDaniel is interesting. McDaniel, who won an Oscar as Mammy in Gone With the Wind, delivers a strong performance, in which she never surrenders her dignity or self-respect.

Now, time to mention the main plot and Harry Langdon's excellent contribution to "Zenobia." Langdon plays Professor McCrackle, a traveling tonic salesman who also has an elephant, named "Zenobia," who travels with him. One day, when Zenobia is feeling poorly, McCrackle begs Dr. Tibbetts to treat his elephant. Because he's such a nice man, Tibbetts treats Zenobia. His treatment works so well that the elephant becomes enamored of the doctor and won't leave him alone, following poor Hardy's doctor and occasionally picking him up. Upset that he's no longer number one with his elephant, Langdon's McCrackle is convinced, with some help by the scheming Mrs. Carter, to file an alienation of affection lawsuit against Dr. Tibbetts.

It's an amusing plot, and Langdon is excellent in scenes with Hardy. He's too good a comedian and actor to try to imitate Laurel. Instead, Langdon utilizes his understated comedic talents and blend of timidity, deadpan blank face and "Little Elf" voice to generate a fair share of laughs. His best scenes with Hardy are when Zenobia is being treated by the doctor, as well as his efforts to keep the elephant away from Hardy's Tibbetts. In the final courtroom scene, which is the strongest point of the film, Langdon is hilarious as he is constantly interrupted while trying to testify using a memorized script.

So why did the film fail? It cost $637,000 and grossed only $351,000 worldwide, according to the Langdon biography "Little Elf. " It's not Langdon's fault. One reason may be that audiences were so used to Laurel and Hardy comedies that they couldn't accept Oliver Hardy in a role that was mostly non-comedy. In fact, when he's treating Zenobia is the closest he gets to traditional "Hardy comedy" and audiences probably wanted more. Also, while Burke is very good in comedy, and witty, it must have seemed strange to audiences to see her, and not Oliver Hardy, getting the laughs. Another reason may be that there is very little drama in this comedy. As mean as Mrs. Carter, Virginia, and others are, you don't really feel that there's any tension in the film. The New York Times described Zenobia as "Gone With the Wind" as devised by Hal Roach, and there's truth to that. Carterville seems like somewhere in NeverLand, an alternative multiverse. Finally the biggest reason Zenobia failed so badly was that the public didn't want to see Hardy with anyone else other than Stan Laurel.

The New York Times also gave props to Langdon, writing (from Wikipedia) "...Harry Langdon has adopted the partnership prerequistes formerly reserved for Stan Laurel...Harry Langdon's pale and beautifuly [sic?] blank countenance...has probably already excited the professional jealousy of Mr. Laurel..."

However, Langdon never intended to attempt to supplant Laurel, a man who went out of his way to help Langdon through tough stretches in the 1930s, and is due a lot of credit for providing momentum that insured the last several years of Langdon's career was fairly busy, and prosperous.

Zenobia is worth watching, and I'm glad it's frequently on TCM, as it provides both a glimpse at the versitility of Oliver Hardy and the comic talents of Harry Langdon.

Laurel and Hardy at their best in 1931 short 'Our Wife'

I recently watched "Our Wife," a very funny Stan Laurel and Oliver Hardy short from 1931. Produced by Hal Roach Studios, the plot involves rotund Ollie wanting to marry his equally rotund sweetheart, Dulcy, (played by Babe London). Unfortunately, Dulcy's dad, played by comedy short legend James Finlayson, absolutely forbids his dumpling to marry Hardy. So, with the help of mild-mannered Stan, the comedy pair ineptly plan to spring Dulcy from her home and elope.

This is my second-favorite Laurel and Hardy short. Only "The Music Box" is better. The comic timing is superb and the cast is an iconic dream. Besides Ollie, Stan and Finlayson, the minister who married Ollie and Dulcy is played by cross-eyed silent and early sound comic Ben Turpin. Turpin, born in 1869, was a genuine pioneer of the comedy silent era. One of his early, early films, 1909's "Ben Gets a Duck and is Ducked," filmed in Chicago, had him going into a public duck pond. He was arrested by police officers not amused at the film company's permit-less filming efforts!

The best scene in "Our Wife" involves Ollie, Dulcy and Stan trying to fit into an impossibly tiny getaway car, procured by the hapless Stan. The film is easy to find as part of collections offered via amazon, etc. It also pops up on Turner Classic Movies once in a while. But, thanks to YouTube, you can watch the film above. More info is here.

-- Doug Gibson