"
The Devil's Brother"
**** (out of ****)
As the Laurel & Hardy comedy "The Devil's Brother" (1933) celebrates its 90th anniversary it is interesting to behold how this film adaptation of Daniel Auber's 1830 opera, Fra Diavolo not only relates to 1930s America but is a comedy that still holds up today.
"The Devil's Brother" - a pre-Code comedy - makes subtle commentaries on class, deception, greed and wealth. All at a time when Americans were suffering through the Great Depression. I've said it before and I suppose it bears repeating, great comedies hold a mirror to society and exaggerate our fears and dreams. At their best they make us laugh at ourselves. "The Devil's Brother" is such a comedy. It's no wonder than that this film was one of Laurel & Hardy's most successful comedies at the box-office.
In its own way "The Devil's Brother" is the comedic version of the sentiment found in popular gangster movies of the 1930s - "Little Caesar" (1931) and "Scarface" (1932) - which could also be interpreted as reflecting a mindset of a Great Depression era audience. All of these movies suggest a life of crime paying off by providing an "easy" way to make a living for poor and desperate people. It takes too long to become rich when playing by the rules. Great wealth can be amassed quickly when breaking a few laws.
Unfortunately, modern day popular public opinion suggest "The Devil's Brother" is a "lesser" Laurel & Hardy comedy due to its mixture of comedy and opera. Many fans of the boys don't like to see them in period pieces. Comedy producer Hal Roach did place the boys in other comedies based on operatic material - "The Bohemian Girl" (1936) and "March of the Wooden Soldiers" (1934). Personally, I think all three of them are enjoyable but "The Devil's Brother" is my favorite. Not just my favorite of the opera comedies but probably my favorite of all the Laurel & Hardy comedies with only "Way Out West" (1937) as another contender.
What is so pleasurable about "The Devil's Brother" is how much it reminds me of an Ernst Lubitsch comedy. This is probably the most sophisticated and stylish comedy the boys ever appeared in. It has a sly, adult playfulness found in Lubitsch comedies like "Trouble in Paradise" (1932) or "One Hour With You" (1932). That may lead some to say but that's not what one expects from a Laurel & Hardy comedy. But, if those elements are in "The Devil's Brother" why shouldn't I enjoy them and embrace them?
Of course "The Devil's Brother" is no "The Merry Widow" (1934) or "The Love Parade" (1929) and director Hal Roach is no Ernst Lubitsch. Lubitsch's musical comedies relied on sharp wit and sexual innuendos. In fact Lubitsch made the greatest Hollywood movies about sex because of their playful nature - he provided an adult quality to the movie musical that it has never been able to duplicate. In "The Devil's Brother" no one ever says the word sex but it is heavily implied. This being a pre-Code movie, it flirts with the idea of adultery and never makes a strong moral judgement. This is yet again something the movie has in common with Lubitsch's films - an air of loose morals with Casanova-like males always on the prowl and fair maidens unable to resist their charms. But Roach ultimately can't juggle all of this as masterfully as Lubitsch.
The other big difference between Lubitsch and "The Devil's Brother" is the ways in which it finds comedy. There isn't great wit to the dialogue, with its screenplay adaptation by Jeanie Macpherson, instead the movie engages in the physical comedy Laurel & Hardy were well known for. The operatic material and the comedy can create a contrast in styles however. In the New York Times original review of the movie for example, critic Mordaunt Hall wrote the movie could have used more singing from Dennis King and less of Laurel & Hardy's antics (!).
For me though the movie does find a way to blend everything together while staying somewhat faithful to its source material. Practically everything not involving Laurel & Hardy was in the opera. "The Devil's Brother" picks and chooses the proper moments to allow Laurel & Hardy to do their comedy. Despite whatever Mr. Hall may write, the boys have some of the best moments in the film. Bring on the antics!
The movie makes the most use of the team at the beginning of the film, helping to establish the plot. Thereafter they are primarily seen only to provide comic relief and not participate in driving the plot forward necessarily. This has become a criticism of fans of various comedy teams. Huge portions of movies from the 1930s and 40s would involve a romantic sub-plot with lots of singing and sporadically have comedy routines performed by the Marx Brothers, Abbott & Costello or even Laurel & Hardy. I still contend however there are enough comedy sequences incorporated into the film that fans should be able to appreciate it. It also doesn't feel like the comedy is breaking the flow of the movie, making it seem like we have two movies in one.
Laurel & Hardy play Stanlio and Ollio - don't those names just make you smile? They are a couple of hapless working class stiffs that after great turmoil - sometimes even going hungry - have managed to amass a hefty life savings. Finally they can live off the fat of the land. But as usually happened, the Gods laugh at our two friends and their fortune is taken away from them at the hands of bandits. Now they will have to start at the bottom all over again. Why at the bottom though Stanlio wonders? Can't they start at the top? What if they became bandits! It's the old "get rich quick scheme" that delighted Depression era audiences, allowing for a bit of wishful fulfillment.
This "introductory sequence" of the boys also provides audiences with a chance to understand the relationship between the characters. Although by 1933 audiences had seen enough to know already! In this sequence we can determine it is Ollio that is the "leader" of the team. However, it is usually because of his "leadership" the duo often find themselves in trouble. The robbery only occurs after Ollio - pulling his weight around - demands Stanlio hand him their life savings. It will be safer in Ollio's hands. It is at that very moment they are held-up. Stanlio is the scapegoat for Ollio's continuous failure. If Ollio has limited intelligence, Stanlio is even more gullible for himself believing Ollio is the "brains" of the team. And yet, it is Stanlio that will occasionally come up with a bright idea, for which Ollio will take credit for. This usually culminated with Hardy's character exasperating "here's another nice mess you've gotten me into", which suspiciously is absent in this movie.
And so the boys head out across the Italian countryside to pursue their new life as bandits. This results in a very funny sequence I wouldn't dream of spoiling here. The two soon discover the name of a bandit terrorizing the region known as Fra Diavolo (Dennis King). Diavolo leads a due existence. In order to mingle with the wealthy he masquerades as the Marquis de San Marco. It is said great men have lost their fortunes to him and great ladies have lost their hearts.
None of this however phases the boys. Despite some initial concerns from Stanlio about what should happen to them if they ever crossed paths with Diavolo, Ollio assures him they have nothing to worry about. Naturally the boys do encounter Diavolo which almost results in the boys meeting their end. Diavolo realizes however he may have some use for these dimwits - er I mean gentlemen. The boys can masquerade as servants of the Marquis when he travels to an inn, where he hopes to steal the fortune of Lord Rocburg (James Finlayson) and flirt with his wife, Lady Pamela (Thelma Todd) who seems more than willing to engage in an affair with the Marquis.
At the inn we learn of the innkeeper's daughter (Lucile Browne) who is in love with a poor soldier (Arthur Pierson). However it has been arranged by the father for the daughter to marry a wealthy man (Matt McHugh). While this subplot was very typical of the era - should a woman marry for love or money - it isn't give enough screen time to develop. Usually both men compete for the woman's affection. In "The Devil's Brother" the wealthy man makes one brief appearance. But the soldier has been hot on the trail of Fra Diavolo. He hopes if he can capture Diavolo the reward money will be enough for him to ask for the daughter's hand in marriage.
Amazingly, as the film celebrates its 90th anniversary, none of the themes and humor here feels terribly dated. That is remarkable for a film nearly a century old. How many movies made today do you think we will be able to say that about 100 years from now? It is a testament to the work and comedy of Laurel & Hardy. While none of their comedy routines here are as iconic as seeing them fight a gorilla on a bridge, or do a soft shoe dance, or carry a piano up a flight of stairs, the boys do make me laugh. They were much better actors than perhaps even fans give them credit for. Pay attention to their gestures and the sound of their voices. There is a subtly to their actions. That makes me laugh. Can you imagine if this was remade today? It would be a vulgar, lowest common denominator mess! That's one reason why I can't understand the criticism for this film. We should treasure movies like this because if "The Devil's Brother" and the comedy of Laurel & Hardy isn't sadly completely forgotten by now, it very soon will be. Do you think society is going to watch movies that are 100, 120, 130 years old? We live in a world where people think movies made 10 years ago are old!
As I had previously mentioned "The Devil's Brother" may be the most stylish film the boys ever appeared in. The production and costume designs look first rate. The cinematography for the most part is quite good. Oddly though, sometimes the camera seems to miss the punchline to a visual gag. The musical score is pleasant enough and King had a decent voice for the era. King and Todd have good chemistry between them with both seeming to understand the humor of their situation. Neither plays their lovemaking scenes for romance and drama. Todd in particular gives a performance that suggest a bit of a wink to the audience.
"The Devil's Brother" is an enjoyable, very well made Laurel & Hardy comedy. It may touch upon elements and themes that aren't usually associated with them but that should be celebrated not criticized. For me, this is one of their best!
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