GamerTab That was an excellent one.

Lucybespro It is a performances centric movie

ChicRawIdol A brilliant film that helped define a genre

Baseshment I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

classicsoncall Laurel and Hardy double the fun here as a pair of twin brothers separated at childhood, and the film does it's best to keep them apart as they manage to confound everyone in their immediate vicinity, including wives Bubbles Laurel (Betty Healey) and Daphne Hardy (Daphne Pollard). I was expecting the 'lost' Bert and Al to show up as a couple of villains since that seemed to be the set up with Ollie's letter from his Mother, but they wound up being as bumbling a duo as Stan and Ollie. Arriving ashore via the SS Periwinkle, part of their gag consists of investing their earnings with James Finlayson, and delivering a pearl ring for their Captain (Sidney Toler). As the pace of the picture quickens, it's easy enough to get the brother pairs mixed up if you're not paying attention, but the sound track helps out a bit, using the familiar Laurel and Hardy theme music when Stan and Ollie appear on screen, while a typical pirate tune heralds the seafaring duo. When I was watching these Laurel and Hardy flicks as a kid back in the Fifties, the pictures weren't quite twenty years old; now, they're not quite eighty years old! Still, it's easy enough to recall the better ones when you catch a scene like the cement tub gag at the end of the story, with the boys rocking back and forth in that impossible balancing act. All in all, a fun romp with one of the classic comedy duos from the early days.

BJJManchester 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.

Theo Robertson Normally when you see a Laural and Hardy short you notice that the script is rather disjointed and comes across as a series of sketches with no real plot at the core and considering that OUR RELATIONS lasts for a a total of 73 minutes I came to it expecting a rather incoherent story saved only by the uncanny ability of Stan and Ollie being able to tickle my funny bone My doubts were unfounded because this is a fairly tightly plotted comedy where Stan and Ollie suffer from a case of mistaken identity . Of course it's not flawless and there's some very serious suspension of disbelief needed . What's the chances of Stan and Ollie having two identical brothers ? So identical that they also share the exact same mannerisms . Not only that but they also end up through a series of unlikely events sharing the exact same clothes and appearing at the same locations that their twin brothers attend . The mind boggles at these coincidences It really says something of the standard of Laurel and Hardy that despite noticing these coincidences this feature wasn't ruined in any way . It should also be noted that OUR RELATIONS feels more cinematic than many of the shorts that come across as very stagey , about the only criticism on a technical level is the pier scene ( Prepare to wet yourself ) which is rather poorly edited , but this is a very good Stan and Ollie feature

tedg 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.