Editing Laurel and Hardy (section)

===Style of comedy and characterizations===
[[File:Laurel and Hardy in Lucky Dog.jpg|thumb|right|Laurel and Hardy in ''[[The Lucky Dog]]'' (1921)]]
The humor of Laurel and Hardy was [[Physical comedy|highly visual]], with [[slapstick]] used for emphasis.<ref name="Bann"/> They often had physical arguments (in character) which were quite complex and involved a [[Cartoon violence|cartoonish]] style of violence. Their ineptitude and misfortune precluded them from making any real progress, even in the simplest endeavors. Much of their comedy involves "milking" a joke, where a simple idea provides a basis for multiple, ongoing gags without following a defined narrative.

Stan Laurel was of average height and weight, but appeared comparatively small and slight next to Oliver Hardy, who was {{convert|6|ft|1|in|cm|abbr=on}}<ref name=Encyclopedia>{{harvnb|Mitchell|2010}}</ref> and weighed about {{convert|280|lb|kg stlb|abbr=on|sigfig=3}} in his prime. Details of their hair and clothing were used to enhance this natural contrast. Laurel kept his hair short on the sides and back, growing it long on top to create a natural "fright wig". Typically, at times of shock, he simultaneously screwed up his face to appear as if crying while pulling up his hair. In contrast, Hardy's thinning hair was pasted on his forehead in spit curls and he sported a [[toothbrush moustache]]. To achieve a flat-footed walk, Laurel removed the heels from his shoes. Both wore [[bowler hat]]s, with Laurel's being narrower than Hardy's, and with a flattened brim.<ref>St. Mark, Tyler. [http://www.laurel-and-hardy.com/archive/articles/2010-08-hatfacts.pdf "Laurel & Hardy: The Hat Facts (Part 1)."] {{Webarchive|url=https://web.archive.org/web/20140321144325/http://www.laurel-and-hardy.com/archive/articles/2010-08-hatfacts.pdf |date=March 21, 2014 }} ''laurel-and-hardy.com'', 2010. Retrieved: December 8, 2013.</ref> The characters' normal attire called for [[Collar (clothing)|wing collar]] shirts, with Hardy wearing a necktie which he would twiddle when he was particularly self-conscious; and Laurel, a [[bow tie]]. Hardy's [[Sport coat|sports jacket]] was a little small and done up with one straining button, whereas Laurel's [[double-breasted]] jacket was loose-fitting.

A popular routine was a "[[tit for tat]]" fight with an adversary. It could be with their wives—often played by [[Mae Busch]], [[Anita Garvin]], or [[Daphne Pollard]]—or with a neighbor, often played by [[Charlie Hall (actor, born 1899)|Charlie Hall]] or [[James Finlayson (actor)|James Finlayson]]. Laurel and Hardy would accidentally damage someone's property, and the injured party would retaliate by ruining something belonging to Laurel or Hardy.<ref name="Bann">Bann, Richard W.. [http://www.laurel-and-hardy.com/players/players-legacy.html "The Legacy of Mr. Laurel & Mr. Hardy."] {{Webarchive|url=https://web.archive.org/web/20130916114518/http://laurel-and-hardy.com/players/players-legacy.html |date=September 16, 2013 }} ''laurel-and-hardy.com''. Retrieved: December 8, 2013.</ref> After calmly surveying the damage, one or the other of the "offended" parties found something else to vandalize, and the conflict escalated until both sides were simultaneously destroying items in front of each other.<ref name="Martin" /> An early example of the routine occurs in their classic short ''[[Big Business (1929 film)|Big Business]]'' (1929), which was added to the [[National Film Registry]] in 1992. Another short film which revolves around such an altercation was titled ''[[Tit for Tat (1935 film)|Tit for Tat]]'' (1935).

One of their best-remembered dialogue devices was the "Tell me that again" routine. Laurel would tell Hardy a genuinely smart idea he came up with, and Hardy would reply, "Tell me that again." Laurel would then try to repeat the idea, but, having instantly forgotten it, babble utter nonsense. Hardy, who had difficulty understanding Laurel's idea when expressed clearly, would then understand the jumbled version perfectly. While much of their comedy remained visual, humorous dialogue often occurred in Laurel and Hardy's talking films as well. Examples include:
* "You can lead a horse to water, but a pencil must be led." (Laurel, ''[[Brats (1930 film)|Brats]]'')<ref name="Martin"/>
* "I was dreaming I was awake, but I woke up and found meself asleep." (Laurel, ''[[Oliver the Eighth]]'')
* "A lot of weather we've been having lately." (Hardy, ''[[Way Out West (1937 film)|Way Out West]]'')

In some cases, their comedy bordered on the surreal, in a style Laurel called "white magic".<ref name="Bann"/><ref>{{harvnb|McCabe|1975|p=18}}</ref> For example, in the 1937 film ''Way Out West'', Laurel flicks his thumb upward as if working a [[lighter]]. His thumb ignites and he matter-of-factly lights Hardy's pipe. Amazed at seeing this, Hardy unsuccessfully attempts to duplicate it throughout the film. Much later he finally succeeds, only to be terrified when his thumb catches fire. Laurel expands the joke in the 1938 film ''[[Block-Heads]]'' by pouring tobacco into his clenched fist and smoking it as though it were a pipe, again to Hardy's bemusement. This time, the joke ends when a match Laurel was using relights itself, Hardy throws it into the fireplace, and it explodes with a loud bang.

Rather than showing Hardy suffering the pain of misfortunes, such as falling down stairs or being beaten by a thug, banging and crashing sound effects were often used so the audience could visualize the mayhem.<ref name="Bann"/> The 1927 film ''[[Sailors, Beware!]]'' was a significant one for Hardy because two of his enduring trademarks were developed. The first was his "tie twiddle" to demonstrate embarrassment.<ref name="Bann"/> Hardy, while acting, had received a pail of water in the face. He said, "I had been expecting it, but I didn't expect it at that particular moment. It threw me mentally and I couldn't think what to do next, so I waved the tie in a kind of tiddly-widdly fashion to show embarrassment while trying to look friendly."<ref>{{harvnb|McCabe|1987|p=123}}</ref> His second trademark was the "camera look", where he breaks the [[fourth wall]] and, in frustration, stares directly at the audience.<ref name="Martin"/> Hardy said: "I had to become exasperated, so I just stared right into the camera and registered my disgust."<ref>{{harvnb|McCabe|1987|p=124}}</ref> Offscreen, Laurel and Hardy were quite the opposite of their movie characters: Laurel was the industrious "idea man", while Hardy was more easygoing.<ref name="Gehring p. 5">{{harvnb|Gehring|1990|p=5}}</ref>