Seeing silent star Harry Langdon in a sound picture is one matter; seeing Oliver Hardy in a picture without Stan Laurel beside him is all but confounding. Somehow it seems fitting that it should famously be a contractual issue, and not really anything else, that led to the creation of 'Zenobia' as we see it, and that made this scenario short-lived. Then again, maybe it wasn't just the impatience of Laurel and Hardy to be reunited on-screen: filmmaker Gordon Douglas may have subsequently directed 'Saps at Sea,' one of my favorite Laurel and Hardy flicks, and Hal Roach may have been an established and esteemed producer. Langdon and Hardy, in and of themselves, may have been highly regarded icons, and I recognize the fame of co-star Lincoln Perry, also known as Stepin Fetchit. Be all that as it may, the one thing that this 1939 feature lacks is the brilliance and unfailing humor that broadly characterized the works of all these figures under other circumstances. Rest assured that it is enjoyable, and worthwhile, but if one approaches the film with the expectations that it will be an especially kindred experience, one may find themselves somewhat disappointed.
The problems this faces aren't so severe as to wholly dampen the entertainment, but they do diminish it somewhat. Douglas' direction feels a tad lax here, resulting in considerable reduction of the high energy that usually characterizes the antics of these actors elsewhere. In the broadest of terms the humor herein is of a notably lighter, gentler variety, to an extent exceeding how I would already tend to describe the oeuvre of (Laurel and) Hardy. There's also the fact that we're largely bereft of the central dynamics of a comedic duo; as much as Roach may have tried to tout Hardy and Langdon as a pair, Langdon has far less presence in these proceedings. And, well, though the incidence here is earnest, and even softly rebukes the antiquated, harmful attitudes of old, the fact remains that this is set in 1870, the only black characters are servants, and the language surrounding them and the mannerisms the actors are instructed to adopt are in no small measure reflective of those same antiquated values. To these facets add others that grow tiresome quickly - including and not limited to Billie Burke's high-pitched gibbering as Mrs. Tibbett, or the flimsiness of the key story idea of poor reactions to Zenobia's affections. The movie is fun, but it's not without its troubles.
Still, while such matters are unfortunate, they are relatively minor and handily outweighed by the strengths the title otherwise boasts. For whatever faults may be laid upon Douglas' direction, or Corey Ford's writing, there remains substantial wit and good cheer that ultimately make the more lasting impression. If fewer than in the stars' most renowned endeavors, we're greeted with some delightful gags on top of swell situational comedy and some clever dialogue. The cast give commendable performances - not just Hardy, or Langdon, but also Jean Parker, J. Farrell MacDonald, and Philip Hurlic, among others. Zenobia herself is a joy, with kudos as well to her uncredited trainer; simple and uncomplicated as they are, what minor stunts or effects are employed here are quite fine. The costume design, hair, makeup, and sets are lovely, and in all other regards is well made. For that matter the root story is splendid, and the scene writing in and of itself maybe even more so; that there are nits to pick with the finished screenplay, well, that's subjective, anyway. The long and short of it is that 'Zenobia' is definitely a great time overall, just not a premier exemplar of contemporary comedy fare.
Whether one is a huge fan of someone involved or just looking for something good to watch, this is no major must-see but is still worthwhile on its own merits. There are other pictures I'd suggest more highly, yet that just says more about them than it does about this. One way or another there is perhaps no need to go out of your way for 'Zenobia,' but if you do have the opportunity to watch, then even with imperfections I'm pleased to give it my fair recommendation.
The problems this faces aren't so severe as to wholly dampen the entertainment, but they do diminish it somewhat. Douglas' direction feels a tad lax here, resulting in considerable reduction of the high energy that usually characterizes the antics of these actors elsewhere. In the broadest of terms the humor herein is of a notably lighter, gentler variety, to an extent exceeding how I would already tend to describe the oeuvre of (Laurel and) Hardy. There's also the fact that we're largely bereft of the central dynamics of a comedic duo; as much as Roach may have tried to tout Hardy and Langdon as a pair, Langdon has far less presence in these proceedings. And, well, though the incidence here is earnest, and even softly rebukes the antiquated, harmful attitudes of old, the fact remains that this is set in 1870, the only black characters are servants, and the language surrounding them and the mannerisms the actors are instructed to adopt are in no small measure reflective of those same antiquated values. To these facets add others that grow tiresome quickly - including and not limited to Billie Burke's high-pitched gibbering as Mrs. Tibbett, or the flimsiness of the key story idea of poor reactions to Zenobia's affections. The movie is fun, but it's not without its troubles.
Still, while such matters are unfortunate, they are relatively minor and handily outweighed by the strengths the title otherwise boasts. For whatever faults may be laid upon Douglas' direction, or Corey Ford's writing, there remains substantial wit and good cheer that ultimately make the more lasting impression. If fewer than in the stars' most renowned endeavors, we're greeted with some delightful gags on top of swell situational comedy and some clever dialogue. The cast give commendable performances - not just Hardy, or Langdon, but also Jean Parker, J. Farrell MacDonald, and Philip Hurlic, among others. Zenobia herself is a joy, with kudos as well to her uncredited trainer; simple and uncomplicated as they are, what minor stunts or effects are employed here are quite fine. The costume design, hair, makeup, and sets are lovely, and in all other regards is well made. For that matter the root story is splendid, and the scene writing in and of itself maybe even more so; that there are nits to pick with the finished screenplay, well, that's subjective, anyway. The long and short of it is that 'Zenobia' is definitely a great time overall, just not a premier exemplar of contemporary comedy fare.
Whether one is a huge fan of someone involved or just looking for something good to watch, this is no major must-see but is still worthwhile on its own merits. There are other pictures I'd suggest more highly, yet that just says more about them than it does about this. One way or another there is perhaps no need to go out of your way for 'Zenobia,' but if you do have the opportunity to watch, then even with imperfections I'm pleased to give it my fair recommendation.