Stan Laurel Letters

STAN LAUREL COMEDIES LETTERHEAD - TYPEWRITTEN

                    Somerset Apartments
                    6075 Franklin Avenue
                    Hollywood, California
                    April 7th. '24.
Dear Mr [Warren] Doane,
          I shall be pleased if you would give me some information regarding the participation due me, also as to whether 'KILTS' and 'RUPERT OF HEE HAW' have been accepted or not.
          Awaiting your favour, best wishes,

AFFIDAVIT OF AUTHORSHIP - TYPEWRITTEN

State of California
County of Los Angeles

Stan Laurel, being duly sworn deposes that he resides at 3716 So. Van Ness, Los Angeles, California, that he is the author of "A CLOSE SHAVE", an original motion picture story, a copy of which is attached hereto, and that he is entitled to all the rights and benefits accruing thereafter.

Subscribed and sworn to before me this
17th day of November 1926

BILL OF SALE - TYPEWRITTEN

          Know all men by these Presents: That Stan Laurel, the party of the first part, for and in consideration of the sum of Ten Dollars ($10.00) gold coin of the United States of America, to him in hand paid by Hal Roach Studios Inc., the party of the second part, the receipt whereof is hereby acknowledged, does by these presents grant, sell and convey into the said party of the second part, its executors, administrators and assigns, story entitled "A CLOSE SHAVE."
          To have and to hold the same to the said party of the second part, its executors, administrators and assigns forever. And Stan Laurel does for his heirs, executors and administrators, covenant and agree to and with the said party of the second part, its executors, administrators and assigns, to warrant and defend the title to the said property, goods and chattels hereby conveyed, against the just and lawful claims and demands of all persons whomsoever.
          Witness my hand and seal this 17th day of November, 1926.

NO LETTERHEAD - TYPEWRITTEN

January 6, 1927

Hal Roach Studios, Inc.,
Culver City, California

Gentlemen:
          This will confirm our agreement that the undersigned, STAN LAUREL, will appear in that certain picture entitled "PICK A STAR", including appearances and added scenes, sound tracks, process shots, transparencies, trick shots, trailers, changes or foreign versions, as may be necessary; also as to say stills or publicity pictures that may be desirable for the exploitation of the picture.
          You shall have full title to and ownership of the picture and any sound in connection therewith and all copyrights applicable therein.
          I shall receive the sum of $15,000.00 for all of my appearances and work in connection with the picture.
                    Very truly yours,

STAN LAUREL COMEDIES LETTERHEAD - TYPEWRITTEN

                    Hal E. Roach Studio,
                    CULVER CITY. CALIF.
                    November 23rd. '27.

Miss Marion W. Neal,
Broadway,
Central Park. L.I.

Dear Miss Neal;-
          Just a line to thank you for your very sweet letter, which is greatly appreciated. I am mailing you under seperate cover, a photograph per your request. Trust you will receive same alright. I am returning herewith the Twenty Five Cents you enclosed, as the amount of my Fan Mail does'nt warrant any charges.
          Thanking you for your kind thoughts & good wishes,
                    Very Sincerely yours;-

VINTAGE POSTCARD (1928) - 718 North Bedford Drive, Beverly Hills, CA

STAN LAUREL COMEDIES LETTERHEAD - TYPEWRITTEN

                    Hal E. Roach Studio,
                    CULVER CITY. CALIF.
                    April 24th. '28.

Dear Friend Duncan [Boss];-
           Just received yours of the 11th.inst. I also got the one dated in January, for which you really must excuse me for not answering, but to tell you the truth, I haven't had much time for correspondence this last few months. Firstly, my Wife presented me with a Baby Girl last December & two or three months later had to go back to the hospital again for a major operation & have just got her home again, so what with trying to make pictures & taking care of the family you can fully understand how busy I have been & I trust you will pardon me this time.
           I note in your letters that you have been keeping in close touch with our Comedies & am delighted to know that you like them so well. It certainly is encouraging & your criticism is greatly appreciated - Very Many Thanks. Glad you liked 'THE FINISHING TOUCH', we were
kind of disappointed with it here, felt that it was'nt up to our standard - maybe it's good that we feel
that way sometimes - makes us try to do better. Of course
we can't expect to do knockouts every time especially as we
make a picture in eight to ten days & ideas for material
do'nt come easy, so we must consider ourselves pretty lucky up to now.
           Well Duncan, I will close for now, again thanking you for your delightful letters & kind wishes etc. Trust alls well with you,
           I remain,
                     Very sincerely yours;-

STAN'S FORMER HOUSE TODAY - 718 North Bedford Drive, Beverly Hills, CA

Stan and Lois Laurel moved into this large Beverly Hills home in 1928 after the birth of their daughter Lois. They resided in this home until 1930. It was an incredibly productive period during which Laurel and Hardy filmed "Big Business," "Double Whoopee," and their first talkie: "Unaccustomed As We Are," among others. During that period, the pair also lensed "The Rogue Song," one of the most sought after lost films of the Golden Age of Cinema. —Editor

STAN LAUREL LETTERHEAD - TYPEWRITTEN

                    Hal E. Roach Studio,
                    CULVER CITY. CALIF.
                    Sept. 6th. '28.
Dear Friend Duncan [Boss];-
          Very many thanks for the box of Salt Water Candy received safely yesterday. It is greatly appreciated - very thoughtful of you indeed. I am having some dental work done at present, so am unable to try the candy & tell you how good it is - but just wait till I get my teeth!
          I anticipate you are having your vacation, trust you are having a real good time - I played in Atlantic City a couple of times at the Globe Theatre & the Keith House on the Boardwalk - had a wonderful couple of weeks, enjoyed it immensely.
          Have you seen any of our latest pictures? We have one running at the Embassy Theatre New York "TWO TARS" they are giving it quite a lot of advertising so I guess it must be going O.K. Everything here is just as usual, working hard & still trying to make funny pictures. What do you think of the Talkies? Up to now I don't think so much of them - of course they are not perfected yet by a long way - I think will take quite a while before they are. It is a wonderful thing, but I like the silent ones better.
          Well Duncan, won't bore you, so will close. Again many thanks for your kindness. With regards & good wishes,
                    Very sincerely;-

HAL ROACH STUDIOS LETTERHEAD - Culver City, CA - TYPEWRITTEN

Nov. 20th, 1929

Gentlemen:
          I desire to accept an engagement for appearance at the Fox Theatre in San Francisco during the week commencing November 21st, 1929 and ending November 28th, 1929, returning to the studio on the 29th.
          During the period of such engagement I request a suspension of the terms of the contract now in existence. All terms and conditions to become applicable again on November 29th, 1929. Such suspension to be for the purpose aforesaid and no other.
                    Yours very truly,

HAL ROACH, STAN LAUREL AND FRED KARNO - August 12, 1930

Fred Karno (1866-1941) was a British theatre and film impresario who worked with Charlie Chaplin and Stan Laurel in the early stages of their careers. This vintage photo (signed and inscribed by Karno) shows him shaking the hand of Hal Roach (1892-1992), clad in golfing attire. Alongside him on the porch stands Stan Laurel wearing a suit and hat. —Editor

LAUREL AND HARDY LETTERHEAD - TYPEWRITTEN

En route to England.
July 14th.'32

Mr. Jimmy Reed,
Capital Theatre,
LEITH.
Scotland.

My Dear Friend Jimmy:-
          Needless to tell you what a pleasant surprise it was to hear from you after all these years. Sure, I remember you very well. I'll never forget that fateful trip to Holland & Belgium. I am very happy to know that you are doing so well & sincerely trust you will enjoy continued success. I hear from Ted Leo once in a while. He has a Jazz band in Glasgow. Very sorry to hear of the news of your Dad but glad to note your Mother is well. Give her my very best. I sent you a picture before I left Los Angeles, hope you get it all right. Hardy & I leave New York July 16th. "AQUITANIA" for London & we are going to visit Glasgow & Edinburgh, so if you have a chance to come see me in Edinburgh, do so. I will advise you later, the date of our arrival there. Glad to note our pictures are doing so well for you. We have just finished another feature picture entitled:- "PACK UP YOUR TROUBLES." I am looking forward to it doing enormous business. it's a good picture Jimmy & everybody that has seen it, thinks that it is the best thing that we have made. We are expecting to have a trade showing of it in LONDON, so you will probably get all the dope on it from that source. Well, Jimmy, I hope I have the pleasure of seeing you again when I am over there.
         With kindest regards and sincere good wishes always,
          As ever, your old friend:-

P.S. Will you ever forget the Palace Theatre in Leige (Belgium) All our props were out on the sidewalk next morning & the kids playing with them. I often think of it & get many a laugh.

LAUREL AND HARDY LETTERHEAD - HANDWRITTEN

                    Hal E. Roach Studio,
                    CULVER CITY. CALIF.
                    U.S.A. Sept. 20th '32.
Hello Bill [Jacobs]!
          I met Dave Beekler in N.Y. He gave me your address - wish you would drop in at the studio - would love to see you. Am starting a new picture tomorrow, come & have lunch with me - any way -
          all news when I see you -
                    Yours as ever:-

LAUREL AND HARDY LETTERHEAD - HANDWRITTEN

                    Hal E. Roach Studio,
                    Culver City. Calif. U.S.A.
                    Sept.30th.'32.
Dear Friend Eric -
          Our mail was so heavy, impossible to handle - we shipped it back home - unopened. Hence delay in rely to your letter. Certainly appreciate your kind thoughts - wish we had had the pleasure of visiting Derby. I played there quite a few years ago - & as you realise our trip was short & we couldn't go everywhere. Glad to hear "Jailbirds" did so well. Hope you will like "Pack Up Your Troubles" our next full length picture. Again my thanks -
                    with best wishes always!

                    L&H.

LAUREL AND HARDY LETTERHEAD - HANDWRITTEN EXCERPT

Oct. 4th '32.
Mrs. Wray,
Thanks for mentioning my little Brother's grave - I thought of it while I was there, but was unable to go where I wanted to go, my whole time was taken up with Public - Press - & Photographers. I went over for a rest - but came back a nervous wreck.

LAUREL AND HARDY LETTERHEAD - TYPEWRITTEN

                    Hal E. Roach Studio,
                    Culver City, Cal.
                    January 10, 1933.
James Reed Esq.,
Manager "La Scala"
Sauchihall Street,
Glasgow, Scotland.

My dear Jimmy [Reed]:
          Many thanks for yours to hand.
          Was more than delighted to note your advancement and I am sure you will more than fulfil Mr. King's faith in you. He is a great fellow, Jimmy, and if he likes you, he would go to hell for you; so, stick in and do all in your power to make him proud of you.
          I will certainly send you a cablegram on the 16th, and anything further I can do to help you, don't forget to let me know.
          Sincerely trust you will be record business with "Pack Up Your Troubles".
          Needless to tell you how happy and delighted I was to see you again after all those years, and more so to know that you were standing on your own two feet.
          Give my kindest regards to all the cinema trade in Glasgow and tell them how much we deeply appreciated their kindness during our visit.
          When you see Ted Desmond again, tell him that I am at the same address and if he can ever stop hitting that drum and playing with his Tom-Toms, I would love to have a couple of lines.
          Will close now wishing you a Happy and Prosperous New Year, jolly good luck always,
                    Yours as ever,

LAUREL AND HARDY LETTERHEAD - TYPEWRITTEN

                    Hal E. Roach Studio,
                    CULVER CITY. CALIF.
                    U.S.A. March 20th. '33.
James Reed Esq.,
"La Scala"
Sauchihall Street,
Glasgow, Scotland.

Dear Jimmy [Reed]:-
          Thanks for yours of Jan.31st.
Glad to note "PACK UP YOUR TROUBLES" did well for you. Thanks for picture of the telegram. Pleased to know you have gotten off to a flying start - keep up the good work Jimmy.
          We have just finished another Feature length picture - this time it is a comic opera "FRA DIAVALO" - we have'nt previewed it yet but it is looking pretty good - it is entirely different to what we have ever done, so am anxiously waiting results. Guess you will be getting press material on it pretty soon. Sorry to note Gertie was down with the Flu, give her my love & tell that egg Ted to hurry & drop me a line. My best to all the gang - trust alls well & happy with you.
          Much haste,
                    Yours as ever:-

HAL ROACH STUDIOS LETTERHEAD - Culver City, CA - TYPEWRITTEN

June 15, 1933

Dear Charles,
          We are only too glad to comply with your recent request, and a photograph for your nephew is enclosed.
          Please tell him that we both appreciate his interest in our pictures. It always pleases us to hear that we are making such young people happy with our comedies.
          Hoping to see you when you come out west again.
                    Yours sincerely,

                    STAN LAUREL
                         &
                    OLIVER HARDY

LAUREL AND HARDY LETTERHEAD - TYPEWRITTEN

                    Hal E. Roach Studio,
                    CULVER CITY. CALIF.
                    U.S.A. Nov. 14th. '33.
Herbert A. Yapp Esq.,
Morden Cinema
MORDEN, SURREY.
ENGLAND.

Dear Mr. Yapp:-
          Very many thanks for yours of Oct 30th.
Needless to tell you how much I appreciate your kindness. The old play bill of 1837 just thrilled me to death - I got an awful kick out of it & so has everyone else I've shown it to. I have a hobby of collecting antiques & I will add this play bill to my collection with great pride. I have just had it framed to preserve it. Having just made the picture of the Opera, makes it more interesting than ever - again many many thanks. Glad to note you played the picture - trust it did well for you. Just finished another full length one entitled "SONS OF THE DESERT" hope you will like it. Should I hear of anyone wishing to purchase old play bills, will be more than pleased to have them get in touch with you.
          Kindest regards & best wishes always,
                    Very sincerely:-

LAUREL AND HARDY LETTERHEAD - TYPEWRITTEN

                    Feb.1st.'34
Ethel Dear,
          Thanks so much for your cute card - I got quite a kick out of. Am looking forward to seeing you again real soon. Won't diet too much.
                    Kindest Thoughts Always,

THE GATE TO STAN'S FORMER HOUSE TODAY - 10353 Glenbarr Ave., Cheviot Hills, CA

In 1934, Stan and Ruth Laurel moved into a house at 10353 Glenbarr Avenue in Cheviot Hills, California. The house, just a few blocks from the one used in "Big Business" was his home until he moved to 20213 Strathern Street in Canoga Park in 1938. Dubbed "Fort Laurel"—primarily due to the rather imposing brick wall around the property—this large, storied former home of Stan's is no longer standing. —Editor

LAUREL AND HARDY LETTERHEAD - TYPEWRITTEN [EDITED]

                    March 26th.'34.
Dear Friend Ethel-
          Please excuse pencil.
Thanks so much dear for your kind letter. It was awfully sweet of you & I appreciate your kind thoughts.
          Trust alls well & happy with you. I will still be coming East - if I do will let you know.
                    Kindest regards always!

LAUREL AND HARDY LETTERHEAD - TYPEWRITTEN

Sept., 4th. 1934.
Mr. H. A. Yapp
c/o Modern Cinema
Morden,
Surrey
ENGLAND.

Dear Mr. Yapp:-
          Was delighted to get your letter some time ago and trust you will pardon the delay in answering same, due to a very busy season.
          I am very grateful for the Old Play Bill of "FRA DIAVOLO" Theatre Royal, Covent Garden, 1837, which you so kindly sent me, and same occupies a very prominent place in my collection decorating the walls of my den.
          I trust that you have enjoyed a large patronage at your new theatre since it's opening, and have not been disappointed in the Laurel and Hardy comedies.
          We are now making "BABES IN TOYLAND" which should go over very big everywhere. This new feature length comedy is scheduled for release about Dec. first.
          Thanking you again for your letter and Play Bill, and with very best wishes, I am,
                    Sincerely yours

LAUREL AND HARDY LETTERHEAD - TYPEWRITTEN

Sept., 4th. 1934.
Mr. Tom E. Wild
1327 South Union St.,
Traverse City,
Mich.

Dear Mr. Wild:-
          We received your letter some time ago, and am sorry the delay in answering same, however, if you will advise me your best figure on the 3 acts referred to I will be glad yo go into the matter further with Mr. Hardy.
          Kindly let me hear from you by return mail and I will see if something can be worked out.
          Will be pleased to receive the full plots of the 3 acts mentioned in your letter, and thanks again for calling this to our attention.
          Wishing you the best of luck, we are,
                    Sincerely yours

STAN LAUREL PRODUCTIONS LETTERHEAD - HANDWRITTEN

                    Jan.7th.'35.
Dear Mr. Newbold -
           Thanks for your letter - Note you received the plots O.K. I am sorry I cannot help you out in the matter as they are of no value to me at the present time. I am returning per your request the copy of the song - I think your best bet would be to try & sell it to some radio comedian whose style it might fit.
          Wishing yourself & family a healthy prosperous New Year & lots of luck always!
                    Very truly yours,

PACIFIC TELEGRAM - TYPEWRITTEN

August 16, 1935
AVALON CALIF

MRS WILL ROGERS=

=OUR DEEPEST SYMPATHY WORDS ARE SO INADEQUATE WHEN ONE TRIES TO SPEAK FROM THE HEART WILL HAS LEFT THE WHOLE WORLD ENRICHED WE SHALL ALWAYS MISS HIM BUT HIS SPLENDID LIFE SHALL ALWAYS BE AN INSPIRATION TO US=
=LAUREL AND HARDY.

Will Rogers (1879-1935), was an American humorist and social critic. He began his career as a cowboy and rose to international fame as an author, lecturer, and star of vaudeville, motion pictures, and radio. Rogers, known for his homespun humor, made films for Hal Roach, and is best known for his quotation, "I never met a man I didn't like." Rogers died in a plane crash near Point Barrow, Alaska flying with Wiley Post, a pioneer American aviator on August 15, 1935. —Editor

STAN LAUREL PRODUCTIONS LETTERHEAD - TYPEWRITTEN

                    Hal E. Roach Studios
                    Culver City, Calif.

                    October 18, 1935

Mr. Tom E. Wild,
1327 S. Union St.,
Traverse City, Mich.

Dear Mr. Wild:
           Your letter of October 9th is acknowledged with thanks. Sorry I wouldn't be interested in your comedy sketch "The Bachelor's Nightmare" at the present time.
          Thanks for your inquiry, and with best wishes, I remain
                    Truly yours,

SL/EM

STAN LAUREL PRODUCTIONS LETTERHEAD - TYPEWRITTEN

                    10353 Glenbarr Ave.,
                    Palms Station,
                    Los Angeles, Calif.
                    December 7, 1935

Mr. Duncan Boss,
299 Market Street,
Paterson, N.J.

My Dear Duncan:
          Please pardon the delay in replying to your last letter, as you understand it was owing to my trying to get adjusted again. Your letter arrived at the time I was having my troubles with the studio, and I greatly appreciate your offer of assistance in writing to Mr. Carl Laemmle.
          At that time you mentioned how much you liked my stationery. I had it made here in Los Angeles, and have since looked it up and found that the same type of paper is handled by H. Reeve Angel & Company, Inc., in New York City.
          I am expecting to be in New York around the end of May next and will advise you upon my arrival as I would very much like to meet you again and swap experiences.
          Kindest regards always, Duncan

SL/EM

THE STAN LAUREL
CORRESPONDENCE ARCHIVE PROJECT
HOPES TO COLLECT AND CATALOG
LETTERS FROM STAN TO BETTER
UNDERSTAND HIS LIFE AND CELEBRATE
HIS COMEDIC GENIUS.

IF YOU HAVE AN ORIGINAL
LETTER FROM STAN OR HAVE A COPY
NOT INCLUDED IN THESE ARCHIVES,
PLEASE ADD A COPY OF YOUR LETTER
BY CONTACTING US VIA E-MAIL AT:
INFO@LETTERSFROMSTAN.COM

Rolin studios are trying out a comedy in which Stan Laurel, an English comedian, is playing the chief vole. Just what plans Rolin has in mind, have not been made public, although it is assumed that the first Laurel comedy will be sent forward to Pathé in New York at the earliest moment for a 'once-over' by the famous "Board of Fifteen," which decides the fate of all pictures that go through Pathé channels.

—The San Antonio Light (August 18, 1918)

Told to the "Picturegoer" by [Arthur] Jefferson, his father, who acted Repertory with George Arliss, when the Disraeli of the talkies earned thirty shillings a week.
     Thirty years ago a sad-eyed, brown-haired boy "played the comic" in the attic of his home at North Shields. He must have fooled delightfully before the fragments of real stage scenery that had come his way as a result of his father being a touring actor in drama. Anyway, his playmates never thought of asking for the return of the pins, cigarette cards, or marbles they had paid for admission.
     Since then the price of his hire has jumped from pins to many hundreds of pounds a week—and is still soaring.
     That boy was Stan Laurel, now of Laurel and Hardy fame and one of the three greatest comedians of the talkies; then, just Stanley Jefferson, schoolboy.
     His father, peeping in at the attic door in those early days, was not entirely pleased with the performances he saw.
     For one thing, he personally loved the drama. He lived by and for the drama. For another, he had toured the country for years in a company of Irish players with a man named George Arliss, he and Arliss taking leading parts—and what would George Arliss think of a dramatic actor's son who had no ambitions above "playing the comic"?
     Mr. Jefferson placed a lot of importance on what George would think: for they were great friends. Had they not (as a delightful letter recently received from the film Disraeli, which Laurel's lather showed me) spent many struggling bitter-sweet years together in touring repertory. They got thirty shillings a week each "when they could get it."
     No, he used to ponder at that attic door, George would not be pleased. Nor was the tearful, 'plaintive comedy which Stan essayed altogether in the Jefferson tradition.
      Indeed, the Jeffersons had been one of the six families that were the drama round about the 1850's, in the heyday of the theatre. Joseph Jefferson [Stan's grandfather] had swept through America like a whirlwind in 1858, playing Lord Dundreary there 800 times.

This is Stan's father, Mr. Jefferson, a veteran actor.

     Stan would never sweep through modern America like a whirlwind with such fooling as this, strangely funny though it seemed.
     But... never. Well, never is a long time. Who could have foreseen the talkies? Who could have foreseen that the wistful drollery of this little boy in a North Shields attic would one day hold thousands of American audiences simultaneously?
     Hereabouts something big came into Stan's young life, but he did not realise its greatness. I will let his father tell it in his own way.
     "I went up to London," he says. "And while there I met a Mr. Walter Gibbons—now Sir. And he showed me a marvelous appliance that would project living, moving pictures on to a screen.
     "He called it the Randvoll and, having seen the miracles he had described to me with my own eyes, I bought it.
     "And so it came about that I took the first kinema projector to the North. And did the North like it? Not a bit Not even when I put a singer at the back and tried to synchronise her with the film.
     "And did Stan get excited? Not a bit. I don't remember a single display of enthusiasm on his part,
     "In that black box lay his future fortunes. And he was not even interested.
     "I sold it in the end for a trifle to a man with whom I was having a drink. He started in the moving-picture business with it. To-day he is a leading film magnate, but I shan't hint at his identity, except to say that I sometimes see him arriving at his office in Wardour Street in his Rolls-Royce."
     Yes, that black box was to make rich and world-famous the little boy who was fooling upstairs in the attic. "But," said Mr. Jefferson pathetically, "whatever it was to do for my son, it was to kill my great love, the drama."
     One morning Stan walked out ambitiously with his bag to "start touring like Dad"—but not altogether like Dad, for he went as a small-part comedian.
     A few small parts in even smaller companies, a few months of struggle and bitter disillusionment, and he joined Fred Karno's company.
     "You'll be understudy to that fellow over there in the corner and do a bit of stuff yourself," they told him.
     Stan looked in the direction indicated. "That fellow over there" was another small-part comedian, but he looked very great and very important to Stan Laurel at the moment. Stan, as his understudy, was probably the only man in the world who felt that way towards him.
     His name was Charles Chaplin.

Stan in a vaudeville impersonation of a friend of his, Chaplin, whom he understudied in Fred Karno's "Mumming Birds."

The Karno company moved to America for a tour and then came back; all of it, that is, except the quaint little man named Charles Chaplin and the quaint little admirer who understudied him—perhaps the first man in the world to idolise the artist of the queer walk and the heart-breaking style of humour.
     Charlie went on the films almost at once and made good. Stan, not so fortunate, went into juvenile parts on tour, and all but starved. He had years of heartbreak. But always he kept his eyes on Hollywood, until one day his chance on the films came... Only when he was doing well dare he let Charlie Chaplin know his whereabouts. Then: "Why didn't you let me know before?" asked Charlie.
     "Stan has owed much, since, to Charlie's encouragement." said Mr. Jefferson. They meet, of course. And he has talked to his little understudy of Karno days as he cannot talk to anyone else about those years of struggling."
     And then, with Stan Laurel already, making his way on the films, a certain Oliver Hardy smiled his way into the picture.
      Mr. Hal Roach, Stan's employer, told him that if he wanted to "go over as big as possible" he wanted foil, somebody who would provide a humour that would contrast with his own, and hunted out Oliver Hardy, music-hall comedian.
     "He was not quite as 'opposite' as desired," added Mr. Jefferson, "but Stan altered his own style drastically—and then he was."

Hal Roach, who formed the famous Laurel-Hardy team.

Just when success was coming, Stan Laurel came to England for his first holiday and told his father he was going to fly to Paris.
     "You'd better make your will," his father replied.
     "And do you know," Mr. Jefferson relates "that within three hours the London evening papers were full of the story of a crash in a French field.
     "Stan did not matter to them then. He was quite unknown, of course. But I always think that if some talkie camera had got him sitting wistfully on a shattered box waiting for help to arrive, as he was when they found him, we should have got his best picture.'
     Laurel is a glutton for work. He hardly ever has a holiday and, if he does, it is a short one. As he finishes one film he starts another. There are always three waiting.
     But—as his biggest critic—his father has a word of advice to offer him.
     "Although he is soaring in salary and popularity, I would tell you that there is much more in him than the films have brought out of him as yet. He has that humour that makes you cry. He and Charlie Chaplin alone have it—and probably it is because they have a certain similarity that they found themselves picked for the same Karno part.
     "But that form of humour—which is the best, I think, humour being very near to pathos—has never been brought out fully in his films. Sometimes, sitting in the Walpole Cinema, Ealing, where I always go—and I get a cheap seat for preference because it is neat the screen and I thus get near him—I think he is going to give it.
     "And then the chance goes. I feel then that I want to dash right up to the screen and say. 'Stan, Stan..." as if my encouragement could help him to break away from the 'book' a little and give us a bit more of what England wants and a little less of what America expects.
     "I feel as if such a word from me would help him to say, 'I am going to give of my best, whether you like it or lump it, and not suit my style to a particular demand'—which is real art.
     "I sent him a little sketch of my own, which they filmed under the stupid title of 'Another Fine Mess,' and I didn't like the American angle they got on it one bit.
     "But I think he is going to get the chance to give what he wants to give, from what I can hear."

Little Lois Laurel is lucky! When her father has exhausted his humour she can always fall back on the antics of "Uncle Hardy."

Laurel's mother is dead, and I asked his father why he didn't go to Hollywood to join his son and the little family of a wife and wee daughter.
     "He has asked me to, but it would mean retirement," he said. "And I want to work again, in drama, on the real boards. Away from the footlights I feel so lonely at nights, except when I go to see Stan.'
      This fine old man, who is marching toward seventy, and who bears an amazing resemblance to his son, looked unexpectedly sad as he continued.
     "But what is there in drama for me now? The silent films played havoc with it. The talkies came and killed the silent; and film actors tasted the tragedy that the old dramatic actors had suffered a few years before.
     "The old order changeth... What will they give us next—talkies televised direct to our fire-sides? I wonder. I wonder."

—Picturegoer Weekly (January 9, 1932)

Arthur S. Jefferson and daughter Lois

A couple of guys who like to fish went down to the sea the other day, armed with $5,000 worth of fishing tackles. For seven hours they cruised up and down the waves off Catalina Island. But they didn't catch a thing: not even a cold.
     One of the guys was Stan Laurel, who finds time to act, in the movies when he isn't fishing. On the screen he's funny. Fishing, he's amazingly unfunny.
     The other was your correspondent, who fully expected the expensive array of placatorial gadgets to lure nothing short of a whale, and who half expected that more impetuous inhabitants of the deep would leap aboard the star's boat demanding autographed hooks.
     Neither of these things happened. Our primary objectives were swordfish, but apparently they were off somewhere else. Perhaps they were staging their annual summer fencing tournament and couldn't be bothered.

     But we had a jot of fun just the same. Laurel's boat, the Ruth L., a 50-foot cabin cruiser, is one of the fastest on the Pacific coast. Hits around 35 knots, wide open. There's a galley, sleeping room for eight, and a pair of comfortable fishing chairs at the stern.
     There's a captain, too, a lanky gent with a frown face. Laurel wouldn't know what to do if the engines sputtered and died, and he seldom takes the wheel himself. The skipper also baits Mr. Laurel's hooks, rules the galley, and keeps everything amazingly ship-shape.
     The captain would wash dishes, too. If Laurel didn't like that chore himself, But Stan doesn't wash 'em in approved manner. He grabs a plate like a discus, leans overboard, and lets the rushing water lick the plate clean. "Fun." he said. We tried it, too. It was fun.
     Ruth Laurel, the comedian's pretty blond wife for whom the boat is named, also likes to fish. She accompanied us and, like all good anglers, didn't moan because the fish wouldn't bite. She dozed off occasionally, but otherwise her fishing deportment was class AAA.
     The amount of fishing tackles on Laurel's boat is astounding. Two lockers are jammed full of leaders, feathered lures, hooks, canned bait, assorted rods, and an even dozen reels ranging in size from 50 to 500 yards. There's even a live bait tank, hidden beneath an otherwise swanky leather chair. Laurel knows exactly what everything is for and he bandies a rod like an expert.
     He bought the boat a year ago from a Catalina tuna club member, and the equipment was included. He caught a 171 pound swordfish last summer, but hasn't been able to hook another since. (See postscript.) He catches lots of sharks and smaller fish, though.
     If his swordfish luck doesn't improve, however, Mr. Laurel is going to crate, or whatever they do to boats, and ship it by steamer to the gulf of Lower California. He'd like to catch a swordfish once a week, at least. And he hears that fishing is better there. "There are hundreds of 'em down there," he says. "They say it's terrific." That's just how nutty Mr. Laurel is about fishing.
     Laurel's screen partner, the hefty Mr. Oliver Hardy, seldom goes to sea with the other half of the team. Hardy's a golf bug, which doesn't exactly make Mr. Laurel unhappy. "We can't see the boat when Ollie gets on," says Stan.

Mack Sennett announced that he had signed Stan Laurel to star in a series of films he will make with a new producing company to be known as Sennett Pictures Corporation. Laurel was under contract to Hal Roach as a member of the Laurel and Hardy comedy team, until last month, when Roach broke up the combination, alleging that Laurel violated his contract, and substituted Harry Langdon as Hardy's mate.
Sennett's first Laurel picture will be "Problem Child," story of a son of midget parents who grows up to full size. .Jed Buell, who made "The Terror of Tiny Town," an all-midget feature, has been signed as associate producer. No releasing date has been set for the films, but the announcement marks Sennett's return to the production field after several years of semi-retirement.