The Bullfighters (1945)

Copyright 20 April 1945 by 20th Century-Fox Film Corp. New York opening at the Rialto: 11 May 1945. U.S. release: 18 May 1945. U.K. release: November 1945. Australian release: 30 August 1945. 5,613 feet. 62 minutes. NOTES: Laurel & Hardy's final American film. It may not be one of their best, but at least it fades out on the right note with Ollie exclaiming as their skeletone bodies walk towards the camera, "Well, here's another nice mess you've got me into!" COMMENT: The trouble with The Bullfighters is the story situation itself. No longer are Laurel Hardy just the amiable knuckleheads of yore, injuring no-one but themselves (and those who deserved it-the pompous, the self-opinionated, the greedy) but here they are a positive menace to society at large, directly involved in the more than slightly unpleasant situation of sending an innocent man to prison for five years. Laurel protested bitterly against this utter negation of the familiar Laurel and Hardy characterizations, and you can positively sense his disillusionment at trying to buck the system in what was to be their last American film. Stan has a dual role and Oliver has amassed a delightful rotundity of girth, but one often has the feeling that the boys are just going through the motions. Nor does the support cast come up to the standard of their other Fox features. The girls are most certainly attractive, but they have a relatively minor role, the proceedings being dominated by Ralph Sanford and Richard Lane, capable enough actors within the limits of their usual type-casting, but not the sort of personalities we are likely to enjoy throughout an entire film. Production values also rate somewhat less than in the other Fox pictures. Norbert Brodine's photography is flat and the climactic bull-fight has been stitched together with generous clips from Blood and Sand. Still, for all the film's shortcomings, Laurel and Hardy are still a delight and their routines are fairly amusing.

By 1945, it was clear that the film careers of Laurel and Hardy were winding down. Their second to last feature was "The Bullfighters", wherein they play detectives who go to Mexico to arrest a larcenist. As it happens, not only is Stan a dead ringer for a noted bullfighter, but a man whom the guys helped imprison is seeking revenge.There are some funny scenes, but the movie isn't quite like their 1930s movies. On top of that, the casting of white people as Mexicans is politically incorrect. And of course, it's hard to enjoy the bullfighting scenes, knowing what a cruel sport it is. I always root for the bull. If the bullfighter gets injured...well, he knew the risks.Anyway, it's OK, not great.

I say "watchable" as if telling someone that when the dentist pulls their tooth, it'll only hurt a little while. Not a great recommendation for a film. This was it for the boys. Hollywood had essentially "forgotten" them and didn't appreciate their type of humor any more. This film is merely a stitched together series of some of the old gags used in their earlier shorts and features but without any direction or cause and effect. W. Scott Darling certainly was not a good choice at all for doing the writing considering his background in writing for the Sherlock Holmes series or the screenplay of "Ghost of Frankenstein". How did they figure that he would be adept at writing comedy for such a great team? It would be like John Huston writing something for Abbott & Costello immediately after he finished "The Maltese Falcon" or "Casablanca". NON SEQUITOR. Stan & Ollie really should have realized how much things had changed in Hollywood by the early forties and just quit while they were ahead with their "Saps At Sea" or "A Chump At Oxford", both from 1940. This film is only interesting from the viewpoint of watching what the "big studios" could do to a person's career. Sort of a "post mortem" effect.

Laurel & Hardy's last American film is also probably the best(or more accurately,least worst)of their post-Hal Roach movies.One positive aspect,unlike their previous Fox/MGM wartime efforts,is that there are scenes in the film which are reasonably in character,as likeable innocents,and not complete idiots. A reworking of the egg-breaking sequence from HOLLYWOOD PARTY(1934)works quite well,as does a water-throwing routine.Arguably the best moments in the film are with cult character actor Hank Worden,who while registering at the hotel says he can't write("He's forging my name!",Stan protests!). Where the film falters is with supposed villain Ralph Sanford.Walter Long,Rychard Cramer,Charlie Hall and James Finlayson were both menacing and funny in the Roach films,but in this film,Sanford is neither despite his bulky frame.Former Radio announcer Richard Lane is good though,but the film falters in it's second half with a hackneyed 'double' story;namely Stan being a lookalike for the great bullfighter Don Sebastian.And for the first time since their earliest silent days,Fox's make-up department do away with their comic hairstyles.Still,the film brightens up with an amusing 'freak' ending,which Stan liked to employ occasionally with the Hal Roach studios.Not a good film,but certainly a tolerable one compared to A-HAUNTING WE WILL GO(1942) and THE DANCING MASTERS(1943).