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by MayBeFilm

You feel like you know Russia? Besaids russians our land is nothing! Here you can see heart of Moscow. Please, come to see who we are!

Foreigner about Red Square!
You know, for me he is foreigner, for you maybe neighbour. Later I will find out who is he.

The humor of Laurel and Hardy was generally visual with slapstick used for emphasis. They often had physical arguments with each other, which were quite complex and involved cartoon violence. Their characters preclude them from making any real progress in even the simplest endeavors. For example, in Night Owls (1930) the boys want to enter a house without disturbing the occupants. Hardy pushes Laurel through an open window, but they get into an argument and Laurel closes the window on Hardy. Hardy signals for him to open the front door. Laurel opens the door but steps out to greet Hardy, and lets the door close behind him. There are several variations of Hardy and Laurel entering and leaving various doors and windows, until Laurel finally rings the doorbell, alerting the butler who falls down the stairs, scaring Hardy out the door. Once again the team is back where it started.

Much of their comedy involves milking a joke, where a simple idea provides a basis from which to build several gags. Many of their films have extended sequences constructed around a single problem the pair is facing, without following a defined narrative.

In some cases, their comedy bordered on the surreal, a style Stan Laurel called "white magic". For example, in Way Out West (1937), Laurel clenches his fist and pours tobacco into it, as if it were a pipe. Then, he flicks his thumb upward as if he held a lighter. His thumb ignites, and he matter-of-factly lights his "pipe." The amazed Hardy, seeing this, would unsuccessfully attempt to duplicate it throughout the rest of the film. Much later in the film, Hardy finally succeeds - only to be terrified when his thumb catches fire.

A common routine the team often performed was a "tit-for-tat" fight with an adversary. Typically, Laurel and Hardy accidentally damaged someone else's property. The injured party would retaliate by ruining something belonging to Laurel or Hardy, who would calmly survey the damage and find something else to vandalize. The conflict would escalate until both sides were simultaneously destroying property in front of each other. An early example of the routine occurs in their classic short, Big Business (1929), which was added to the Library of Congress as a national treasure in 1992, and one of their short films, which revolves entirely around such an altercation, was titled Tit for Tat (1935).

Many gags involved the Ford Model T car which was their favored form of transport. Several such automobiles were wrecked in the films; for example, in the short Busy Bodies (1933), Laurel and Hardy's Model T is sawn in half by a huge bandsaw (the bandsaw cutting right between them while they were sitting in it).

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 scene for themselves. Routines frequently performed by Laurel were a high pitched whooping when in peril and crying like an infant when being berated by Hardy. Hardy often looked directly at the camera, breaking the fourth wall, to express his frustration with Laurel to the film audience.

This person came to Russia, as the member of "Congress of fools". He is a legend of usa comic theatre. His humor involve everything of viewer, includ his suit. You can be weed by him and it is a reason to buy 200 dollars-ticket.

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