The Oscar Worthiness of BLOCK-HEADS By Rowan Tucker-Meyer

In this year’s 31 Days of Oscar lineup (also available on WatchTCM), among all of the classics we’ve watched and rewatched many times, there is one movie that may at first glance appear to be slightly out of place: the Laurel and Hardy film BLOCK-HEADS (’38). Although it is not as well known or acclaimed, I believe that it is every bit as good as most of the other Oscar-nominated films being shown this month.

In BLOCK-HEADS, Laurel and Hardy portray, as the title suggests, two not-so-bright fellows. The film opens with footage of World War I and we meet Stan and Ollie, two soldiers in the trenches. While the rest of the company goes into battle, Stan is ordered to stay back and guard the trench. In a delightfully dark turn of events, the other soldiers never return, news of the eventual armistice never reaches Stan and he dutifully guards the trench… for 21 years. The year is now 1938, and Stan has been subsisting solely on cans of beans. We even see a humongous mountain of 21 years’ worth of bean cans; it is a haunting image. He is discovered and returned to society, and when Ollie sees his friend’s photograph in the paper he decides to invite him over for dinner. Mayhem, needless to say, ensues.

I first saw this film a few months ago and it was one of my most delightful movie-watching experiences in recent memory. I hadn’t laughed so hard at a movie in a long time. With a running length of just 57 minutes, it’s densely packed with great gags which I won’t attempt to describe here. I’ll just say that my personal favorite gag is the one involving a football and leave it at that.

BLOCK-HEADS was nominated for Best Original Score. Marvin Hatley’s score is certainly good (even if it was often difficult to hear over the sound of my uproarious laughter), but it does seem a bit odd that it’s all that BLOCK-HEADS was nominated for, since it’s just about the last thing you think about when you finish watching this movie. You’re thinking about the hilarious performances by Laurel and Hardy – their gestures and facial expressions – the way Hardy reflexively touches his hat and the way Laurel sways side to side when he’s standing around, not really knowing what to do with himself. Or maybe you’re thinking about the script with its brilliant setups and payoffs. But the actors, writers and directors of movies like BLOCK-HEADS would rarely find themselves nominated for awards.

The film’s director, John G. Blystone, was never nominated for an Oscar. Neither were any of the film’s five writers. Laurel received an honorary Oscar in 1961, but apart from that, Laurel and Hardy themselves were never nominated for anything, even though their performances have aged remarkably well. As for their films, BLOCK-HEADS and WAY OUT WEST (’37) earned Best Original Score nominations, while THE MUSIC BOX (’32) won and TIT FOR TAT (’35) was nominated for Best Live Action Short Subject, Comedy. Tellingly, their work was mainly recognized when competing in a category specifically devoted to comedy, which was discontinued in 1937. Although today Laurel and Hardy are beloved icons and many classic film lovers will agree that their films have stood the test of time, those movies simply weren’t seen as worthy of much recognition when they were first released, except in peripheral categories. (I find it amusing that, although BLOCK-HEADS had no realistic chance of getting a Best Picture nomination at the 11th Oscars, it currently has a better IMDB rating than 6 of the 10 movies that were nominated instead.)

Comedies, particularly “lowbrow” comedies such as Laurel and Hardy’s slapstick-heavy movies, are seldom honored by the Oscars. The films of classic comedians such as Abbott and Costello, the Marx Brothers, Olsen and Johnson and W.C. Fields were regularly ignored. And this trend persists to the present day, perhaps to an even greater extent than in the 1930s. Best Picture nominees are notoriously drama-dominated, and the comedies that do get nominated are nearly always “comedy-dramas” like JOJO RABBIT (2019) which have an underlying seriousness at their core. Silliness for its own sake consistently goes unrewarded, whether it’s from Melissa McCarthy, Jack Black, Will Ferrell or Tyler Perry. Whether or not you think today’s comedians are comparable to those of the ‘30s and ‘40s, it is interesting to consider that Laurel and Hardy may have been viewed in their time the same way that critics receive an Adam Sandler comedy today, only for them to become respected decades later.

Great slapstick is really quite beautiful. Its humor is ageless and universal, striking some indescribable chord in our collective human psyche. What is it about Oliver Hardy slipping and falling on a rolling pin that makes us laugh? I’m not sure, but it’s hard to deny that slapstick has a mysterious power. Silliness deserves respect, especially when it is executed as exquisitely as in films like BLOCK-HEADS.