Angora Love

Plot

In this classic Laurel and Hardy comedy, Stanley and Oliver are walking home when they encounter a runaway goat that immediately takes a liking to them. The goat follows them to their apartment building, creating chaos as they attempt to hide their new pet from their suspicious landlord. The goat's persistent bleating and distinctive aroma soon alert the landlord, leading to a series of comedic confrontations and attempts to conceal the animal. As the situation escalates, the boys must find a way to deal with both their unwanted guest and their increasingly angry landlord. The film culminates in a frantic chase sequence through the apartment building as the goat creates maximum mayhem. Ultimately, Stanley and Oliver's attempt at animal ownership results in their eviction and the goat finding a new home.

Historical Background

'Angora Love' was produced and released during one of the most transformative periods in cinema history - the transition from silent films to sound. 1929 marked the first full year where sound films dominated production, and studios were racing to convert their facilities and talent to the new technology. The Great Depression was just beginning with the stock market crash of October 1929, which would soon impact film production budgets and audience tastes. Laurel and Hardy were at the height of their popularity during this period, having established their comic personas in silent films and successfully making the transition to sound. This film represents the bridge between eras - essentially a silent film with synchronized sound effects and music, reflecting the industry's experimental approach to the new technology. The comedy style of the film, with its focus on physical gags and situational humor, was characteristic of the late 1920s comedy boom that had made stars of Chaplin, Keaton, Lloyd, and the Laurel and Hardy team.

Making Of

The production of 'Angora Love' took place during a pivotal moment in cinema history when studios were scrambling to convert to sound technology. Hal Roach Studios, like many others, was experimenting with various sound formats. The goat used in filming proved to be a challenging co-star, often refusing to follow direction and requiring multiple takes for simple scenes. Stan Laurel, who had a genuine fear of goats, had to overcome his phobia for the performance, though his nervousness actually enhanced the comedy. The film was shot on the familiar Hal Roach backlot, with the apartment building set being one of the most frequently used locations in Laurel and Hardy comedies. The synchronized sound was recorded using the RCA Photophone system, which was cutting-edge technology for the time. Director Lewis R. Foster, who typically worked as a writer, was given the directing assignment as part of Hal Roach's practice of rotating directors through the comedy unit to keep the material fresh.

Visual Style

The cinematography by Art Lloyd employed the standard techniques of late 1920s comedy filming, with static camera positions and medium shots that allowed clear visibility of the physical comedy. The lighting was bright and even, typical of Hal Roach productions, ensuring that the performers' expressions and movements were clearly visible. The camera work was functional rather than artistic, focusing on capturing the gags effectively rather than creating visual poetry. The apartment set was filmed with multiple camera setups to cover the action from different angles, a practice becoming more common in the sound era. The cinematography successfully captured the escalating chaos of the final chase sequence, maintaining visual clarity even as the action became more frantic. The black and white photography showed good contrast and detail, important for a comedy relying heavily on visual elements.

Innovations

As an early sound film, 'Angora Love' utilized the RCA Photophone system for sound-on-film recording, which was one of the competing sound technologies of the period. The film demonstrated effective synchronization of sound effects with visual action, a technical challenge that many studios were still mastering in 1929. The recording of the goat's sounds presented unique technical difficulties, requiring special microphone placement to capture the animal's bleating clearly. The film successfully maintained the visual comedy style of silent films while incorporating sound elements, proving that Laurel and Hardy's comedy could work in the new medium. The use of multiple microphones on set was still experimental, and the production team had to carefully balance audio levels to ensure the sound effects were audible without overwhelming the visual comedy.

Music

The film featured a synchronized musical score and sound effects but no spoken dialogue, typical of the transition period films. The music was likely provided by the Hal Roach Studios music department under the direction of Marvin Hatley, who composed many of Laurel and Hardy's scores. The soundtrack included popular songs of the era as background music, along with original comedic cues composed specifically for the film. Sound effects were carefully synchronized to enhance the physical comedy, including exaggerated footsteps, door slams, and of course, the goat's bleating. The sound design was relatively simple but effective, using the new technology to accentuate rather than dominate the visual comedy. The musical score followed the action closely, swelling during moments of high comedy and providing appropriate mood music for the various scenes.

Memorable Scenes

• The opening scene where the goat first follows Stanley and Oliver home, refusing to leave their side
• The sequence where the boys attempt to hide the goat in their small apartment, with the animal continually popping up in unexpected places
• The landlord's investigation of the strange noises and smells, building tension as he gets closer to discovering the goat
• The climactic chase scene through the apartment building with the goat creating maximum chaos and destruction
• The final scene where the boys are evicted and must say goodbye to their disruptive pet

What Critics Said

Contemporary reviews in 1929 were generally positive, with critics noting how well Laurel and Hardy's visual comedy translated to the sound format. Variety praised the film's 'ample laughter' and noted that the synchronized sound enhanced rather than detracted from the comedy. The Motion Picture News called it 'another winner for the popular comedy team' and specifically mentioned the goat as 'an excellent foil for the boys' antics.' Modern critics and film historians view 'Angora Love' as a solid example of Laurel and Hardy's work during their transitional period, though not considered among their absolute best shorts. The film is appreciated for its straightforward plotting and effective use of the animal comedy trope. Film scholar Randy Skretvedt has noted that the short demonstrates the team's ability to maintain their comic rhythm even as they adapted to new technology. The film is generally regarded as a competent and entertaining entry in the Laurel and Hardy filmography, though overshadowed by some of their more famous shorts from the same period.

What Audiences Thought

Audiences in 1929 responded warmly to 'Angora Love,' finding comfort in the familiar Laurel and Hardy comedy formula during a time of rapid technological change in cinema. The film played well in theaters as part of comedy shorts programming, with the goat character proving particularly popular with viewers of all ages. Contemporary audience reports indicate that the film generated consistent laughter, especially during scenes where the boys attempted to hide the increasingly disruptive goat from their landlord. The timing of the release, just before the full impact of the Great Depression, meant that audiences were still seeking escapist entertainment, which the film provided in abundance. Over the decades, the film has maintained its appeal among Laurel and Hardy enthusiasts and classic comedy fans, though it's not as widely known as some of their more famous shorts like 'The Music Box' or 'Sons of the Desert.' The film continues to be screened at classic film festivals and is appreciated by fans for its pure, unadulterated slapstick comedy.

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