Big Business

About the production

This was one of Laurel and Hardy's first sound films, though it was originally conceived as a silent. The film was shot during the transitional period between silent and sound cinema, requiring careful consideration of audio effects for the destruction sequences. The Christmas tree sales premise was reportedly inspired by actual door-to-door salesmen common during the Depression era. The production team had to secure multiple houses and cars for filming due to the extensive destruction required for the escalating comedy sequences.

Themes

Themes & topics

Historical background

The 1929 premiere of Big Business belongs to the broader shift toward narrative features and recognizable genres.

Why this film matters

Surviving prints of Big Business help researchers study how 1929-era filmmakers solved storytelling with limited means.

Making of

The production of 'Big Business' took place during Hollywood's challenging transition from silent to sound films. Director James W. Horne, who had extensive experience with both silent and sound comedy, masterfully balanced visual gags with emerging sound technology. The film's destruction sequences required meticulous planning and multiple takes, as each level of damage had to be progressively worse than the last. The Christmas tree sales premise was developed by Laurel and Hardy themselves during brainstorming sessions at Hal Roach Studios. The film's success led to it being used as a training tool for new comedy directors at MGM, demonstrating perfect pacing and escalation of physical comedy. The production team had to work closely with local authorities to ensure the destruction sequences could be filmed safely without causing actual damage to private property.

What critics said

Trade papers near 1929 listed Big Business among weekly program offerings rather than as a headline critical event.

Did you know?

• This film is considered one of Laurel and Hardy's greatest works and was selected for preservation in the National Film Registry in 1992
• The film was shot in just three days, a remarkably short time considering the complex destruction sequences
• James Finlayson's character was named 'Mr. Piedmont' in the script, though his name is never mentioned in the film
• The Christmas tree that Laurel and Hardy try to sell was actually a real tree that had to be replaced multiple times during filming
• This was one of the first Laurel and Hardy films to be released with a synchronized musical score and sound effects
• The house destruction sequence required three different houses and extensive miniature work for certain shots
• The film's escalating destruction formula became a template for many later comedy films
• Stan Laurel reportedly broke his finger during one of the destruction takes but continued filming
• The car used in the film was actually purchased specifically for destruction scenes
• This short film was often paired with feature films in theaters as part of double bills

Visual style

The cinematography by George Stevens employs careful framing to maximize the comedy of the destruction sequences. The camera work maintains clear sightlines throughout the escalating chaos, ensuring audiences can follow every gag. Stevens uses medium shots effectively to capture both the performers' reactions and the growing destruction. The film's visual composition demonstrates a sophisticated understanding of spatial relationships, crucial for the physical comedy. The cinematography balances wide shots showing the scale of destruction with close-ups capturing Laurel and Hardy's priceless expressions. The lighting remains consistent throughout, creating a bright, cheerful atmosphere that contrasts humorously with the increasing violence of the action.

Innovations

As one of the early sound comedies, 'Big Business' demonstrated technical mastery in synchronizing sound effects with physical comedy. The film's destruction sequences required innovative camera techniques and editing to maintain continuity across multiple takes. The production team developed new methods for safely executing destruction gags on set, techniques that would influence later action and comedy films. The sound mixing for the various crashes and impacts was groundbreaking for its time, creating a rich audio landscape that enhanced the visual comedy. The film's perfect pacing, achieved through precise editing, set a standard for comedy timing that would influence filmmakers for decades. The successful integration of sound with established silent comedy techniques represented a significant technical achievement in early cinema.

Music

The film features a synchronized musical score composed by Leroy Shield, who created many memorable themes for Hal Roach productions. The music enhances the comedy without overwhelming the visual gags, using leitmotifs for different characters and situations. Sound effects were carefully timed to match the destruction sequences, with each crash and bang punctuated perfectly. The score includes variations of the popular 'Dance of the Cuckoos' theme that would become associated with Laurel and Hardy. The music transitions from cheerful and optimistic during the opening scenes to increasingly frantic as the destruction escalates. The soundtrack represents an early successful example of music and sound effects enhancing rather than detracting from visual comedy.

Famous quotes

Stan Laurel: 'You know, Ollie, I was just thinking...'

Oliver Hardy: 'Well, here's another nice mess you've gotten me into!'

James Finlayson: [Various frustrated grunts and exclamations throughout the film]

Stan Laurel: 'This is a fine pickle you've gotten us into!'

Oliver Hardy: 'Why don't you do something to help?'

Memorable scenes

• The opening sequence where Stan and Ollie attempt to carry an oversized Christmas tree to Finlayson's door, struggling with its bulk and constantly getting tangled
• The moment when Finlayson first refuses to buy the tree, setting off the chain reaction of escalating revenge
• The systematic destruction of Finlayson's house, including the famous scene where Ollie methodically breaks every window
• The reciprocal destruction of Stan and Ollie's car, with Finlayson using increasingly creative methods to damage the vehicle
• The final shot where both parties stand amidst the complete wreckage of their respective properties, having achieved mutual annihilation

What audiences thought

Audiences in 1929 overwhelmingly embraced 'Big Business,' with theaters reporting enthusiastic responses and frequent requests for repeat showings. The film's relatable premise of door-to-door salesmen resonated with Depression-era audiences, though it was released just before the economic collapse. The destruction sequences elicited huge laughs from audiences, who appreciated the cathartic release of seeing property destroyed in a controlled, comedic context. Modern audiences continue to discover the film through revival screenings and home video, with many considering it a gateway to classic comedy. The film's availability on various streaming platforms has introduced it to new generations, maintaining its popularity nearly a century after its release. Fan clubs dedicated to Laurel and Hardy consistently rank 'Big Business' among their top favorite films.

Film connections

Influenced by

• The work of Charlie Chaplin
• Harold Lloyd's comedy of escalation
• Buster Keaton's engineering gags
• Mack Sennett's slapstick traditions
• Commedia dell'arte character archetypes

This film influenced

• The Three Stooges' destructive shorts
• Jerry Lewis's physical comedy films
• The Blues Brothers' car destruction sequences
• Home Alone's trap sequences
• Jackass: The Movie's destruction gags

Film restoration

The film has been preserved by the Library of Congress as part of the National Film Registry since 1992. Multiple high-quality prints exist in various archives, including the UCLA Film and Television Archive and The Museum of Modern Art. The film has undergone digital restoration for home video releases, with careful attention paid to both visual and audio elements. No scenes are known to be lost, and the film survives in its complete original form. The preservation efforts have ensured that this classic comedy remains accessible to future generations.

Where to watch

• The Criterion Channel
• Kino Lorber DVD/Blu-ray collections
• The Laurel and Hardy Official YouTube Channel
• Public domain streaming sites
• Classic film streaming services like Fandor
• Turner Classic Movies (TCM) broadcasts
• Various Laurel and Hardy box sets on home media