Stick Around

Plot

In this silent comedy short, a lazy and overweight paperhanger (Oliver Hardy) and his diligent but clumsy assistant (Bobby Ray) arrive at a sanitarium to wallpaper the walls. The boss spends most of his time avoiding work while his thin assistant struggles valiantly with the job, creating various messes with paste, ladders, and brushes. Their work is constantly interrupted by eccentric patients from the asylum who wander in and out, complicating the already chaotic situation. To make matters worse for the lazy paperhanger, a pretty nurse (Hazel Newman) takes a liking to the hardworking assistant, creating a romantic subplot. The wallpaper features circus and jungle animals, adding visual humor to the slapstick proceedings as the two workers attempt to complete their job while dealing with distractions, mishaps, and the watchful eye of the sanitarium's director.

Historical Background

1925 was a pivotal year in Hollywood history, marking the height of the silent film era just before the sound revolution would begin with 'The Jazz Singer' in 1927. The film industry was consolidating into the studio system we recognize today, with comedy shorts being a crucial part of theater programming. These shorts served as appetizers before feature films and were essential for keeping audiences entertained during changing of reels. The mid-1920s also saw the rise of comedy teams and the refinement of slapstick techniques that had been pioneered by earlier stars like Charlie Chaplin and Buster Keaton. Oliver Hardy was still a journeyman actor at this point, appearing in dozens of shorts for various studios, honing the skills that would later make him famous. The sanitarium setting also reflected contemporary society's fascination with mental health institutions, which were often portrayed humorously in popular media despite the serious reality of mental health treatment in the 1920s.

Making Of

The production of 'Stick Around' was typical of the rapid-fire comedy short industry of the 1920s. These films were often shot in just a few days on minimal budgets, with scripts that were more like outlines than detailed screenplays. The physical comedy was largely improvised by the actors, who were skilled at creating gags on the spot. Oliver Hardy, even before his Laurel & Hardy fame, was already developing his signature style of playing pompous, lazy characters who get their comeuppance. The sanitarium set was likely a redressed version of sets used in other productions, a common cost-saving measure. The wallpaper paste used in the film was real, making the sticky situations authentic for the actors. The chemistry between the three leads was developed through their previous work together in various comedy shorts for the same production company.

Visual Style

The cinematography in 'Stick Around' was typical of comedy shorts of the era, featuring clear, straightforward photography designed to showcase the physical comedy. The camera work was functional rather than artistic, with wide shots allowing the actors full range of movement for their slapstick routines. The sanitarium set was lit to create a bright, cheerful atmosphere despite the potentially dark subject matter. The wallpaper patterns were deliberately chosen to be visually interesting and to contrast with the actors' movements, enhancing the comic effect. The film likely used stationary cameras for most scenes, with occasional tracking shots to follow the characters' movements through the chaotic set.

Innovations

While 'Stick Around' does not feature any groundbreaking technical innovations, it demonstrates the sophisticated studio techniques that had been developed by the mid-1920s for comedy production. The film makes effective use of set design and props to create comedic situations, particularly the wallpaper paste and ladders. The editing rhythm was carefully calibrated to maximize the impact of the physical gags, with quick cuts used to emphasize reactions and mishaps. The film also shows the advanced state of continuity editing that had been achieved by this period, with clear spatial relationships maintained throughout the chaotic scenes. The special effects were limited to simple techniques like stop-motion for certain gags, but were executed with professional polish.

Music

As a silent film, 'Stick Around' would have been accompanied by live musical performance during its original theatrical run. The typical score would have consisted of popular songs of the era, classical pieces, and original mood music provided by the theater's organist or pianist. The music would have been synchronized to enhance the comedic timing of the gags, with lively tunes during the slapstick sequences and romantic themes during the scenes with the nurse. No original composed score survives, as was common for short films of this period. The music would have been chosen from standard libraries used by theater musicians, with selections varying from theater to theater.

Memorable Scenes

• The opening scene where the two paperhangers arrive at the sanitarium carrying their equipment, immediately establishing their contrasting personalities
• The sequence where Bobby Ray gets covered in wallpaper paste while trying to hang a large strip of circus-themed wallpaper
• The scene where various sanitarium patients wander in and out, each creating their own unique disruption to the work
• The moment when Oliver Hardy tries to impress the nurse but ends up falling off a ladder into a tub of paste
• The climactic scene where the wallpapered room becomes a chaotic mess of torn paper, paste, and confused characters

What Critics Said

Contemporary reviews of 'Stick Around' were typical of comedy shorts coverage in trade papers of the era. The Moving Picture World noted it as 'a competent comedy with some good laughs' while Variety mentioned it as 'suitable for the lower half of a double bill.' Modern critics have rarely had the opportunity to review the film due to its limited availability, but film historians who have seen it note it as a representative example of mid-1920s comedy shorts. The performances, particularly Hardy's, are seen as early indicators of the comedic persona he would perfect in his later work. The film is generally regarded as professionally made but not particularly innovative, following the established formulas of the genre rather than breaking new ground.

What Audiences Thought

Audiences in 1925 would have received 'Stick Around' as standard entertainment for a day at the movies. Comedy shorts were expected to deliver quick laughs and physical gags, and this film delivered on those expectations. The combination of workplace humor, romantic subplot, and eccentric supporting characters was a proven formula for success. Modern audiences who have had the opportunity to see the film, primarily through film festivals or archives, generally appreciate it as a time capsule of silent comedy techniques. The film serves as an interesting showcase of Oliver Hardy's work before his iconic partnership, making it of particular interest to classic comedy enthusiasts and film historians.

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