Thomas Hardy: A Critical Biography.
Oliver Hardy had been destined for a military career, but opened a movie theater in Milledgeville, Georgia, instead. He next found work as an actor in Jacksonville, Florida, home of the Lubin film company. Hardy later moved to Hollywood, and by the mid 1920s, he was working as an all-purpose comic at the Hal Roach studio.
The part played by Thomas Hardy can never be undermined in it.
I deleted the offending paragraph and wrote a new concluding section which gained the essay immediate acceptance. I called attention there to some of the novel's strengths. is, I contended, more than anything else, the story of a sensitive, lovable, and well-meaning girl whose fate is horribly cruel and unfair: "Inside this exterior there was the record of a pulsing life which had learnt too well, for its years, of the dust and ashes of things, of the cruelty of lust and the fragility of love" (XLII). Tess's story is moving because, despite her helplessness, Tess has a stature that makes her suffering profoundly touching. Tess has dignity because she is loved by the author, because he enters wholeheartedly into her experience of the world, because her feelings have for him, and are made to have for us, an intense reality. Hardy is Tess's advocate: his primary concern is not to revise the old morality in a systematic way, but to win sympathy and acceptance for his heroine. The structure of rationalizations which he erects for Tess's defense is as full of inner contradictions as such structures usually are.
Laurel and Hardy's partnership at the Hal Roach studio began in 1926. Within a year of their first joint appearance, they were being touted as the new comedy team. After collaborating on many silent films, they took the transition to the talking film in stride. As their success spread throughout the world, they began making feature films as well and won an Oscar for their short subject entitled "The Music Box" (1932).After the team left the Hal Roach studio, they formed their own production company but were unable to repeat the success they had enjoyed under the guidance of Hal Roach.
Free Hap by Thomas Hardy Essays and Papers
The independent recollections of both Stan Laurel and Hal Roach cite PUTTING PANTS ON PHILIP (1927) as the first Laurel & Hardy film. THE SECOND HUNDRED YEARS (1927) was promoted as the first official Laurel & Hardy release, but the film was actually produced and sold as part of the Hal Roach All-Star series. It was not until SHOULD MARRIED MEN GO HOME? (1928) that the studio officially branded their pictures as "The Laurel & Hardy Series."
Free Hap by Thomas Hardy papers, essays, and research papers.
Hardy bitterly assailed religious and social orthodoxies; but he did so, he felt, in the name of truth and love. I had a vested interest in not registering his pleasure in aggression and in not seeing through his protestations of innocence.
Thomas Hardy - Essays - Willspk18
aurel & Hardy Talkie Shorts (1931-1940)
1929 Berth Marks
Men O' War
They Go Boom
Unaccustomed As We Are
1930 Another Fine Mess
The Laurel-Hardy Murder Case
1931 Beau Hunks
Chickens Come Home
Essay on Thomas Hardy - 1517 Words | Majortests
Hardy seems to have believed in a First Cause; the issue for him was not God's existence, but his nature. He was preoccupied with the problem of evil and fascinated by the refusal of human beings to draw the obvious conclusions from the injustice of their lot. Men have been much kinder to God than he has been to them: " even while they sit down and weep by the waters of Babylon, [they] invent excuses for the oppression which prompts their tears" (, VI, i). Hardy felt that man is mocked by Fate. The greatest irony is for man to exalt the forces which destroy him, to blame himself, to exonerate God. Hardy's procedure is to argue from effects to causes: given the absurdity of the world, what can God be like? In his poems he conjures up a fascinating array of possibilities, many of which have the effect of arraigning or mocking the First Cause. His "sober opinion" is "that the said Cause is neither moral nor immoral, but moral": "'loveless and hateless which neither good nor evil knows' " (Life, II, 216-217). Hardy's arraignments of God, his protests on behalf of man, sounded in my ears a note of metaphysical revolt. They gave man a dignity, I felt, far greater than he could ever derive from cringing before a beneficent God whose ways must be deemed just not because they are right in the eyes of man, but because they are His. Hardy refused to relinquish the human perspective; he made man the measure of all things.