Arthur Raymond Lloyd (1897-1954) was a journeyman cinematographer who shot all of his 200 shorts (plus a handful of features) for the Hal Roach Studios.
Lloyd was a regular on both Laurel and Hardy and the Our Gang pictures. He shot such classics as Laughing Gravy (1931), County Hospital, Towed in a Hole (both 1932) and Block-Heads (1938).
He also shot all four of Laurel and Hardy’s operettas: The Devil’s Brother (with Hap Depew), Babes in Toyland, The Bohemian Girl and Swiss Miss.
Ernest Depew (1887-1940) is believed to have started working in the film industry in the early 1910s. He made his debut as a cinematographer in 1921, and by 1925 was working for Mack Sennett, alongside a variety of minor studios.
One of Depew’s rare ‘A’ films for a top rank producer was the MGM/Roach production The Devil’s Brother, where he shared the cinematography credit with Art Lloyd.
Composer Thomas Marvin Hatley (1905-86) achieved a form of immortality when he wrote a piece called ‘Dance of the Cuckoos’ (sometimes known as ‘Ku-Ku’). In 1930, this became the theme music for Laurel and Hardy’s sound shorts after it was heard on the radio. According to Laurel, Hal Roach gave the composer “about fifty bucks’ for the rights to the music.
But Hatley did also find a job at the Roach studio as musical director, in which capacity he wrote and arranged probably hundreds of scores. Two Laurel and Hardy features, Way Out West (1937) and Block-Heads (1938) earned him nominations for the Best Original Score Oscar.
Hatley also enjoyed appearing in front of the camera whenever a musician or conductor was required. And he provided the piano sounds for The Music Box (1932).
He was musical director of The Devil’s Brother, which also utilized ‘Dance of the Cuckoos’, and he composed for The Bohemian Girl and Swiss Miss.
Hatley was deemed surplus to requirements when Roach restructured his studio in 1939, though Laurel insisted he be brought back to work on Saps at Sea (1940). Hatley became a lounge pianist, often remarking that he was earning more than Hal Roach ever paid him.
Thomas Herbert Reynoldson (1807-83) may or may not have the right to an entry on this website.
Reynoldson was a British actor and singer of the late Regency period who began, probably in late 1939, to translate and adapt European light operas. One of the works he adapted was Daniel Auber’s Fra Diavolo, written in 1830 with a libretto by Eugène Scribe.
Fra Diavolo was loosely adapted by Hal Roach and Metro-Goldwyn-Mayer as The Devil’s Brother, with a number of the original songs retained. Most sources cite Scribe as the author of the lyrics, but this is to ignore the necessary artistry required for the translation of song lyrics. The aria ‘On yonder rock reclining’ may have the same sense as Scribe’s ‘Voyez sur cette roche’, but the former is not a literal translation of the latter.
It is not certain that Reynoldson’s translations are the ones used by the filmmakers, but it is likely.
Daniel-François-Esprit Auber (1782-1871) was a French Romantic composer and, for many years, the director of the Paris Conservatoire.
Auber established a long professional partnership with the librettist Eugène Scribe, and together they wrote France’s first Grand Opera. They are more often associated, however, with the opera-comique.
Auber’s chief association with the cinema is the 1830 operetta Fra Diavolo, which has been filmed many times for the large and small screens. In 1933, it formed the basis of MGM’s Laurel and Hardy picture The Devil’s Brother.
Charles Rogers (1887-1956) is generally known as Charley and, like his namesake Charlie Chaplin and his close friend Stan Laurel, he started out working in British music halls, before emigrating to the United States in 1912.
In the same year, Rogers played the Artful Dodger in Oliver Twist, one of the earliest multi-reel features, produced by a New York studio. He continued to work in the East Coast film industry for several years, before finally making his way to Hollywood.
In 1927, Rogers appeared uncredited in Love ‘em and Feed ‘em, and stayed at the Hal Roach Studios for many years, quickly moving into writing and directing.
Rogers has been described as, in creative terms, second only to Stan Laurel on the Roach lot, and he worked on a number of Laurel and Hardy’s best shorts and features. These included, as a gag writer, We Faw Down, Two Tars (both 1928), Hog Wild and Laughing Gravy (both 1930). Rogers contributed the original stories and screenplays for Block-Heads (1938), A Chump at Oxford and Saps at Sea (both 1940).
Rogers directed or co-directed, and also contributed to the writing of, three of Laurel and Hardy’s operettas: The Devil’s Brother, Babes in Toyland (in which he also played Simple Simon) and The Bohemian Girl. He also wrote gags for Swiss Miss.
Away from Laurel and Hardy, Rogers played Josef Goebbels in the studio’s bizarre wartime semi-feature That Nazty Nuisance (1943). One of his last jobs was an uncredited appearance in Chaplin’s Limelight (1952).
The Crew
| Hal Roach | Director |
| Charley Rogers | Director |
| Jeanie MacPherson | Adaptation |
| Stan Laurel | Gag Writer (uncredited) |
| Hal Roach | Gag Writer (uncredited) |
| Charley Rogers | Gag Writer (uncredited) |
| Daniel Auber | Composer |
| ? Thomas Reynoldson | Lyricist (uncredited) |
| Marvin Hatley | Composer (uncredited) |
| Hal Roach | Producer |
| Hap Depew | Cinematographer |
| Art Lloyd | Cinematographer |
| Bert Jordan | Editor |
| William H Terhune | Editor |
| Dolly Tree | Costume Designer (uncredited) |
| James Greene | Sound Recording Engineer |
| Leroy Shield | Musical Director |
The Numbers
| By Yonder Rock Reclining | Daniel Auber, ?Thomas Reynoldson | Dennis King, chorus |
| The Gondolier, Fond Passion’s Slave | Daniel Auber, ?Thomas Reynoldson | Dennis King |
| Drink, For Joy Bestowing | Daniel Auber, ?Thomas Reynoldson | Chorus |
| My Lord and Lady Have Been Robbed | Daniel Auber, ?Thomas Reynoldson | Chorus |
| For a Servant There’s No Denying | Daniel Auber, ?Thomas Reynoldson | Lucile Browne |
| Tis Easter Day, ‘Tis Easter Day | Daniel Auber, ?Thomas Reynoldson | Chorus |
| Proudly and Wide, My Standard Flies | Daniel Auber, ?Thomas Reynoldson | Dennis King |
The Synopsis
Diavolo is returning to his camp [By Yonder Rock Reclining]. He tells his men he has found “a skinny old lord who stinks of gold”, who has a pretty wife with sparkling jewels. He could not steal from them, because he was disguised as the Marquis de San Marco, though he did steal the lady’s heart. Diavolo had travelled in a coach with them, and now describes what happened.
Lord Rocburg was sleeping as Diavolo sang to Lady Pamela [The Gondolier, Fond Passion’s Slave]. He flirts with her and she shows off her jewellery, some of which is hidden inside a fruit cake. Diavolo asks if she is not afraid of bandits, but Pamela assures him they would never find her jewels, nor her husband’s 500,000 francs. Rocberg wakes when he hears his money mentioned and glares at the Marquis, expressing his dislike of popinjays.
Back in the present, Diavolo tells his men to go and rob the coach.
In a nearby town, soldiers are gathered outside the Taverna del CuCu [Drink, For Joy Bestowing]. Inside, the tavern owner Matteo tells Zerlina, his daughter, to stay away from soldiers or his plans for her will be spoiled. Zerlina tells him she loves Lorenzo, but he insists she will marry Francesco tomorrow.
Zerlina runs to tell Lorenzo, who tells her to just refuse to marry Francesco. She explains that Matteo has no money and will lose the tavern if she does not marry a wealthy husband. Lorenzo hopes to catch Diavolo and get the reward money, but Zerlina reminds him he has been searching for months. Lorenzo assured her he is getting closer.
Meanwhile, Stanlio and Ollio are riding through the mountains, on a mule and a horse respectively. Ollio tells Stanlio to give him their money, because it will be safer with him. Holding the two bags, he talks about all the sacrifices they have made to save the money, so that now they can settle down and live off the fat of the land. Two bandits hold them up and take the money.
Ollio says they will have to start all over again, right at the bottom, but Stanlio suggests they start at the top by becoming bandits themselves. Ollio likes the idea, pointing out that they can do it because being a bandit does not require any brains.
They approach an elderly woodchopper and, holding him at gunpoint, demand his money. The woodchopper begs them not to rob him, explaining that he struggles to feed his sixteen children. His story moves the pair to tears and they give him what money they have, only to see him drop it into a big bag of cash.
The woodchoppers flee in panic when they hear Diavolo singing [On Yonder Rock Reclining]. Stanlio and Ollio hide, and a large woodchopper explains that Fra Diavolo will cut their throats. Stanlio is scared, but Ollio assures him that he knows a bandit when she sees one.
Rocberg’s coach arrives in the town and they tell the soldiers they have been robbed and Pamela’s jewels taken {My Lord and Lady Have Been Robbed]. Certain it was Diavolo, Lorenzo leaves with his troops.
In the forest, Stanlio and Ollio come across Diavolo and hold him up. Ollio claims to be Diavolo, and sings ‘On Yonder Rock Reclining’. He forgets the words, but the song is completed by the real Diavolo. Realizing their mistake, Stanlio and Ollio turn to run away, and are confronted by the bandits. Diavolo decides to hang them. When Stanlio pleads for his life, Diavolo says he will be spared if he hangs his friend.
Diavolo admires the jewels, but is angry that his men missed the 500,000 francs. He decides to follow the coach to the inn.
Prevented from running away, Stanlio, after much prevarication, tries to hang Ollio, but the tree breaks under his weight. Diavolo cannot take his men with him because they would be recognized, so he decides to spare Stanlio and Ollio, and take them with him.
At the inn, Rocburg has offered 10,000 francs for the return of the jewels. Pamela has retained one medallion, that was hidden in her cleavage, and the cash, which is sewn into her petticoat.
Stanlio and Ollio carry Diavolo, disguised as the Marquis, to the inn in a sedan chair. Flirting with two servant girls, Stanlio waves his red handkerchief at them and they are attacked by a nearby bull.
Meanwhile, Diavolo continues his flirtation with Pamela, rousing Rogberg’s jealousy.
Stanlio and Ollio see a notice offering 20,000 francs for the capture of Diavolo, and decide to get it for themselves.
Rocberg attempts to trick Pamela by faking a note from the Marquis and slipping it under her door, but it disappears under a rug. He hides in the Marquis’s room, while Diavolo visits Pamela in her room. Stanlio and Ollio burst into the Marquis’s room and mistakenly bundle Rocberg under his cloak.
Diavolo tries to find out from Pamela the hiding place of the money, but fails. He hears Stanlio and Ollio outside, struggling with their captive, and looks down from the balcony, hearing their betrayal. Realizing their mistake, they flee, with Diavolo in pursuit. He gives them one more chance.
Later, Diavolo puts sleeping powders into wine and tells Stanlio and Ollio to take it to Rocberg, with his compliments. Rocberg refuses to accept it, so Stanlio drinks it himself.
Diavolo tells them to wait in the courtyard until it is quiet, then climb up to the balcony. Drowsy, Stanlio starts to sing ‘On Yonder Rock Reclining’, and Diavolo threatens to cut out his tongue if he ever does it again.
Zerlina sleeps in a bed outside Pamela’s door, in case she is needed in the night, while Ollio struggles to keep Stanlio awake. On his balcony, Diavolo gives the signal for them to climb up. They do so, though with great difficulty. Diavolo leads them across to Pamela’s balcony, while Zerlina settles herself to sleep [For a servant there’s no denying]. Diavolo gives his companions pistols, telling them to cover Rocberg while he searches the room. Then Diavolo hears the soldiers returning [Victory Crowned, Victoria, Victoria, Victoria]. Pamela and Rocberg are awakened. Zerlina rushes downstairs and Stanlio climbs into her bed.
Lorenzo tells Rocberg that they did not catch Diavolo, but they found his hiding place and killed twenty of his men. Rocberg returns to his bed. Diavolo, back on his own balcony, flirts with Pamela, then sees Lorenzo climbing up to Zerlina.
Next morning, preparations are made for Zerlina’s wedding [‘Tis Easter Day, ‘tis Easter Day]. Matteo welcomes Francesco.
Pamela rushes downstairs, crying that her medallion has been stolen. Lorenzo makes it clear that he suspects ‘the Marquis’. Diavolo responds by mentioning the figure he saw climbing up to the balcony during the night and asks Lorenzo what he was doing? Lorenzo refuses to say, but denies stealing the medallion. Diavolo suggests they are all searched, and offers to go first. The medallion is found in Lorenzo’s cloak. Diavolo then pleads for mercy towards Lorenzo, insinuating that he stole because he was in love with Zerlina. Pamela agrees not to press the case. Lorenzo thanks her, but vows to prove his innocence.
Lorenzo instructs his lieutenant to question the Marquis, who seems to be able travel freely without ever being robbed.
Matteo sends Stanlio and Ollio to the cellar to bring up the best wine.
‘The Marquis’ tells the lieutenant that he did once see Diavolo singing. [Proudly and Wide, My Standard Flies].
In the cellar, Stanlio and Ollio get into a mess trying to get wine from the barrel. Unknown to Ollio, Stanlio is drinking it and gets drunk. Meanwhile, Diavolo searches again for Rocberg’s money.
Diavolo finally persuades Pamela to reveal where the money is hidden. He then persuades her to change her clothes, so that he can steal the petticoat.
Back upstairs, Stanlio is now very drunk, and embarrasses Zelrina by singing the song they had overheard her singing the previous evening. She explains to Lorenzo, and suggests that, if he was close enough to hear her sing, he might have seen the robber. Lorenzo questions Stanlio and Ollio, and they confusedly say enough to convince him that the Marquis is Diavolo. He orders his men to surround the inn.
Diavolo has the petticoat, but sees that he is trapped. He grabs a sword and prepares to fight his way out [On Yonder Rock Reclining]. All the wedding guests hide. Diavolo and Lorenzo fight. Stanlio stumbles into the duel, disarming Diavolo, who is captured, along with Stanlio and Ollio. Diavolo returns the stolen jewels and Zerlina asks for the 10,000 francs reward. Rocberg says he does not have the cash with him, but Diavolo produces the petticoat and hands over the money to Lorenzo. Rocberg rushes off to find Pamela. Matteo welcomes Lorenzo as his son. Rocberg finds Pamela still waiting for Diavolo.
Diavolo, Stanlio and Ollio are placed in front of a firing squad. Tearfully, Stanlio takes out his red handkerchief, causing the bull to run riot again. In the confusion, all three escape.
The Synopsis
Tony Pastor’s Theatre, New York in the 1880s [Hansom Cab Drivers]. Lulu and Ted Hackett are a successful comedy-dance act on the East Coast vaudeville circuit [We Are the Two Hacketts]. They love each other, and Ted’s flirtations with chorus girls are closely watched over by Lulu. Their son, Ted Jr, joins the family act, and the Two Hacketts become the Three Hacketts.
Ted Jr is a scene-stealer and already has the same eye for girls as his dad. Lulu’s sister offers to raise Ted Jr on her farm, but Lulu knows the only life her son wants is in show business.
Years later, Ted Jr falls in love with Anne Ainsley, a dancer. He also begins to see that the family’s act is becoming old fashioned. Anne leads her own dance troupe, ‘Anne Ainsley and Her Dancing Dolls’ [The Honeysuckle and the Bee].
Anne and Ted Jr are going out, but Lulu does not approve. Anne tells Ted Jr she has an appointment to see vaudeville star Joe Weber, of the Weber & Fields double act, to talk about a part in their new show. She offers to talk to Weber about Ted Jr, but he is not sure he has the heart to break up the Three Hacketts.
Weber is impressed by Ted Jr’s loyalty to his parents. He offers him a part in the new show, and also offers to find parts for Lulu and Ted. The parents agree, but only because Ted persuades himself Weber and Fields actually want them as much as they want Ted Jr.
On the opening night [Snow Ballet], the show is running long and Lulu and Ted’s lines are cut [Ma Blushin’ Rosie]. Eventually, their dance is cut as well. After the show, Lulu and Ted do not attend the party at Delmonico’s. Ted Jr arrives home drunk and Lulu and Ted tell him they are quitting the show. Ted also warns his son not to start drinking too much.
Some time later, Ted Jr and Anne are married and performing as a double act [PoorLittle G-String; Melody in F]. Back in vaudeville, the Two Hacketts are struggling [In the Garden of My Heart] and their agent tells them their act is so out-of-date that he can no longer get them bookings on the Orpheum circuit.
Lulu and Ted meet Ted Jr and Anne at a railway station, but they have little to say to each other. Ted Jr and Anne’s show is having a successful tour, but Ted Jr has started drinking, and is philandering like his father, even though they now have a baby. An older colleague advises Anne that she needs to act to save her marriage. Anne confronts Ted Jr in their dressing room. They quarrel and Anne rushes from the room, falling from a balcony to her death.
A remorseful Ted Jr tells his parents that success went to his head and that he was responsible for Anne’s death. He continues as a solo performer, but is drinking heavily and eventually is fired. Lulu and Ted have raised their grandson, Ted III, who is now part of their act. They are reduced to performing six shows a day in theatres that also show films.
It is 1917, and they get a letter from Ted Jr telling them he has enlisted and is about to go overseas. A few months later, he is killed in action.
In 1929, vaudeville theatres are closing and converting to picture houses. Ted III has an offer to go to Hollywood, and does so against Ted’s wishes. He is a success, and Lulu and Ted go east to live with him. Ted III has a film star’s mansion, but has become conceited and, like his father, drinks and chases women too much. The studio boss tells him to start behaving or he will be let go.
Ted III goes missing, causing a costly delay on a picture he is making. Ted determines to find his grandson and does so. Dragging him back to the house, Ted tears a strip of him. Ted III insults his grandfather, who collapses.
Ted III reforms and begins to work hard. Lulu and Ted visit the set of the musical he is making. While watching his grandson perform a number incorporating moves he taught him as a boy [Knee Deep in Rhythm], Ted dies. Lulu holds his hand and watches Ted III dance.
