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-4 Laurel and Hardy: when they fought, no holds were barred. the heyday of Laurel and Hardy. These two clowns of the early talking movie days finally reached the point where each resented the other be¬ yond tolerance and each finally walked out on the other. The oddest relationship among comic teams is perhaps that which exists between Bud Abbott and Lou Cos¬ tello. The greatest of buddies on stage, they seldom socialize and rarely see one another in private life. With them, comedy is strictly a business—and an eminently successful one. When the working day is over, each goes to his own home and that’s that. They some¬ times tend to get a little touchy on the subject of whose home is to be used for a picture layout, but diplo¬ matic press agents have long since learned how to divide the honors on that one and trouble only infrequently exists between the two. Of the married teams, hearts and flowers is the only possible theme. Lucille Ball and Desi Arnaz, in fact, get along far better as a TV team than they did when they were work¬ ing separately and seldom got to see one another. George Burns and Grade Allen, married more years than most young stars are old, are as compatible as the comfortably average next-door neighbors. Anne Jeffreys and Bob Sterling just had their first baby. Ozzie and Harriet Nelson head up such a typical All-American family atmosphere as to be almost sickening to the cynical insider. The insider did try to make some¬ thing of the fact that Sid Caesar and Imogene Coca finally broke up, but the best way in the world to get a hand-tailored pulverized nose from one of them is to say something dis¬ paraging about the other. They broke up simply because they inevitably ran out of gas, as a team, after five straight years of 39 shows a season. Oddly enough, the only real friction existing in any of today’s comedy teams is more a question of frustra¬ tion than friction. Paul Winchell ac¬ tually lost a show in his efforts to prove he could stand alone without wooden-head Jerry Mahoney. And Edgar Bergen has for years, in a halfhearted sort of way, tried to ef¬ fect at least a temporary separation from Charlie McCarthy. In July, he took a fling at the lead in a Kraft Theater production of “A Connecticut Yankee in King Arthur’s Court,” a performance which left many older viewers feeling grateful that Will Rogers was never a ventriloqui.st.