Abbott And Costello Meet The Mummy (1955)

It's a shame that Abbott and Costello kept making a number of movies after their peak years were already fading fast behind them but there were still fun moments for fans to take from each of their films. And, despite the dismissal it gets by many film lovers, I think that this movie sees A & C end their days making films for Universal on a bit of a high note. It's still quite a bit below their best work but there are a number of great set-pieces here that work like a charm.

The plot, as if you couldn't figure it out, sees the two men getting mixed up with a lively mummy. There is more than a little scheming, there's a murder and there's an extra complication when Lou eats a medallion that many people want to get their hands on.

John Grant is back on writing duties (as usual) and Charles Lamont is directing again for this flimsy bit of fun. From an opening sequence that showcases some absolutely, jaw-droppingly, great "Apache" dancing to a fun skit involving A & C being unnerved by a dead body to the moments that lead up to the medallion being eaten to the argument that stems from Bud "taking his pick" and opting for a spade, there are plenty of enjoyable moments from beginning to end.

Everything comes to a temporary halt for Peggy King to sing the pretty dire "You Came A Long Way From St. Louis" but it gets right back on track again soon after. Marie Windsor, Kurt Katch, Richard Deacon and a bandaged Eddie Parker provide a mixed bag of support but this A & C movie is just like most of the other A & C movies, at its best when the two leads are onscreen and sparking off each other.

Fans of The Mummy, as one of the classic Universal monsters, may be upset by the fact that the character isn't ever really portrayed as a real threat but fans of Bud and Lou should find this a worthwhile viewing.

6/10

http://www.amazon.co.uk/Abbott-Costello-Meet-Frankenstein-Mummy/dp/B000GKHM28/ref=sr_1_1?ie=UTF8&qid=1343845725&sr=8-1

Abbott & Costello Meet The Keystone Cops (1955)

This may not be a terrible movie but it's clear that at this stage of their career, Abbott and Costello were way past their best. There are no BIG laughs here, instead the film throws in a number of comedic stunt sequences. Those moments are enjoyable enough but just not what I want to see in an A & C film. I want the wit, the confusing wordplay and the great blend of stupid and smart that the boys do so well.

The plot sees our two leads swindled out of $5,000 dollars (they buy a movie studio that turns out to be the old Edison studio, not in use and not for sale) by a man who then heads to Hollywood to pass himself off as a talented European director. Once they realise the con, Bud and Lou go on a journey to find the man and get their money back. That journey ends up getting them inadvertently involved in the movie business and leads to the titular meeting with the famous Keystone Cops.

Directed by Charles Lamont, and written by John Grant (based on a storyline by Lee Loeb), there is certainly more to this movie than just the usual buffoonery and money-chasing antics. Many moments throughout the film actually look at the wonder of the cinema screen and the inclusion of the Keystone Cops should also clue you in to the fact that this is a bit of a celebration of the development of slapstick and comedy routines in the movies.

Bud and Lou are still amusing enough when not being stuck in the middle of too many special effects and stunts, Fred Clark is good fun as the conman, Lynn Bari is his lovely accomplice and there's a nice cameo from Mack Sennett before that third act that finally brings in the Keystone Cops.

While it's not a great comedy, nor is it a great A & C film, there's a nice warmth in this movie and an affection for the works of those who started off before sound was developed and helped to shape some great sequences that would entertain cinema audiences.

5/10

http://www.amazon.co.uk/Abbott-Costello-Foreign-Legion-Keystone/dp/B000H5V9H6/ref=sr_1_1?ie=UTF8&qid=1343343205&sr=8-1

Abbott & Costello Meet Dr. Jekyll And Mr. Hyde (1953)

Charles Lamont returns to direct Abbott and Costello in this lesser outing that sees the duo meeting up with the legendary figure of horror. The plot is very slim, it's essentially summed up in the title, and the movie suffers by not actually having Bud and Lou onscreen for large durations of the runtime.

Bud and Lou are two police officers who get themselves in a bit of trouble when they're embarrassed by some protesting suffragettes. Perhaps they'll be able to get themselves back in the good books if they find and apprehend the monster responsible for terrorising London. That monster isn't always a monster, however, and so the duo don't realise how close they are to the villain when they meet the very civil Mr. Hyde (Boris Karloff).

It's weak, there's no denying that it's weak, but there are still a few good moments scattered throughout this A & C adventure. The script by Lee Loeb and John Grant may be light on laughs but there's at least one great set-piece that involves Lou being unwittingly transformed and the finale is a fun mix of thrills and amusing confusion.

The leading men are good when onscreen but, as mentioned above, that's really not often enough. Craig Stevens and Helen Westcott are acceptable enough in their supporting roles but things improve whenever Boris Karloff is onscreen, making this worth a watch if you're a fan of the horror icon (he gets more to work with here than he did in his last appearance alongside the boys).

Some fans of the duo had already written them off by this point but their last few movies still contain enough entertainment if you've been on the journey with A & C over the years and remained a fan of their style and routines.

5/10

http://www.amazon.co.uk/Abbott-Costello-Meet-Killer-Jekyll/dp/B000H7ZZH4/ref=sr_1_1?ie=UTF8&qid=1342632411&sr=8-1

Abbott And Costello Go To Mars (1953)

First off, the title is a bit of a con here because at no point to Abbott and Costello actually go to Mars. Am I spoiling the whole movie for you with this piece of knowledge? No. The two stars do end up in outer space and they do explore some alien territory, but it's most certainly not Mars and I can only assume that the title was left so inaccurate because it just had a nice ring to it.

If you have a top secret spaceship that you're hoping will go on an amazing journey of discovery then the last thing you should do is let Abbott and Costello loose in it but that's exactly what happens near the start of this movie. One or two button pushes later and the boys are flying around with no idea of just how to safely land.
They first arrive in New Orleans during Mardi Gras, thinking that they're surrounded by aliens, but that's just the start of their travels.

Directed by Charles Lamont, this outrageous and unbelievable adventure still manages to be a lot of fun from begining to end by simply concentrating on the many comedic opportunities that the premise allows and not letting anything like logic or any semblance of reality get in the way. Sometimes this can harm a movie but I'm happy to say that it's not the case here. The script by D. D. Beauchamp and John Grant is enjoyable and the performances from Abbott, Costello, Horace McMahon and Jack Kruschen (as a pair of escaped convicts) and a large number of Miss Universe contestants are all easygoing and should make you smile.

There are one or two set-pieces (including a tussle without gravity) that stand out, a pleasing lack of any musical numbers and plenty of decent one-liners in the script. Even the dated look of the sci-fi elements (big fishbowl-space helmets, endearingly poor special effects, etc) actually made me like the whole thing even more, like some comedy riff on the sci-fi comic books of the time. Which is, essentially, what it is. Overall, this ended up being a lot better than I expected and I'd happily watch it again.

7/10

http://www.amazon.co.uk/Abbott-Costello-Meet-Invisible-Mars/dp/B000GLKNQE/ref=sr_1_1?ie=UTF8&qid=1342004606&sr=8-1

Comin' Round The Mountain (1951)

While this is an enjoyable enough effort from Abbott & Costello it also feels like a bit of a step backwards. There is definitely some decent comedy here and there throughout the movie but you also get plenty of recycled gags (which should come as no surprise to anyone who has more than a passing knowledge of the A & C  filmography) and a few songs as well. Okay, the songs are quite entertaining but they still take up time that could have been given over to numerous comedy routines.

The plot is a riff on the old Hatfield-McCoy feud that happened in the latter part of the nineteenth century. It comes to light that Lou, playing Wilbur Smith, is a long lost relation of the McCoy family and his return should be enough to prompt the matriarch of the family to reveal the whereabouts of some family treasure. Bud, as Al Stewart, will go along for a share of the loot and singer Dorothy McCoy (played by Dorothy Shay) may soon regret ever informing Lou of his feisty family tree.

All of the usual suspects are in attendance behind the camera. Charles Lamont directs once more and the script includes contributions from Robert Lees, Frederic I. Rinaldo and John Grant. But it's the cast that lifts the whole film from something potentially dull and below average to a solid slice of comedy. Bud and Lou are their usual selves and Dorothy Shay is a sassy lass but the supporting players are even more enjoyable - Ida Moore is great as Granny McCoy, Shaye Cogan is still very cute despite being a bit of a tomboy character, Glenn Strange makes his second appearance beside our comedy leads (albeit this time without the heavy make up required to play Frankenstein's monster) and Margaret Hamilton has a bit of fun with her reputation as the most well-known witch in cinema history.

When I started writing this review I was going to give the movie a 6/10 rating at most but the more I think about it, the more I realise that this is a very enjoyable piece of entertainment. I still have misgivings about the songs and the amount of recycled gags but I can't deny that I was smiling and laughing from start to finish. Which is why it ends up getting a 7.

7/10

http://www.amazon.com/Costello-Foreign-Frankenstein-Invisible-Mountain/dp/B00023P4O2/ref=sr_1_1?ie=UTF8&qid=1338933506&sr=8-1

Abbott & Costello Meet The Invisible Man (1951)

For anyone who enjoyed Abbott & Costello Meet Frankenstein, you'll be pleased to know that this movie takes another figure popularised on film by Universal and uses it to great effect opposite our comedy duo.

Bud and Lou play a couple of detectives this time, with Lou only passing the training thanks to a timely bribe slipped to the head man from Bud. The two men are put in place to help an experienced detective but, as luck would have it, Tommy Nelson (Arthur Franz) bursts in on them when they're alone in the office and assumes that they're the real deal. Tommy is a boxer wrongly accused of murder and he needs help to clear his name. To help him lay low in the meantime he takes an unstable, but effective, invisibility serum and this leads to plenty of laughs as Tommy helps Lou pass himself off as a top boxer in order to find out who the real killer is.

This is a fantastic A & C outing from start to finish, featuring a very funny script from Robert Lees, Frederic I. Rinaldo and John Grant and very capable direction from Charles Lamont, who keeps everything perfectly paced and makes the most of a few great set-pieces.

The cast are all fantastic. Bud and Lou get to recycle a few of their routines, as usual, but also get plenty of new material to wring laughs from as they deal with their invisible client. And a boxing match in the third act is chock full of great physical comedy. Arthur Franz is, obviously, not actually onscreen for all that long but he gives a very good performance, both physically and vocally. Helen Gray is very good, Adele Jergens has fun getting Lou hot under the collar and Sheldon Leonard and John Daheim do well as men running up against our bumbling heroes. William Frawley plays a detective who knows that something is going on but can't get to the bottom of it, Paul Maxey is a psychiatrist who tries to use hypnosis when all else fails and Gavin Muir is the doctor trying to find a way to perfect the invisibility serum before Tommy Nelson is driven mad.

Based more around special effects and (lack of?) sight gags, the film still has more than its fair share of great one-liners and amusing exchanges and it's one that I recommend to fans of Abbott & Costello without any hesitation whatsoever. One of their best.

8/10

http://www.amazon.co.uk/Abbott-Costello-Meet-Invisible-Mars/dp/B000GLKNQE

Abbott & Costello In The Foreign Legion (1950)

The movie starts with Bud and Lou playing a couple of guys choreographing some wrestling practice. It's going to be a great moneyspinner and they want everything to go smoothly. Mere moments later, the whole plan is in disarray when their main draw (Abdullah, played by William 'Wee Willie' Davis) decides that he's had enough and heads back home to Algeria. The guys, out of a sense of self-preservation, go after Abdullah, determined to get him back to America and wrestling for them but once in Algeria they find themselves, as usual, in the wrong place at the wrong time and circumstances lead to them taking shelter with, as you may have guessed, the Foreign Legion.

There's nothing here to get excited about even if the movie isn't a complete bore. The direction by Charles Barton is competent but the script by John Grant, Martin Ragaway and Leonard Stern is far from the best that the two leads have ever worked with. They do okay with the material, and one or two moments are very enjoyable (especially a scene involving various mirages), but this is undeniably lesser fare.

Sadly, the cast also feels like "lesser fare" to those who have enjoyed many other A & C adventures. The leads do their usual stuff, though Bud is a bit less harsh to Lou in this outing (which may make this one more enjoyable for some viewers), and William Davis does fine with his limited screentime but Patricia Medina isn't all that captivating in the one leading female role while Walter Slezak, Douglass Dumbrille, Leon Belasco and the others in the cast don't make much of an impression either.

One interesting aspect of the movie nowadays is seeing Tor Johnson in one of his many small roles he took before becoming best known years later for his work with Ed Wood but it's just a shame that there's nothing else worth singling out for attention in a film that most firmly resides in the arena of the average.

5/10

http://www.amazon.co.uk/Abbott-Costello-Foreign-Legion-Keystone/dp/B000H5V9H6/ref=sr_1_1?s=dvd&ie=UTF8&qid=1337701783&sr=1-1

Abbott & Costello Meet The Killer, Boris Karloff (1949)

Compared to the high quality of the previous outings, this is another lesser Abbott & Costello movie (and easily one of the weakest movies that they starred in under the direction of the dependable Charles Barton) but, as I have said about a few of their other movies, it's still a fun viewing and worth watching if you're a fan of the duo.

Bud Abbott plays Casey Edwards, a hotel detective who ends up with a dead body in his hotel and a pretty decent amount of suspects (including, of course, Boris Karloff). Lou Costello is Freddie Phillips, the incompetent bellboy who ends up being the main suspect as pieces of evidence, and more bodies, start piling up around him.

While this doesn't have many of the really great routines that A & C were famous for it does have a few very good moments scattered here and there. One extended sequence involving some corpses that our leads don't want discovered in their vicinity is particularly enjoyable, mixing some good physical work with a number of fun verbal gags.

The script by Hugh Wedlock Jr, Howard Snyder and John Grant is okay but it's a shame that the whole thing couldn't have been given a bit more care around the important laughs. It's true that many A & C movies feel like little more than pantomimes put onscreen but this film seems to have been made without anyone involved remembering that it should also hang together as a whole movie. As such, it feels like it slightly outstays its welcome even at the brisk 84 minutes it runs for and there's very little of interest in the moments that focus on the murder mystery element of the film.

The direction is okay but the material is hampered by an instantly forgettable cast. Oh, our leads do their usual good work and Boris Karloff is enjoyable enough in the few scenes that he has but nobody else stands out. James Flavin, Lenore Aubert, Gar Moore, Donna Martell, Alan Mowbray, Mikel Conrad and others have their time onscreen but, while I won't exaggerate and say that I remember none of them, not a one of them makes any lasting impression.

Oh, and one last thing. Don't let the title mislead you.

6/10

http://www.amazon.co.uk/Abbott-Costello-Meet-Killer-Jekyll/dp/B000H7ZZH4

The Noose Hangs High (1948)

Another Abbott & Costello movie directed by Charles Barton, The Noose Hangs High is pretty much a joy from start to finish. Even if you're not a big fan of the central duo this one should keep you entertained as it moves from routine to routine with the laughs coming thick and fast.

What's in the mix for this outing then? Well, there's a toothache, mistaken identity, gambling, verbal dexterity and an absolutely wonderful sequence in which the two leads try to get themselves arrested.

The one minor complaint to note is that a lot of the better gags and routines aren't new to anyone who has seen some of the A & C movies from the past but that doesn't matter when they're slotted in so nicely here and performed with such skill. The bet that is made to prove that someone present is actually "not here" is Abbott & Costello doing what they do best. Then there's the routine that sees Lou being confused as someone explains to him how a horse eats its fodder and how some male horses can make great mudders. Last, but by no means least, we have an exchange between A & C that covers a variety of topics from Lou boring holes in walls to disliking mustard and causing mass unemployment to dating a much younger woman to being in a train station with no destination in mind (just see it and all will become clear).

The cast all do great. This is focused on the leads for the majority of the runtime but Cathy Downs is a lovely lady, Joseph Calleia plays the tough guy strong-arming the main duo and Leon Errol is an eccentric with the best luck in the world.

John Grant and Howard Harris are the main writers but about five other names are attached to the process (from story to screenplay). As surprising as it is, this actually just makes the whole thing zippier and more full of gags as opposed to a big, sprawling mess. That may be in no small part due to the direction from the consistently capable Charles Barton, a man rightfully acknowledged as being able to get the best out of A & C.

If you're a fan of great comedy then this is definitely one to watch, even if you don't consider yourself necessarily a fan of those involved.

8/10

http://www.amazon.com/The-Noose-Hangs-High-Abbott/dp/B0007O38ZI

Mexican Hayride (1948)

With Charles Barton directing once again and John Grant helping out with the screenplay, this is an Abbott & Costello movie that showcases our comedic duo at their easygoing best. It's not their finest hour, perhaps due to the source material (a play by Herbert and Dorothy Fields featuring Cole Porter musical numbers that were left out of the movie), but it's a lot of fun from beginning to end and features one or two truly wonderful routines.

Our two leads play a couple of conmen who end up making some money in Mexico. Of course, Lou is as oblivious to the real nature of the schemes while Bud tries to do whatever it takes to ensure the success of another great scheme. Things don't go smoothly and on the way there are amusing encounters with local food, a memorable elocution lesson and even some dangerously close contact with a bull.

While Mexican Hayride suffers in direct comparison to the previous A & C outing, the classic Abbott & Costello Meet Frankenstein, it definitely keeps the quality level in line with most of their other movies that Charles Barton oversaw. Many people claim that he was the best director the boy ever had and it's hard to argue with that when you see him allowing the boys to play to their strengths time after time.

The script is by John Grant and Oscar Brodney, it's not quite a laugh-a-minute but there are plenty of one-liners and quick exchanges to keep fans happy. The cast all do well (especially Luba Malina as Dagmar) but they only float in and out of the picture to fill out the scenes in between the comedy set-pieces, which is as it should be when the leads are on such great form.

This is yet another fun outing for A & C from a time that, arguably, saw them at their very best.

8/10

http://www.amazon.com/Abbott-Costello-Complete-Universal-Collection/dp/B001EXE2Y2

Abbott & Costello Meet Frankenstein (1948)

Bringing together two things I loved in my youth, Abbott & Costello Meet Frankenstein easily remains one of my favourite A & C outings. Of course, purists will balk at a number of factors. The fact that they don't actually MEET Frankenstein but, rather, Frankenstein's monster is one minor criticism often brought up but I must say that this is simply a minor error in an effort to truncate the title because throughout the film the monster is known as The Monster (or Junior, etc). It is never mislabelled as Frankenstein. The other criticism often levelled at this film, and a major one, is that it really was the end of the line for the classic Universal monsters and many fans of those great horror movies saw this as a real dignity-stripping fanfare for the villains they loved (Glenn Strange plays "The Monster" while Bela Lugosi returns to play Dracula and Lon Chaney Jr. once again embodies Larry Talbot/The Wolfman). This is a harder criticism to just shrug off and I think it comes down to personal taste. The monsters themselves aren't necessarily the butt of most of the jokes but they're certainly not the feared figures they once were. Personally, I love the clash between that world of cobwebs and creaking coffin lids and the patter of Abbott & Costello.

The plot sees our comedy duo getting themselves caught up in quite a monster mash between all of those I've already mentioned. I don't think I need to say any more though I will say that the plot has at least been created with a decent idea or two used to bring this motley crew together.

Director Charles Barton is at the helm once again and does a great job, once again. The performances are all quite enjoyable - as well as those icons of horror we also have decent support from Lenore Aubert, Jane Randolph, Frank Ferguson and Charles Bradstreet (there's even a fleeting cameo from Vincent Price) - and the movie wastes no time in setting up the action and wringing the laughs from it. Robert Lees, Frederic I. Rinaldo and John Grant are back on the writing duties and the premise of the movie allows them to create some real gems. This is the movie with the following, unforgettable exchange -

Larry Talbot: "You don't understand. Every night when the moon is full, I turn into a wolf."
Wilbur: "You and twenty million other guys."

I wish I could recommend this to everyone and know that they would like it as unconditionally as I do but I know that will never happen. In the meantime, I just hope that some people give it a viewing soon and find themselves laughing more often than not.

9/10.

http://www.amazon.co.uk/Abbott-Costello-Meet-Frankenstein-Mummy/dp/B000GKHM28

The Wistful Widow Of Wagon Gap (1947)

AKA The Wistful Widow.

One of the best movies starring Abbott & Costello, this comedy Western contains a great mix of verbal and physical humour and has considerably less of the annoying mugging and childish behaviour that Lou Costello had been making his trademark over the preceding decade. He's still a naive and nervy "little boy" but doesn't need to make funny whining noises and/or do a double-take every two minutes.

The plot sees our two leads heading in to a dangerous town to try and make a buck or ten. They're only there for a few minutes when someone dies and Lou gets blamed for it. Thankfully, instead of being given a death sentence the two men are ordered to support the widow and family of the deceased and to help pay off the dead man's debts. This is demoralising and tiring for Lou, who has to work from sunrise to sunset, but things take a turn for the better when he realises that nobody wants any harm to come to him. Why? Because if they are found responsible for his death then they have to take over the responsibility and put up with the fearsome widow. Having found the secret to becoming almost untouchable, Lou is made the sheriff of the town and begins to enjoy himself a little. But there's always going to be a time when a sheriff, even an apparently untouchable one, will get into some serious trouble.

Director Charles Barton gets plenty right here. The script (by John Grant, Robert Lees and Frederic I. Rinaldo) helps a lot, as do the performances, but Barton brings everything together in just the right amounts. Abbott and Costello fans will enjoy the standard A & C comedy but there are also many moments for fans of standard Westerns to enjoy.

Marjorie Main is very entertaining as Widow Hawkins, as is George Cleveland (who plays the Judge), while Gordon Jones, William Ching, Audrey Young and the others onscreen all do very well. The two leads, as already mentioned, are on top form with a mix of one-liners and enjoyable physical comedy.

Definitely a movie that fans of A & C will want to see and, hopefully, love as much as I do.

8/10.

http://www.amazon.com/Abbott-Costello-Complete-Universal-Collection/dp/B001EXE2Y2

Buck Privates Come Home (1947)

Following on from, as if you couldn't guess, Buck Privates, this Abbott & Costello vehicle sees our two leads trying to adjust to civilian life after their stint in the armed forces. This is made a bit trickier by their plan to keep and look after a young illegal immigrant named "Evie" (Beverly Simmons) and by the fact that they haven't really got any trade to fall back on besides their usual quick sales/con work.

Even more so than their other vehicles, Buck Privates Come Home has an air of comfortable familiarity about it. It's a sequel that spends the first few minutes introducing the lead characters with some footage from the earlier movie before going on to recreate the chemistry of that film. Bud and Lou are still the troublemakers with good intentions, Sgt. Collins (Nat Pendleton again) is still the authority figure trying to put a stop to their antics and there are a number of decent comedy moments that are stretched almost to breaking point. Okay, you could almost give that description to every Abbott & Costello movie ever made but the interaction between A & C and Pendleton here works as well as it did the first time around and it feels like a very smooth continuation despite the gap of over half a decade.

Director Charles Barton, working with the script by John Grant, Frederic I. Rinaldo and Robert Lees, does just fine with the material. Lou Costello may have regressed slightly with each movie, going from an innocent and all-too-trusting manchild to a dumb and incompetent  baby, but that fault (for those who view it as such) lies with the development of his comedy persona rather than the director having to shoehorn the personalities into a film. The leads all do their stuff, little Beverly Simmons is a bright young thing and Tom Brown and Joan Shawlee provide decent support.

It's a shame that there isn't more of the better A & C material in this movie but I must admit that the delivery of the standard slapstick and gentler comedy is very well done. It makes for a decent sequel to Buck Privates and an enjoyable vehicle for the comedy duo.

7/10.

http://www.amazon.co.uk/Abbott-Costello-Privates-Comin-Mountain/dp/B000GLKNR8/ref=sr_1_1?s=dvd&ie=UTF8&qid=1333035636&sr=1-1

The Time Of Their Lives (1946)

Abbott & Costello provide audiences with something a bit different from their usual fare in this easygoing, supernatural comedy.

Lou plays Horatio, a man wrongly shot down as a traitor and cursed to reside as a ghost alongside Melody Allen (played by Marjorie Reynolds). Horatio and Melody have to stay on the land on which they died, unless one day their innocence can be proved. As time rolls merrily on, we eventually get a group of people arriving who may well help in that endeavour. Including, of course, a character played by Bud Abbott.


The Time Of Their Lives is a pleasant enough little movie and I can't say that I disliked it. However, it really was really missing some spark of wit and vitality. The supernatural element kept things entertaining enough but didn't really compensate for the lack of the trademark fast-talking banter that fans of A & C know and love.

The first of many A & C movies directed by Charles Barton, this one benefits from a great cast (Marjorie Reynolds is a delight, Binnie Barnes and Gale Sondergaard are both very good, Ann Gillis is very sweet and John Shelton is fine) compensating for the mediocre script. Val Burton, Walter DeLeon and Bradford Ropes all had a hand in the screenplay, with some additional dialogue by John Grant (as was so often the case), but none of them capitalise on the potential of the premise. One or two set-pieces stand out as pretty amusing skits but they're still not a patch on the more typical A & C style of humour that featured in most of their other movies.

I wish this had been a better comedy but I still enjoyed it as a nice and inoffensive comedy that happens to have two lead characters who are ghosts.

6/10.

http://www.amazon.co.uk/Abbott-Costello-Naughty-Nineties-Their/dp/B000GLKNQO/ref=sr_1_1?s=dvd&ie=UTF8&qid=1332194164&sr=1-1

The Naughty Nineties (1945)

Another collaboration between Abbott & Costello and director Jean Yarbrough provides fans with another one of their better comedy outings.

The plot sees the comedy twosome working on a steamboat that's captained by the kindly Capt. Sam Jackson (Henry Travers, probably most recognised by people of all ages as Clarence the angel from It's A Wonderful Life). We get the usual knockabout first reel before the major plot development - poor Captain Jackson loses most of the rights over his boat when he's tricked by a bunch of scheming gamblers. The gamblers then go on to use the steamboat as a base of operations, fleecing crowds of people who come on board, trusting in the good name of the captain. Can the devious villains be stopped and can Bud and Lou help in any way?

It becomes clear while watching numerous A & C movies that some people just knew how to get the best out of them. Erle C. Kenton was one and Yarbrough was certainly another. The Naughty Nineties starts off amusingly enough and rattles through a number of enjoyable set-pieces en route to a fast and funny finale. The fact that it features what many people consider to be the best version of the famous "Who's On First" routine is another HUGE bonus - I could quite honestly watch that routine on a loop from now until the end of time.

Edmund L. Hartmann, John Grant, Edmund Joseph and Hal Fimberg wrote the screenplay, with some extra material from Felix Adler, and the quantity of laughs onscreen certainly benefits from the talented wordsmiths who managed to work with Abbott & Costello to add gags wherever they could. At least, that's how it seems from this perspective.

The leads are up to their usual standard (which means that if you still don't like them by now then you're never going to) while the supporting players make more of an impression than usual. Henry Travers is wonderful, Lois Collier is lovely and Alan Curtis, Rita Johnson and Joe Sawyer make a good trio of potential baddies.

This is a very enjoyable movie and the more I think about it the more I am tempted to rate it even higher. So I'll just stop now before I get carried away.

8/10

http://www.amazon.com/Costello-Society-Naughty-Nineties-Privates/dp/B0001FGBZM

Here Come The Co-eds (1945)

You'd be forgiven for thinking, from the title alone, that this was some kind of forerunner to the modern teen sex comedy but the reality is far from it. This is an Abbott & Costello vehicle and it's quite a good one. It may not be one of their best but it's certainly a welcome step back up after the dismal Lost In A Harem.

The movie begins with Bud and Lou, wouldn't you just know it, losing their jobs and coming up with a great way to get themselves located in an all-new location where they can mess things up. The duo become caretakers at an all-girl school while Bud tries to look after the best interests of his sister (Molly McCarthy, played by Martha O'Driscoll). There aren't that many laughs specifically using the location, though one great scene sees Lou getting in quite a panic while he tries to help Patty Gayle (played by Peggy Ryan) avoid being caught in his room, but there are some great set-pieces throughout this fairly enjoyable confection.

From the opening scenes, with Lou getting himself in trouble through no fault of his own, to a calamitous attempt to clean up a kitchen and then on to a joke about a whale, a stool and some apples before leading up to a grin-inducing basketball game, Here Come The Co-eds gets the balance just right for most of the runtime.

Musical interludes from Phil Spitalny And His All-Girl Orchestra and Evelyn And Her Magic Violin aren't as enjoyable as the comedy moments but they're not painful to sit through either. And the banter between Bud, Lou, O'Driscoll, Ryan and a hilariously irate Lon Chaney Jr. more than makes up for any weak patches.

John Grant returns to the writing duties, and also got a producer credit this time, and shares the load with Arthur T. Horman, building on the central concept envisaged by Edmund L. Hartmann. Jean Yarbrough has another turn at directing the boys and once again shows good judgment.

Overall, this is certainly one worth watching if you're a fan of A & C or just a fan of some fine comedy.

7/10.

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Lost In A Harem (1944)

While it's far from the worst movie that Abbott & Costello ever did, and far from any of the worst movies that I've ever seen, I have to say that there was something about this film that just stopped me from getting into the fun that the leads were trying to convey. It's not all that good, to be honest, although one or two minutes stand out (most notably, a man driven to enraged acts of violence by the mention of a certain place name).

Bud and Lou upset quite a few people yet again and find themselves running around in the company of singer Hazel Moon (played by Marilyn Maxwell) and a prince (played by John Conte) trying to reclaim his throne from his evil uncle (Douglass Dumbrille gets to play the villain of the piece). That's about it. A flimsy film isn't always a bad thing, if there are enough of the other elements to fill the gaps - comedy or scares or action or decent musical numbers, etc depending on the film type. But this doesn't even have that.

There are a number of mediocre and unenjoyable musical moments so instantly forgettable that I'm actually pleased with myself for even remembering to mention them here, despite having just finished watching the movie. The verbal exchanges between Abbott & Costello aren't up to par, the unfolding of the plot is even more ham-fisted than usual. I'd even go so far as to call this one pretty damn lazy.

Director Charles Reisner seems to stifle any attempts made to raise the material up slightly, either by surrounding the better material with far too much dross or taking the few good moments and overrunning them by a good few minutes.

The cast aren't all that likeable, outside of our leads, and it's no surprise after seeing this film to remember how few films Abbott & Costello did with MGM. The studio certainly didn't know how to capitalise on the talents of their comedic leads. Even writers Harry Ruskin, John Grant (the writer who worked most often with the duo) and Harry Crane fail to bring anything to the table.

A bit of a dud, especially when compared to the few preceding movies that all seemed to have reached and maintained an enviable level of quality comedy.

4/10.

http://www.amazon.co.uk/Abbott-Costello-Harem-Hollywood-Region/dp/B000HWZ4CK

In Society (1944)

It might not have been the smoothest shoot ever compared to many other Abbott & Costello movies but, regardless of that fact, In Society stands up as yet another of the better outings for our comedy duo. It mixes some standard fast-talking exchanges with a number of hilarious set-pieces and some fun stunt work in the second half.

Bud and Lou are a pair of pretty incompetent plumbers for this outing. They end up being called out to a big job during a fancy dress party and get a lift from their friend, Elsie Hammerdingle (a female cab driver, played by Marion Hutton). Elsie is spotted by rich bachelor Peter Evans (Kirby Grant), who won't believe that she is actually a cab driver, and a relationship develops. Events conspire to get everyone attending another high society party where a valuable painting catches the eye of a greedy criminal, Lou has a thrilling time taking part in a fox hunt and everyone may well be revealed for who they really are.

Directed by Jean Yarbrough (with a couple of major scenes directed by an uncredited Erle C. Kenton), In Society showcases two stars at the height of their success, in my opinion. Bud and Lou probably won't win you over if you've never liked their style but the same can be said of almost any other comic talent of the era (and, indeed, of any era). They managed to create two comic personas that they could then slip on like a tailor-made suit and their movies really became more entertaining as the performances seemed to become easier and easier.

Marion Hutton and Peter Evans are perfectly fine in their supporting roles, while Margaret Irving, Ann Gillis, Arthur Treacher, Thomas Gomez and Murray Leonard also do very good work with a variety of characters all displaying a variety of upbringings and personal goals.

The script, involving a number of folk including the constant A & C companion John Grant, has very few weak patches and more than its fair share of absolutely brilliant moments, with the best being the whole skit about "The Susquehanna Hat Company". Even the few musical numbers are enjoyable and don't overstay their welcome.

Fans will most certainly want to see this one and will, most likely, enjoy it as much as I did.

8/10.

http://www.amazon.co.uk/Film-Box-Set-Costello-Privates/dp/B000PMGRN2/ref=sr_1_8?s=dvd&ie=UTF8&qid=1328566234&sr=1-8

Hit The Ice (1943)

It would seem that by this point in their careers, Abbott & Costello had really hit their stride. The template had been set a long time ago but the fine tuning had taken a while. Thankfully, it was worth it to get entertaining movies like this one and many others.

This time around our loveable fools are a couple of photographers trying to get an exclusive that will secure them work with a local paper. Instead of a steady job they actually end up, inadvertently, watching the front doors of a bank while it is robbed. The boys are, obviously, accused of the crime and so have to set about hatching a plan that will clear their names and bring the real criminals to justice. That plan may end up involving pratfalls on ice, some fancy skiing and a few musical interludes.

There's nothing extraordinary about this film but it's just so much fun from start to finish that it's one fans of A & C should happily be able to watch again and again. The songs aren't too bad, the physical comedy is enjoyable and there are a few moments of very good, quickfire dialogue.

The leads are, well, as they always are while support comes from Ginny Simmons as the lovely Marcia Manning, Patric Knowles as a doctor, Elyse Knox as his observant nurse and Sheldon Leonard as the "patient" who comes up with the great bank robbery idea. Oh, and Johnny Long and His Orchestra are on hand to back up the singing.

Director Charles Lamont took over after Erle C. Kenton was fired and he does a good job, maintaining the quality and number of the gags in comparison to the past couple of fantastic films, that Kenton had directed, featuring the duo. True Boardman gets the credit for creating the story but Robert Lees, Frederic Rinaldo and John Grant craft the dialogue (with some uncredited input from Allen Boretz, apparently).

All in all, another fine slice of A & C hijinks.

7/10.

http://www.amazon.co.uk/Abbott-Costello-Hit-Lost-Alaska/dp/B000GUJGRM

It Ain't Hay (1943)

AKA Money For Jam.

A movie that was believed lost for a number of years, due to legal issues, I am one of the many Abbott & Costello fans glad to find that the movie is available because it's another one of their better outings, with Erle C. Kenton once again handling the directorial duties and a script by Allen Boretz and John Grant based on a story by Damon Runyon entitled "Princess O'Hara".

This movie takes quite a few different directions in the first half but the central storyline really kicks off when Bud and Lou find themselves on the lookout for a horse after the death of an animal that belonged to a friend. They want to make everything right but, as usual, end up making things a lot worse with an adventure that involves mistaken equine identity, a bit of gambling and the usual mugging to camera.

It may not be one classic moment after another from start to finish but It Ain't Hay has a number of scenes that hold up as great examples of A & C at their best. There is plenty of wordplay and plenty of dodgy arithmetic when it comes to financial matters. There are also a couple of sly, self-referential gags that should please fans. The reply given to the delivery of "Go answer the door. It might be Warner" is my favourite in the whole movie.

The two leads do their usual stuff, and do it well, but the supporting cast isn't really up to much, with the exception of Eugene Pallette. Grace McDonald, Cecil Kellaway, Patsy O'Connor, etc all do just fine but they're outshone by the leads and also, in one scene, by a marvellous routine performed by The Step-Brothers (AKA The Four Step-Brothers).

The movie runs out of steam in the second half but it more than makes up for it with the great first half and the quality of the gags throughout.

7/10.

http://www.amazon.com/Aint-Hay-Universal-Vault/dp/B004LLIRP4