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Abbott and Costello in Hollywood (1945) - Abbott and Costello

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Offline metaldams

      More Stooge lady public service announcements.  The blonde on the balcony in the Lou stunt dummy scene is Marion Martin from MERRY MAVERICKS.  When Lou is being chased on the studio lot and runs into the people going over the scene, the red headed actress was actually the tall blonde in THREE LITTLE PIGSKINS.  Can’t remember her name, what became of her?
 
      ABBOTT AND COSTELLO IN HOLLYWOOD is the last of three films made at MGM and also the last film in production while World War II was taking place.  In a way, it really is the end of an era.  From this point forward when Bud and Lou made films outside of Universal they were at less prestigious studios than MGM and when they made films at Universal, they’ll start weaning themselves away from the whole music/young lover/comedy formula the majority of these films have had so far.  As for this week’s film, consider it another in a long line of good yet imperfect films.  Amazingly, again, MGM made a respectable Bud and Lou film yet this time didn’t strike comic gold in quite the same way as LOST IN A HAREM.

      Once again, though I feel less so in future films, the main problem is the music and story.  The former is based on taste, if you’re into crooner stuff, this might be right up your alley, but it’s all crooner until the end where we get a big dance number where better comedy should be.  Not my thing, your mileage may vary.  Bud and Lou are integrated in the story very well this time, but it’s the old comedians help the young lovers cliche.  The problem is they go as far as framing the established rival actor for murder.  Yeah, the rival actor is a jerk, but not bad enough to be framed for a felony.  I’m not usually one to give much thought to the plot in these films, but even I think this goes too far.  The whole roller coaster ending is another in a long line of badly cut studio enhanced chases which bore me.  As far as Lou’s girlfriend, well, kind of girlfriend, this time she’s played by Jean Porter.  Not much time or chemistry together, but really, she’s about five leagues above Lou’s screen character....and probably you and me as well, natch.  I like it better when Lou has a girl he can play off of as a comic foil.

      Ah yes, but there’s the saving grace of this film and all the other Abbott and Costello films - the comedy.  The only comic part, outside of the ending roller coaster bit, I don’t care for is Lou’s “Little Red Riding Hood” bit with the kids.  I’d much rather see Lou do a routine with Bud in this style where there would be actual screen chemistry and less editing.  Bud and Lou can pull banter together with the camera glued on the floor, but not Lou and these kids.  Besides that though, it’s all good. 

  .      Lou does get a scene where he’s being chased around the studio while running into stars, including Lucille Ball.  Very similar to what Buster Keaton did in FREE AND EASY, which makes me wonder if Buster worked on this as a gag man.  The use of stars is nowhere near as obnoxious as in the Keaton film and Lou gets some great sight gags with a door.  The scene climaxes when Lou is used as a stunt dummy with Rags Ragland.  This scene is hysterical.  Another great scene with Rags and Bud is the shaving scene at the beginning.  I love Bud and Lou working together on all those balloons (this is my second viewing and probably the scene I remember most from my first viewing) and later on when Rags becomes Lou’s first customer.  Another highlight is the record scene when Lou is having trouble getting to sleep.  I love when Bud puts cotton in his ear and can’t hear Lou’s talking and just the way the scene slowly builds up until it goes to its wild climax.  So yeah, again a Bud and Lou film that doesn’t gel 100%, but the good scenes are more than worth it.

      Next week, Bud and Lou have problems, work separately in the same film and Lou wants to be Chaplin.  We get something different and I’m looking forward to diving into this new era of Bud and Lou, which lasts all of two films.  But yeah, I would consider ABBOTT AND COSTELLO IN HOLLYWOOD the end of phase one.  After the two experiments, Universal merges and Bud and Lou get some new competition.....looking forward to continuing the ride.
- Doug Sarnecky


Offline Umbrella Sam

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I really like this film, but looking back, I do see some of the problems you mention. I too have never been one for crooners, but the songs aren’t that long and I at least like the character’s personality. The rival actor doesn’t technically do anything bad enough to be framed for murder, but the way that he abuses his power as a Hollywood star bothers me a lot, so I don’t really feel bad for him (plus, since Lou is shown to be alive at the end, he could easily clear his name so he doesn’t have to go to jail).

Otherwise, everything about this movie is really good. The way Abbott and Costello are incorporated into the story, Costello running around the movie sets, the “Fun on the Wonderful Midway Number.” Even if it’s not a perfect movie, there’s so much more about this film that I find memorable than the majority of their work at Universal. I know I have a tendency to go easy on MGM for their comedy films (in my review I mention the Marx Brothers’ later MGM films as being weaker, but I still really like them). However, I really do think that their production values provided a better fit for the earlier Abbott and Costello films.
“I’ll take a milkshake...with sour milk!” -Shemp (Punchy Cowpunchers, 1950)

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