I first treated myself to Hold That Ghost (1941),
which has always been in a tight-race with Abbott & Costello Meet
Frankenstein (1948) as my all-time favorite Bud & Lou romp.
(The rest of the top five: Who Done It?
(1942), The Time of Their
Lives (1946) and Abbott &
Costello Meet the Invisible Man (1951).) It’s really difficult
to choose sometimes; A&C Meet Frankenstein is a true classic of
horror and comedy, and so is Hold That Ghost—but Ghost was made
early on in the team’s career, and there’s a verve and refreshing energy to
their performances in this movie and others that unfortunately began to
dissipate with each successive film, once the two comics became genuinely bored
with the filmmaking process. The plot is pretty thin: Bud and Lou inherit a
roadhouse from a deceased gambler and are forced to spend the night in the
ramshackle joint along with Richard Carlson, Evelyn Ankers and Joan
Davis—unbeknownst to them, some no-good bad guys are attempting to scare them
away.
There are so many wonderful bits in this movie, but of course the
classic is the “Moving Candle” gag, in which Lou becomes paralyzed with fright
when he sees a candle moving on its own power (“Oh Ch-Ch-Ch-Ch-Chuck!!!”). This
routine generated so much laughter among audiences that each successive A&C
film always made sure to include a scene in which Costello was scared out of
his wits. There’s also a classic “ballet” with Lou and Joan Davis (I think this
is one of Davis’ finest hours, and it’s a pity that she didn’t appear in more
A&C films—she would have been ideal in the Mary Wickes role in Who Done
It?, for example) and a rib-tickling sequence (also repeated in the many
movies to follow) in which Costello’s bedroom keeps transforming into a
gambling den but when he goes to get Bud to show him, the room has changed
back.
Many of the Abbott & Costello films suffer from a lot of
unnecessary musical number padding—but the songs in Hold That Ghost
(from Ted Lewis—“Is everybody happy?”—and the Andrews Sisters) blend in pretty
well. (The Andrews Sisters’ numbers were, however, grafted onto the movie as a
result of their popular appearances in the A&C films Buck Privates
and In the Navy.) Add a terrific cast of great supporting players:
Mischa Auer, Marc Lawrence, Shemp Howard (as a soda jerk), Russell Hicks and
Thurston Hall; and a great comic script from Robert Rees, Fred Rinaldo and
longtime A&C jokemeister John Grant, and I think you’ll see why Hold
That Ghost is a real winner.
After Ghost, I decided to watch Keep ‘Em Flying
(1941)—a comedy that I hadn’t seen in a long while, and…well, the bloom is sort
of off the rose on this one. I think Bud & Lou’s best military vehicle is
their first, Buck Privates
(1941), and anything after that great film kind of pales in comparison. (I also
don’t care for In the Navy that much, either.) There are some good
moments in Flying, though—Martha Raye has a lot of the best scenes
playing twins, and she’s involved in a really funny gag in which she kisses Lou
while he’s holding a sandwich, turning to bread to toast. There’s a sequence in
an amusement park haunted fun house that, as I stated earlier, was put there
just to let Costello do his scared shtick, but it does produce a laugh-out-loud
dialogue exchange (Bud: “Remember, every time you enter a saloon—the Devil goes
with you.” Lou: “Well, if he does—he buys his own drinks.”). Keep 'Em
Flying does benefit from a good supporting cast, including Dick Foran (in
his second of three A&C vehicles), Carol Bruce and William Gargan (star of
radio’s Barry Craig, Confidential
Investigator).
I finished up the A&C marathon with Ride ‘Em Cowboy (1942),
which is to me one of their more underrated pictures. Bud and Lou are two
peanut vendors who go West along with Foran, he plays a Western pulp writer
named “Bronco Bob” Mitchell who’s actually never been west of the Hudson River. There are some extremely funny gags in this
one, including one of their classic burlesque bits, “Crazy House” plus a great
chase sequence and a sprightly supporting cast—Anne Gwynne, Johnny Mack Brown
(!), Ella Fitzgerald (who sings her big hit “A Tisket, A Tasket”), the Merry
Macs and Douglass Dumbrille (as an Indian chief who demands that Lou marry his
daughter). My only gripe with this film is that this would have been a great
vehicle for the Andrews Sisters as well—it’s a shame they weren’t invited to be
in it.
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