Fantasmas rumberos

This is the third Olsen & Johnson vehicle I have watched; in a way, it is a direct follow-up to their most notable outing i.e. HELLZAPOPPIN' (1941) since the latter is mentioned a number of times throughout. Like that film, this one has only a wisp of plot: turned down by Universal after their zany antics in the earlier title, the duo here try to finance their own movie – helped by producer wannabe Patric Knowles and Percy (Pa Kettle) Kilbride as a man suffering from delusions of being a millionaire! The rest is taken up by typically surreal gags (funny while they are on but not exactly memorable, except for the opening which sees the entire studio personnel bolting at the comics' arrival at the studio gates…including Basil Rathbone and Nigel Bruce in character as Holmes and Watson, then appearing in a series of films for Universal!) and numerous specialty – and boring – musical numbers (the most irritating of which being that of Cass Daley who not only shouts her lyrics but even plays dual roles!). In pure Hollywood terms, Knowles discovers – and falls for – a female singing 'sensation'; also, when the film is finally completed and the backers see no remuneration coming their way, they decide to sabotage the premiere…only that, when most of the reels go 'missing', Olsen & Johnson have the brilliant idea of enacting the situations live (since most of it is revue-style material anyway)! For the record, director Cline was a comedy expert and, while producer Erle C. Kenton directing films in this genre himself, is perhaps best-known for his horror output at Universal itself and other studios.

When I was only six, my mother and father sent my older brother to

take me to watch the Olson and Johnson routine at a New York

City nightclub called THE CARNIVAL. I had been aware of the

antics of the Three Stooges, Laurel and Hardy and Abbott and

Costello, but now I could see first hand the live slapstick of

involved comedy.

The film "Crazy House" is a perfect example of keeping the wild art

of updated slapstick alive on film. It is an update of the pie

throwing of early silents and the progression from Charlie Chaplin

to Charlie Chase. This film even has small roles for all the lesser

known comics of that era. Their roles in this movie are much the

same as the bit inserts into "It's a Mad, Mad, Mad, Mad World".

For those a little bit younger than myself, this film would be called

the progenitor of "Rowan & Martin's Laugh In", a TV series that ran

from 1968-1973.

All I can say is, "If you want to see the visualization of one liners as

presented in the 1940's try and get to see this film". In the short

while, watch "Laugh In" reruns and prep yourself for a look back

into comedy history.

1943's "Crazy House" may not strike many as Ole Olsen and Chic Johnson's best film, but it's one of the highlights of their Universal resurgence in the 1940s, a gaggle of guest stars in a wacky satire of Tinseltown that would be repeated by Mel Brooks' "Silent Movie" in 1976, and "The Happy Hooker Goes Hollywood" in 1980. The picture opens with Olsen and Johnson making their triumphant return through the studio gates, or rather flying over it since studio chief N. G. Wagstaff (Thomas Gomez) made it clear that they stay locked out; they proclaim themselves 'Universal's most sensational comedy team,' and are immediately welcomed as Abbott and Costello! This is by far the most engaging part, familiar faces scrambling to escape the shadow of Olsen and Johnson, from Andy Devine and Leo Carrillo preferring the company of a skunk, to Nigel Bruce's Doctor Watson making the announcement to Basil Rathbone's Sherlock Holmes, who is already aware of their presence: "I am Sherlock Holmes, I know everything!" (the duo were currently shooting "The Spider Woman"). Nothing else comes close to this self spoofing, and six contract players include this title on their resumes without actually appearing on screen: Lon Chaney, Evelyn Ankers, Louise Allbritton, Turhan Bey, Grace McDonald, and Gale Sondergaard. Chaney would join Andy Devine and Leo Carrillo for the next Olsen and Johnson caper, "Ghost Catchers," but not their screen finale, 1945's "See My Lawyer." Today's viewers might understandably find it difficult to tell the team apart, Ole Olsen the short one with high pitched giggle, his more straight laced partner a smidgen taller.

When the news spreads around Universal Studios that Olsen and Johnson are back, panic breaks out and everybody runs away as fast as they can - because they can still remember the making of "Hellzapoppin'" (and who of us doesn't remember "Hellzapoppin'"? If there was such a thing as an award for 'the looniest picture', it would CERTAINLY go to this one!)... So, when they're thrown right over the studio walls out on the street, Ole and Chic just try to look for an 'angel' to finance the movie they're planning to make, and a director and cast of course! And as the title clearly suggests to us, "Crazy House" will be very little less loony than "Hellzapoppin'"...

Only this time, there's more emphasis put on the many music numbers, some of which are really wonderful (especially the exotic 'Tropicana') - and besides the musical entertainment and the - as always - hilarious humor of the crazy duo, we can spot a lot of Universal regulars in cameo appearances, from Franklin Pangborn (distressed-looking as ever) to Basil Rathbone and Nigel Bruce as Holmes and Watson!

Of course, the movie's filled to the brim with surprises and jokes - nothing highbrow or ambitious, just REAL good, plain entertainment to make us laugh and forget all our problems for just a while... And that wasn't only VITAL back in 1943 during the War, but it's still a GREAT thing today - and always will be!

A strange concoction. Some of the Olsen and Johnson visual routines are incredible and some are painfully corny (and I like corny routines). Their standup routine in a nightclub is really bad. The sight gags seem to be inspired by animated cartoons as the two pull out all sorts of weird items at a moments notice. The hotel scene is a standout example.

There are way too many standard 1940's musical numbers for my taste. But the other acts were sometimes entertaining. The harp and violin hobos were funny.

This was shown on the TRIO network as part of Quentin Tarantino's favorite movie month. I think he likes it because of the "shocking" ending, that's it. I wouldn't suggest go out of your way to see it although.