Sangre y harina

Abbott & Costello play two con-men who sell phony stock to gullible would-be buyers, who are now pursued by the police. They then flee to Mexico, where they travel incognito, and meet up with an old friend who is now a bullfighter, which of course creates lots of opportunities for Lou to get chased around by an angry bull, and who also has recently been in some kind of a dance marathon, so now whenever he hears a Samba, can't help himself dancing uncontrollably, no matter the situation. Entirely forgettable(and forgotten) comedy is competently made but utterly unfunny, and the team play rather unlikable characters this time, despite their ineptitude.

An Abbott and Costello movie that comes off as something of a misfire, especially following right after the great ABBOTT & COSTELLO MEET FRANKENSTEIN, often considered one of their very best. Based on a play, this story is sort of awkward in the realm of Bud and Lou misadventures. We have Costello as a fugitive who's just won a contest where he danced a samba for 68 hours, and is now pursued by the police to Mexico. Of course, it's not poor Lou's fault; he was swindled by the character played by Abbott, and Costello needs to catch up with Bud and get his money back, and clear himself.

Naturally we get some gags here and there, but they're not among the comedy duo's finest. One running joke that really gets boring after the first couple of tries is Lou uncontrollably conditioned to dance the samba from force of habit, whenever hearing the music played. Another routine has Lou confronting a wild bull in an arena (what else would you expect in a Mexican comedy?). There are a couple of humorous scenes with assistance from guest stars like Fritz Feld (who attempts to teach Costello how to speak properly), and my personal favorite involving Sidney Fields as a fast-talking interviewer who won't let Lou get a word in edge-wise (Fields would later go on to play A&C's landlord on their TV show). Lou's brother Pat Costello has a steady role here as one of the cops constantly trailing Lou. He'd made brief appearances in other movies and often as Lou's stunt double, but Pat is pretty much a wooden Indian throughout. **1/2 out of ****

Before writing this review I took a look at George Eells biography of Cole Porter which has a good reference section listing his Broadway shows and original film productions.

To make this film fit for Abbott and Costello whole sections of the plot and entire characters were junked as well as Cole Porter's entire musical score. The barebones of the book by Herbert and Dorothy Fields was retained and the whole business about stock swindling and the Amigo Americano was from the musical. For instance listed as characters in the play were the then Vice President of the United States Henry A. Wallace and the former King Carol of Rumania and his notorious mistress Madame Lupescu. I can't even imagine what they might be doing as characters in an Abbott and Costello comedy.

Cole Porter's scores rarely made it intact to the screen. Usually it was because of his risqué lyrics not playing well in Peoria. However as we learn it was simply because Abbott and Costello fans didn't want their favorites clowning interrupted by musical numbers as they were in so many of their World War II era films.

If that's the case why in heaven's name did Universal buy Mexican Hayride and rework it for them? I'm sure there must have been any number of Cole Porter fans who wanted to see a film adaptation of one of his Broadway shows. Once they had bought their tickets and were seated in the movie house, they must have been sorely disappointed.

The boys have some good routines here, Costello has some funny moments in an interview with reporter Sid Fields and also with elocution teacher Fritz Feld. The highlight of the film of course is Costello in a bull ring trying to get money Abbott swindled in some watered stock case. Problem is the money is in a hat that was tossed in the ring and landed on the bull's horns.

One routine they did was previously done in the Bing Crosby film Double Or Nothing by Martha Raye. Costello won a marathon dance contest doing the Samba for 36 hours and goes into autopilot the exact same way Martha Raye did in Double or Nothing.

It's not the best film from Abbott and Costello and boy are those Cole Porter lovers in for a disappointment.

Two con men selling phony stock flee to Mexico ahead of the law, where they run into a woman friend from their earlier days, who is now a bullfighter.

The plots of the various movies don't really matter one way or the other. What really matters are the gags. I loved the painting gag, even though I saw the punchline coming. And the Smith / Jones routine is the sort of back and forth people love from this duo (myself included).

I think the comedy duo tends to be best remembered today (2017) for their series of films meeting the Universal monsters. But let's not forget some gems like this one, which has aged surprisingly well.

Fresh from the hit "Abbott and Costello Meet Frankenstein," the comedy duo set out on "Mexican Hayride." Costello plays Joe Bascom, who is on the trail of Harry Lambert (Bud Abbott). Lambert coerced Bascom into swindling friends in Iowa, and Bascom has followed him into Mexico to force him to pay up. Through a series of misunderstandings, Bascom becomes "Amigo Americano" and is honored and feted. Lambert sees this as an opportunity for further land swindles in Mexico, and again tries to use Bascom as an unwitting pawn.

If this description sounds like an unusual plot for an Abbott and Costello film, you would be right. The story is based upon a Broadway show. A&C stalwart screenwriter John Grant does his best to interject A&C humor and routines into the existing Broadway storyline. Two of his best examples are the scene where Abbott rips off Costello's clothes in an effort to hide his initials, which are sewed on every piece of clothing; and the scene with Fritz Feld as an diction specialist.

"Mexican Hayride" is considered one of the weakest films in the A&C series, and I agree. The main problem lies in trying to interject A&C into a Broadway storyline built for other actors. A&C give it their best as usual, but the storyline simply isn't for them. One expects Abbott to take advantage of Costello here and there; it was seen in many of their best comedies. But for Abbott to swindle many people besides Costello simply isn't funny. There are also many gaps in the humor that result in dull moments. I really tried to like "Mexican Hayride," but the storyline simply didn't fit A&C snugly, and the humor is not consistent enough to generate many laughs. 3 out of 10.