The Time of Their Lives

Coming after LITTLE GIANT, a film in which Abbott and Costello were NOT a pair and in which Bud Abbott played a dual role, here is the second film that experimented with the A&C format. The film is set in the Revolutionary War period and then in 1946, with Costello playing the same role in both parts, and Abbott playing different roles (although the characters are related, just spread over 170 years!). There are a lot of funny sequences, but the historical angle makes the rest of the film very interesting in its own right. With appearances by such b-movie stalwarts as Kirk Alyn and Rex Lease, a fine supporting cast, and good-looking historical settings,the film is handsome looking and holds up well today. THE TIME OF THEIR LIVES is a nice change-of-pace for the Abbott and Costello fan, and once again shows that Costello was capable of carrying an entire feature film himself--and that Bud Abbott was excellent in character roles, not just as half of a comedy team. Newly reissued on DVD, the film should find an appreciative new audience.

Their cinematic effort preceding "TTOTL" is an little unknown comedy called "Little Giant," in which Bud and Lou--showing, perhaps the strain in their personal relationship at the time--act apart as opposed to as a team. "TTOTL" continues that experiment, but produces much better results.

The tail--of a pair of Revolutionary War ghosts (Costello and the beautiful Marjorie Reynolds) trying to clear their names in 1946--has heart. Again, there's comedy here, but also pathos, something Lou Costello was brilliant at playing and for which he received precious little credit. And the *story* is engaging, not just a platform for free-form A&C routines.

The SPFX are top-notch for the day. Watch Costello and Reynolds run at each other and swap clothing. And the performances matter, too. Gail Sondergaard is very creepy during a seance sequence, and even Bud flexes his dramatic-comedic muscles as a fluttery psychologist.

Things are mucked up a bit at the end, when Bud's car goes awry with Lou at the wheel (I guess by then producers felt it couldn't be an A&C picture without at least *one* chase). But with that one transgression forgiven, "TTOTL" is a terrific film (my second-fav of Bud & Lou's, after "Who Done It?").

1780, during the revolutionary war, there is a ball on. The master of the estate, Tom Danbery, is a rebel who plots against Washington. Bud plays a tipsy servant who attempts to woo a maid who is in love with Costello, a poor tinker called Horatio Prim. Prim has a letter of recomendation from Washington himself and he and the maid, Nora, plan to elope but Abbott tricks him into getting trapped in a large trunk. Some of Danberry's men show up and discuss their plan, only to discover Nora overlistening. They do away with her. Danberry's fiance, Melody Allen, is wise to the plan and after helping Tinker escape from the trunk asks him to take her to the nearest soldiers standpoint. As they race off on their horses, Washington's men arrive on the scene looking for Danberry. Thinking they are rebels, Prim and Melody race off in the oposite direction. Mistaking them for traitors too, the man shoot them dead on the spot. The Leader curses their souls and bounds them to the grounds for all time till they can proove their innocence. The house is destroyed and the furniture taken away. Danberry has hidden the letter which prooves their innocence in the library clock.

Cut to 1946. The ghosts are still their but the mansion has been restored. A man recovering froma nervous breakdown, his girl and her outspoken Aunt move in with the original butler's descendant (again, played by an outstading Bud). They also have a physic housekeeper, the wonderful Gale Sondergaard.

After haunting them, they try and find the letter which prooves their innocence...

This is a more interesting A+C film than a funny one. Great performances by all though Lou tries a little to hard at times. I think it's an interesting perforamce by him as I can see shades of his characters from his early films and also his later films. He fumbles with his hat for the 1st time in this film. Bud is superb. I didn't rate his acting in their last couple of films for universal (especially ...meet the keystone Kops) but here, he shines. All of the supporting are great too.

Both Bud and Lou have memorable opening scenes with Bud, the tipsy waitor and Lou asleep on his horse. Good music, great effects and good fun. It has been labelled as an Abbott and Costello film for those who don't like Abbott and Costello. Fun for all the family!

This enjoyable and rather creative Abbott and Costello feature gives Bud and Lou each a chance to do a lot more on their own, while telling an entertaining story at a good pace. It's different from most of their films, in that Bud and Lou have very few moments when their characters interact. It works quite well, though, and it is certainly among their better movies.

The story takes a little while to set up, but then it begins to move more quickly. Once the prologue is over and the main plot begins, Costello and Marjorie Reynolds are quite entertaining as the two ghosts. There is just enough explanation provided to make the plot work, without going overboard or taking the premise too seriously.

The lengthy sequence with Bud and his friends trying to communicate with Costello and Reynolds provides many of the movie's best moments, and there is plenty of good material in the rest of the film as well. This picture delivers just what you hope for in a light comedy.

I won't argue over this Abbott and Costello comedy being called the very best of the duo's pictures simply because it's really the only one with a complete, polished feel--it leaves you entertained and satisfied at the end. Most of the A&C movies are filled with brawling slapstick and loud braying--back and forth with the quips--but this one is sharp and funny, and Bud and Lou play characters instead of constantly resorting to shtick. Costello is mistaken for a traitor and killed, later turning up as a ghost to haunt Abbott, who is a relative of Lou's murderer. Surprisingly good story and terrific supporting cast, amusing script and nimble direction makes this one a pleasure. ***1/2 from ****