Deux nigauds vendeurs

What first pops into your head when you think of the names Abbott and Costello?... Most anyone you ask will say slapstick, humor beyond it's years, and acting of the most ridiculous scenarios of their time.

All I have to say is that "Little Giant" defies it all. This film is thankfully free of all those "thrown in" ditties in every other A&C film (besides "Who Done It?" at this time), and finally gives Lou the main romance. The duo, although not working as a comedic team, pull off a great film with the unseen talents (at the time) of each other.

Abbott and Costello were a great duo making people laugh for a good 20 years (I believe). The general population of people will tell you that both A&C were ONLY made for comedy, and that is where they're wrong.

"Little Giant" is a film which contains the rare abilities of Bud Abbott and Lou Costello acting out a character driven drama. First, the supporting cast is phenomenal with the talents of Brenda Joyce, Jacqueline deWit, and George Cleveland as the people who take Costello under their wing at his new job.

Then the charming Elena Verdugo plays Lou's love interest. She doesn't drop the ball... and Lou and herself play it off as a poor, soon-to-be-married couple who would like to settle down. And we see clearly that Lou doesn't love anyone more than his mother who takes care of him and believes in him.

Bud Abbott executes his roles firmly as (both of) Costello's sales bosses, and shows how much more of an acting ability he had playing two roles that parallel each other from the extremes.

And finally, Lou Costello... plays a poor farm-town boy-- clumsy yes... but out to prove he can be a salesman. His character has a lack of confidence and throughout the film we see him slowly take low blows from the other salesman he comes to meet. There are a few scenes which made me really feel for Lou's struggling character. When the salesman are making fun of him without him knowing, and especially when he's standing in the mud- as miserable as anyone can be- looking at the mangled bird cage, that had the bird he so willingly wanted to give his mother... bringing home nothing else but his failed attempts to be successful.

This film is NOT completely sad-- (if that's how I'm making it out to be...) there are moments where you can really smile toward Lou's character.

Costello also manages to throw in a few laughs when he can, and one of the ol' A&C skits are thrown in (7x13=28).

Really-- Bud and Lou really hit something here... maybe not a perfect film, but one enough to make you really feel for the struggling protagonist. And honestly, not many comedians can really pull these kind of performances off...

LITTLE GIANT (Universal, 1946), directed by William A. Seiter, from an original story by Paul Jarrico and Richard Collins, became what is categorized as the first of two split-up partnerships of the popular comedy team of Bud Abbott and Lou Costello. Though Abbott still resumes billing over Costello, Costello, in title role, is the basic character from start to finish, almost as if this were Costello's solo effort without the presence of Bud Abbott. What makes LITTLE GIANT so interesting is the fact there is a story to back it up. To make sure their public won't be disappointed, some gags were inserted into proceedings, whether it be Costello with Abbott or Costello with some other character actors. As much as this is classified a comedy, in some ways, it's a comedy/drama where the somber moments falling on Costello's character. Unfortunately Costello wasn't able to endure the same effect in comedy/drama to great effect in the manner of legendary comedian, Charlie Chaplin as he did in for THE KID (1921) and CITY LIGHTS (1931). For much of the 1940s, Abbott and Costello were extremely popular, and made their audiences laugh. For LITTLE GIANT, this time it was something completely different.

The narrative begins on a farm in Cucamonga where Benny Miller (Lou Costello) lives with his beloved mother (Mary Gordon). He is loved by Martha Hill (Elena Verdugo), the girl next door whom he hopes to someday marry. Benny's ambition is to become a successful salesman, and has been studying night and day through his record correspondence school. Upon graduation, Benny leaves the security of his happy home to find his fame and fortune in the outside world. He leaves by train for Los Angeles for the company for which his Uncle Clarence Goodwin (George Cleveland) is employed as bookkeeper under John Morrison (Bud Abbott) for the Hercules Vacuum Cleaning Company. Mistaken for a Hercules male model (George Holmes), and not wanting to be embarrassed, Mr. Morrison offers Benny a job for his company, unaware that he is Clarence's nephew with his strict rule of having no relatives at the firm. What Clarence knows but won't reveal is the fact that Mr. Morrison is secretly married to his secretary, Hazel Temple (Jacqueline De Wit), the advertising manager. Due to his failure as vacuum cleaning salesman, Clarence suggests he be transferred to a smaller branch in Stockton, California. While there, Benny works under Morrison's look-alike cousin, Thomas Chandler (Bud Abbott). Benny continues to fail in his profession, forcing Chandler to have his private secretary, Ruby Burke (Brenda Joyce) to present him his letter of dismissal. Feeling sorry for Benny, she doesn't. While at a saloon, the fellow salesmen build up Benny's confidence as a mind reader, leading Benny to become a top salesman, selling nine vacuum cleaners in a single day. This success brings him back to the corporate office under Mr. Morrison and its president, Van Loon (Pierre Watkin), but an unexpected turn of events leads Benny to a different direction.

Unlike prior Abbott and Costello comedies, LITTLE GIANT doesn't contain song interludes, romantic subplots or an exciting chase finish. It does rank one of their longer features as opposed to 79 minutes or shorter. Minus the formatted material the public has become accustomed to seeing, some burlesque routines were thrown in for assurance. The opening minutes starts off with great promise with yokel farm boy Benny trying his salesman approach on an irate customer, wonderfully played by Sidney Fields (Mr. Fields, the landlord, on television's "The Abbott and Costello Show." in the 1950s). Interestingly, when LITTLE GIANT aired on broadcast television in the 1970s and 80s, this great Costello and Fields segment was cut in order to fit this 91 minute feature with commercial breaks into its usual 90 minute time slot.

Abbott and Costello don't come together until 21 minutes into the start of the story, and only have simply one familiar routine together, their famous 7 X 13 = 28, lifted from their earlier service comedy, IN THE NAVY (1941), being a highlight. Other than that, whatever comedy there is, Costello does it alone or with others like Sid Fields or Donald MacBride in the train sequence segment. Sadly, Groucho Marx's most frequent straight lady of stage and screen, Margaret Dumont (Mrs. Hendrickson), is reduced to only a two-minute bit, making one wish she had much more to do. Brenda Joyce and Jacqueline De Wit make due in their roles, and are properly cast.  

After frequent viewing, LITTLE GIANT is one movie with potential that should have been a worthy departure for Abbott and Costello. The problem was the material, which seems more like something out of director D.W. Griffith silent era days of local boy making good, may not seem suitable for Lou Costello. As much as Costello is capable of being a serious actor, devotees simply refuse to accept him as one. Casting Abbott as two different characters is fine,in fact, excellent. Having Costello in a movie all to himself is satisfactory, yet, like his character, he tries too hard to be both funny and serious at the same time. The mixing of gags with straight story helps, but there are times where it throws it off balance. The problem mainly falls upon its scripting during its second half which should have been better handled. Critics and fans wanted Abbott and Costello in surefire comedy, and didn't seem ready for sentimental pathos on Costello's character. Distributed to video cassette in 1993, LITTLE GIANT has become available onto DVD some years later.

Regardless of its pros and cons, LITTLE GIANT is never really boring. Just different. Though Bud and Lou returned to formula comedies where they belonged, the team worked in one more split comedy again, to much better results, in THE TIME OF THEIR LIVES (1946).(**1/2)

A countrified Costello goes to the city to sell vacuum cleaners and ends up a mind reader.

It's a departure for A&C, more scripted with a structured storyline than previous entries. That's understandable since the war is over and audiences are looking for more than simple escapism. Actually, the entry is more a curiosity than a straightforward comedy. Abbott plays multiple parts, showing a talent for the occasionally sinister and low-down, while Costello plays something of a lovable Chaplin-like simpleton. There're a couple of funny routines and a few gag lines, but fewer than usual, plus a pacing that lacks needed snap.

I liked the 7x13=28 routine, which shows a lot of amusing ingenuity. There's also Costello's extended seduction routine where the statuesque deWit hovers above him in a drop-dead sexy gown. But, I'm sort of surprised the screenplay doesn't make more of the comedic potential of a door-to-door salesman since that could lead to a whole series of funny situations. Instead, we get only one sales set-up, a really funny one with Margaret Dumont and her poor besieged carpet.

Anyway, this move toward a more serious and structured storyline appears not to have been very successful since the boys soon turned to the highly successful A&C Meet… series of straightforward comedies. After seeing this rather tame effort, I can understand why.

Having just rewatched Laurel & Hardy's Our Relations in which both stars played twin brothers. I then felt the need to then rewatch this one in which Bud Abbott played two roles-a Mr. Morrison and a Mr. Chandler, revealed to be cousins by their mothers being sisters. Oh, and Abbott also posed as the grandmother of them as shown by the portrait hung in Chandler's office. Before I reveal their function in the story, let me first mention that Lou Costello plays Benny Miller, a farm boy who's been listening to correspondence records on being a salesman. So he goes to Los Angeles to meet Mr. Morrison and, well, something goes wrong that I won't reveal here. So Benny then goes to Mr. Chandler's who reveals the backstory I mentioned above. Now when I first watched this in 1980 as a 12-year-old kid watching this on a late Saturday night on "The Abbott & Costello Theatre", I remember being a little confused by the direction of the story since for once, the two stars weren't presented as friends as many others of their movies had done up to then. When I later read bios of Bud & Lou, including Lou's daughter Chris' book "Lou's On First", I found out two things: first, the box office of a couple of their last movies weren't doing as well as before, and second, the two weren't getting as much along as before to the point of avoiding each other when not performing. So a decision was made to change the formula of their movies starting with this one. Their next one, The Time of Their Lives, also dispensed with the usual A & C formula. Actually, at least one routine was reprised here-"7 x 13=28" which they previously did in In the Navy. Also, as a kid watching, I remember not liking so much drama permeating this one, I mean, previously, Lou had some lines meant to provoke feelings but then went back to the comedy, here, it took a while to get back to that. Having now watched this again on YouTube, I actually like this much better now. Also, what a treat to now find Sid Fields, best known as the landlord in the comedy team's TV show, as one of Benny's first customers who gives it to him good concerning his family's health in order to avoid getting sold on anything. Another treat is seeing Fifth Marx Brother Margaret Dumont being the victim of Benny's vacuum cleaner demonstration. She had also appeared with W. C. Fields and Laurel & Hardy during this period. Speaking of L & H, the director here was William A. Seiter who previously helmed Stan & Ollie's Sons of the Desert. Among the fellow salesman Benny associates with is one played by Joe Kirk who was his brother-in-law who, like Fields, also appeared in that TV show as an Italian friend. One more supporting player I have to mention is Chester Conklin, a Sennett veteran who also once worked with W. C. Fields during the late silent era (I only know this because I once read a filmography book on Fields which had pics of the three now lost films he and Conlkin made). Here he's a hotel valet. Okay, so with all that, I'll just say, if you're interested in a different sort of A & C flick, Little Giant is recommended. Oh, and my next review will be Laurel & Hardy's Hog Wild...

This is a little appreciated A&C film that actually is quite good. It has almost no music to interrupt it. Abbott has a dual role & is only with Costello in small parts of the film. When this was made, the boys were fighting so they tried not to do scenes together.

Director William Seiter has a lot to do with a lot of the difference here. Sidney Fields has a great sequence doing the straight man with Costello early in the film too.

This film has a funny/ fuzzy math routine (common core) that obviously is drawn straight from A&C's radio shows they did before the movies. There is a lot of good support for A&C in this movie. This is the only film where Costello does "pathos" type comedy and he is actually quite good at it.

Some critics rated this as the best A&C film that few people have seen. It is the first of 2 films which departed from their standard format. Maybe they should have fought more often as they are 2 of the stronger films the team did.

Overall, this is a good outing, and worth seeing. Universal has it on their DVD Franchise Collection, Volume 2 of 4 volumes.