Deux nigauds dans le manoir hanté

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?").

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.

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 ****

THE TIME OF THEIR LIVES (1946) ***1/2 Abbott and Costello original with the team "separated": Lou's a Revolutionary War-era ghost with comely spirit Marjorie Reynolds who both were murdered and branded traitors to America, and due to a curse set upon their souls are forced to remain on Earth until they are proven patriots thanks to a letter in an antique clock authored by George Washington. Bud is very good as an ancestor of Costello's arch nemesis providing Lou a good reason to scare him. Pretty funny and some solid acting from the duo.

Growing up in the New York area as a kid, channel 11 (WPIX) used to show the Abbott and Costello movies every Sunday at 11:30 AM. I got to see virtually all of them. Some were OK (Buck Privates) while others were barely watchable (the later ones that start with "Abbott & Costello Meet [INSERT HORROR CHARACTER NAME]).

BUT...I have always noticed that "The Time of Their Lives" is definately very, very different from all of their other films. First of all it has a cohesive, discernable plot that isn't just about hanging the gags on. All of the comedic moments arise from and because of the plot and they work very well. And the resolution of the ghost's predicament (they were wrongly executed) is very satisfying.

It would be interesting to find out how and why this film was made because it differs so radically from the other Abbott & Costello films. Was it a fluke? Did the team seek better material? Did it simply come their way?

See this film. It's very good indeed.