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While this was the Abbott & Costello's second feature, and only Abbott's second film (Costello had appeared in several films as a stuntman and background extra in the late '20s), you sure couldn't tell, as the pair handled themselves like veterans. They are so assured and confident here that they appear to be making up their routines as they go along, although in reality they had polished them to near perfection during their years in vaudeville, burlesque and on the Broadway stage. This film is a terrific example of the flawless timing that not only convulsed their audiences but astounded other comedians (Steve Allen said that he had never seen anyone who could match them). Some criticism has been directed at the duo for the insertion of superfluous and usually second-rate musical numbers in most of their films--a decision made by Universal Pictures which the team had no control over--and while that may be true for several of their subsequent efforts, it isn't here. The numbers are well staged and the songs, especially "Boogie Woogie Bugle Boy," are infectious. The "plot" about a spoiled rich boy and his servant who enlist in the army is lame, but it doesn't really matter. This is a showcase for Bud and Lou's talents, and they don't disappoint. Director Arthur Lubin said that he pioneered the use of two cameras to cover scenes mainly because Costello was so off-the-wall and bounced all over the place so much that one camera simply couldn't contain him, so he ordered up another camera and had it trained exclusively on Costello. The boys do their best routines here--The Crap Game, The Ten/Forty routine, the Drill routine--and they are a joy to watch. Anyone who thinks that Bud Abbott wasn't the best straight man in the business should watch the Drill routine and check out how he consistently and skillfully reins in Costello whenever Lou's manic energy takes him too far outside the skit while still allowing him the freedom to employ the ad-libs and improvisations he was famous for. Abbott never really got as much credit as he deserved, and this scene alone shows why he deserved it.

Abbott & Costello did make some films that were beneath their talents, and some that were just plain unfunny, but this is definitely not one of them. This is a tremendously enjoyable film. Highly recommended.

Abbott and Costello's second feature, "Buck Privates," opened in January 1941. Peacetime conscription was in effect, voted by Congress in late 1940, and only planned to last for one year. Europe was at war, China was being raped (literally) by the Japanese. Americans were torn about the prospect of war-Lindbergh, a hero and a Nazi admirer, together with his America First movement urged isolationism.

"Buck Privates" walks a cautious line. No mention of the raging European war, the bombing of London, the success of German U-boats. No discussion of America's entering a war which, anyway, isn't even directly mentioned. The theme was high-spirited patriotism and preparation. With the Andrew Sisters, Abbott and Costello provide a light-hearted view of conscription and basic training. It almost seems like a Boy Scout experience. (I don't recall Basic Training at Fort Dix in 1965 as being any fun.)

Petty con artists, the duo mistakenly join the Army while trying to evade local police. The cop chasing them winds up as their company noncom. A rich young man and his former and now very resentful working class chauffeur are not only in the same company with the comedians, they're vying for a pretty girl who seems attracted to both. A common formula for movies.

The film tracks the transformation of average young American men from all over the country who share two qualities: they're happy to serve and they're all Caucasian.

With some film from the Louisiana maneuvers, at the time the largest combat training exercise in Army history, the thin and predictable plot develops to the singing/marching end as the now ready recruits prepare to take their places in line units.

Propaganda? Well, Hollywood was starting to get on the patriotic bandwagon but cautiously. No one gets hurt in this film worse than receiving a punch in a barracks brawl or during a prize fight.

Abbott and Costello became picture palace luminaries with this still funny but unsophisticated look at Army life. With tickets costing, usually, two bits "Buck Privates" grossed $4 million, a remarkable box office take for the time. The film drew an Oscar nomination for the Andrews Sisters and their "Boogie Woogie Bugle Boy" number, a huge hit.

"Buck Privates" is an interesting look at Hollywood's careful treatment of a politically sensitive issue, conscription and the path to war. It showcases two of America's funniest comedians in a series of give-and-take dialogues that became the hallmark of their collaboration. Their routines remain very funny more than six decades later.

8/10 (for its type and time).

Legendary comedy duo Bud Abbott and Lou Costello play sidewalk salesmen / con artists Slicker Smith and Herbie Brown, who get into trouble with the law. To avoid being arrested, they cut into a line which they think is for a movie showing. Surprise, surprise...they're now on their way to enlist in the Army! Resigning themselves to their fate, they get another surprise when the cop who tried to arrest them, Michael Collins (Nat Pendleton), turns out to be their drill sergeant!

Bud & Lou earned this initial feature film vehicle for Universal due to their success on radio, and they really make the most of it. These guys really were naturals at their craft, and perform their material breathlessly. In order to get things to feature length, some time is devoted to musical numbers - especially by The Andrews Sisters - and a major subplot about spoiled rich boy Randolph Parker III (Lee Bowman) butting heads with his former employee Bob Martin (Alan Curtis) while they both aggressively pursue camp hostess Judy Gray (the very lovely Jane Frazee). But the movie is never more entertaining than when Bud & Lou are on screen. Some real hilarity comes from the way that they frustrate Collins with their antics; there are inspired moments of silliness. Bud is also a joy as he keeps devising ways to get Lou into trouble - note his ingenious method of helping Lou shed one pound so Lou can meet the maximum weight requirement.

Lively and engaging, "Buck Privates" is directed with brio by Arthur Lubin, features some catchy music ("Boogie Woogie Bugle Boy"), and wraps up in a traditional "misfits make good" manner. The supporting cast also includes folks like Samuel S. Hinds, Harry Strang, Nella Walker, Carleton Young, Tom Tyler, and Shemp Howard. It's good fun, and paved the way for further Bud & Lou big screen adventures.

Seven out of 10.

This movie contains the famous bantering and mind games that Bud Abbott always pulled on Lou Costello...this adds to the entertainment value and it is great to watch a movie that is just plain entertaining! This movie also contains the Andrews Sisters, who are so great! I love singing in a movie and the use of it is very well done. This movie also gives you a pretty accurate account of "going into the service" for that time era.The military point of view of "Buck Privates" shows the innocence of so many of our young men and women that enter the service of Uncle Sam.It is very interesting to see how things have changed in the last 60 years,as well,not only in T.V and movies, but in the service, too. Abbott and Costello bring humanity to the stiffness of military regimen in "Buck Privates". The cast that was chosen shows a great chemistry with the comedians. A "must- see" for movie buffs that appreciate the old black & white movies.

This is one of my favourite outings from Bud & Lou, the start of their phenomenally successful career in the service comedies and one of a series of smile-jerkers from them and Universal. This was also the one that made it for them in the movies and turned them into America's no. 1 box office stars during the War.

They're a couple of street tie-selling con artists who unwittingly join the Army (along with playboy Lee Bowman) in trying to escape the clutches of the Law in the shape of cherubic Nat Pendleton. It's not so easy to escape ones duty however, and so follows a series of unconnected inconsequential adventures learning to be soldiers or lovers all with that special lighthearted wartime Universal treatment. A&C went through their routines with impeccable timing and a professionalism that belied all the slapstick. Favourite bits: playing unintelligible (to me) clubhouse dice; Abbott inoculated and Costello's reaction; the mathematics of borrowing USD 50; the historic performance of Boogie Woogie Bugle Boy by the Andrews Sisters and then the sudden end to the boogie-woogie boxing match; the unusual deadpan arrangement to Jane Frazee's I Wish You Were Here. The Voice Of Hellzapoppin returns! No kidding but what chance did the Japanese and Germans really have - sorry for identifying who the enemies were in these socially inclusive times, because they weren't in the film - to pit themselves against all this? The American War Machine was awakening, with the might of Hollywood behind it and A&C playing their part with their entertaining flagwavers the same as George Formby did on a smaller scale for the British War effort.

The box office success - and critical praise too - of this took Universal by surprise and they didn't make nearly as much money as they could have, a mistake they never made again with A&C. Recommended, an antidote to now and to me always a joy to behold and hear.