Deux nigauds détectives

In 1942, Bud Abbott and Lou Costello capitalized on their smashing success and churned out what is arguably their best effort up to that point. This time around, Bud and Lou play two dim-witted soda jerks trying to work their way into the radio business. When a "whodunit" mystery writer meets them and gives them tickets to that night's play, the duo jump at the opportunity. However, they soon find themselves in the middle of a real murder case when the studio's Executive Director is bumped off in the same manner as the victims in the mystery script. Thanks to one of Bud's bright ideas, they become prime suspects in the case while the murderer targets them as well. Trying to clear their names and solve the case, Bud and Lou embark on a wild chase that evokes laugh after laugh after laugh.

After seeing this film, it is not at all difficult to see why Abbott and Costello were so popular. Every routine is treated like a masterpiece and their comedic delivery is as close to perfect as you will find anywhere. Take the soda bar scene, for example. It's not that the "Muck and Mire" radio script is so inhumanly dumb, but rather Lou's constant heckling of the straight-faced bud that is funny. Then there is the way Lou reacts to everything. The man is just priceless. These guys had comedy nailed like few others ever managed.

Another reason Who Done It? is so great is the supporting cast. Sure Bud and Lou almost get in trouble for pretending to be cops, but it is a wonder that the real ones managed to keep their jobs for more than a day. Williams Bendix as Brannigan is even dumber than Lou! Now that is a first! His buddy is not too bright either. Sure, Bud and Lou nearly get in trouble for pretending to be cops, but the real ones are nearly as bad. Adding even more laughs is Mary Wickes as Juliet Collins. The subplot with her and Lou completes a one-two-three punch that is one of A&C's best ever.

Finally, there cannot be a great Abbott and Costello without a famous routine or two. The "volts are watts" scene is terrific, and who can forget "Alexander 2222"? For fans of Bud and Lou, the best part has to be when they hear "Who's on First?" on the radio and DISLIKE IT! The director managed to create a terrific flow from one wacky sequence to the next. For Bud and Lou in top form, look no further than Who Done It? Laughs guaranteed.

There are better films featuring Bud Abbott and Lou Costello, but "Who Done It" is as good a way as any to discover why the comedy pair was one of the 1940s' most consistent box office draws. It's a marvelously elongated piece of slapstick comedy that showcases Bud and Lou in peak form.

Chick (Bud) and Mervin (Lou) are soda jerks at the Radio Center Drug Store, located in the same building where GBS broadcasts radio shows across the country. The pair want to write a mystery, so when the network director is mysteriously murdered on the air, they jump at the chance to solve the case and prove their smarts. Needless to say, this impromptu sleuthing annoys the real police, and Chick and Mervin are soon on the run.

Just about a year into their 16-year run, "Who Done It" finds Abbott and Costello bursting with energy, utilizing the confines of a radio station as background for their trademark pratfalls and patter. Even when the dialogue is less than stellar, it works at sustaining the energy and proving there was nothing too illogical for Abbott and Costello.

"Why wasn't this murder reported yesterday," Mervin demands as he shows up seconds after the murder, playing a cop.

Because it didn't happen yet, is the answer.

"Why wait until the last minute...You're going to get the electric chair, and two years besides!"

Before you can register enough to groan about that one, Chick is educating Mervin on watts and volts. "What's volts?" "Exactly, watts are volts." "That's what I'm trying to find out...Next thing you'll tell me watts is on second!"

Then you get one of the best bits Abbott and Costello ever did on film, the Alexander 2222 routine, where Mervin tries to call the radio station from a drug store across the street and can't get through, even as a bevy of bizarre characters step into the same phone booth to call places like Nome, Alaska and Moscow. "Long distance, get me Brazil. Hello, Brazil. Is this Joe? Hi Joe! How's the coffee business?" There's lots of great silliness here, my favorite being when Lou for no reason bursts into opera.

As theowinthrop notes in his review, this is an interesting Abbott & Costello film for its focus on radio, which broke them as a national phenomenon and where they continued to work throughout their film career. There's a nice bit where Chick and Mervin, behind the counter of their drug store, act out their radio script with ice-cream scoopers ("'The Midget Gets The Chair,' or 'Small Fry'") and clever use of the tools of radio, like recordings that are activated at the wrong moment, and a prop door Mervin mistakes for the real thing. Walk through one door, and you are in a dark office where a murderer lurks, walk through another and you are in the middle of an acrobatic act.

Why is there an acrobatic act being performed at a radio station? Why are Chick and Mervin entrusted with the one piece of evidence by someone who knows they aren't cops? How does Mervin manage to climb up the side of a building after taking a flagpole in the crotch? Watching an Abbott and Costello movie, you have to ignore stuff like that.

But what you get in "Who Done It" is worth the sacrifice. You get a first-rate supporting cast including the memorable Mary Wilkes, Patric Knowles from "The Adventures of Robin Hood," Edmund MacDonald from "Flying Tigers," and most effectively, William Bendix as a dopey detective who actually manages to get himself tricked by Lou. There's also a great finale on the roof of a building that combines laughs and suspense as effectively as anything in the more-heralded "Meets Frankenstein."

Later on, the films got weaker as Lou pushed Bud to the side and showcased himself more as cuddly man-child. But here the pair was still hungry for laughs and experienced enough to understand what worked. They gave the public what they wanted with "Who Done It," and its a tribute to their lasting genius such a light endeavor still holds up today.

This has always been one of my favourite Abbott & Costello's, it's a short, frantic murder mystery with plenty of slapstick routines to keep us fans happy. I think the pace of it all and the average volume of Lou's voice probably puts some people off, but hey they can't really be fans then, can they?

A murder is committed in full view in a radio studio, Bud and Lou are on the case unasked as detectives before the "real" ones show up. There's an odd love interest with Patric Knowles and Louise Allbritton, because he comes into the story, departs gallantly saying he won't take charity from a woman, and after the murder also gets involved unasked. Favourite bits: Watt's a volt; Lou in the "clues closet", Lou crashing through glass windows leaving his fleeing shape and even making an impression on a wall - all complete with hat; Alexander 2222.

The marvellous wartime Universal studio atmosphere pervades with some beautiful shadowy lit shots at the radio station - in fact the A&C films I love best are all from this period, replete with the atmosphere the Universal technicians achieved seemingly so effortlessly then. To a fan: one of their best, to an unbeliever: don't trouble yourself or the fans.

By 1942, with the release of "Who Done It?" Universal Studios had learned a thing or two about Abbott and Costello: Namely, that the ridiculous boy-girl subplots and the subpar music (except from the Andrews Sisters) that padded their other features to date where wholly unnecessary. Thankfully, Bud and Lou are given full reign in "Who Done It?" without any extraneous material.

That said, it's easy to see who "Who Done It?" is my favorite of all their features. Not only are "the boys" in top form, but the supporting cast is great as well; Mary Wickes is a perfect foil for Lou (bringing to mind his earlier clowning with Joan Davis in "Hold That Ghost"), and it's a shame the two didn't work together more (even *her* talents couldn't pump any life into "Dance With Me, Henry").

Abbott and Costello comedies are often long on laughs but short on plot. Not the case with "Who Done It?" The ins and outs of a radio spy ring are well crafted, providing appropriate counterpoint to the antics of Bud and Lou.

And what antics there are! Lou is convulsively funny here, from the opening moments where he deals with an obnoxious elevator boy (and "wins" a bet concerning the production of orange juice) to the later chase on the studio rooftop (and clever use of the sign "Vote for Townsend Phelps"). Classic bits--such as the insanity of "Alexander 2222", which reaches a new and self-deprecating conclusion--are here as well.

Sadly, Universal didn't remain knowledgeable about what to do with A&C for long; soon after, the love stories and drippy songs were back. But "Who Done It?" remains as a testimony to what this incomparable comedy team could achieve on its own.

We think of Abbott and Costello as burlesque comics, but the medium that gave them the national exposure allowing them to go into film was radio. It was on radio that the sharpness of such routines as "Who's On First" was demonstrated to millions, laying the groundwork for the film audience that Universal benefited by. And it was WHO DONE IT? that was their film about radio. They are soda jerks in a restaurant in the building that a radio station is headquartered in. They both want to break into radio. But when they are finally on the premises of the station, they are among the witnesses (and suspects) at the murder of the station's owner (Thomas Gomez). Due to Costello's continuous ability to make errors, they are suspected of the murder by the two detectives (William Gargan and William Bendix) who are assigned to the case. They are determined to try to solve the case and clear themselves.

Gargan and Bendix were ideal foils for A & C, especially Bendix who meets Costello's dumb with dumber. The nadir for both cops is when they are guarding the front of the office building from Abbott and Costello entering it while the investigation is continuing. Bud and Lou, determined to enter the building, walk in backwards, so the cops think they are seeing them walk out (at least momentarily). Rumor has it that Costello determined never to make another film with Bendix - he was jealous of the latter's getting more laughs than him. It may be true, but then Lou was doing pretty well on his own here.

As it is a war picture, the mystery also deals with a spy ring. The actual perpetrator is a surprise of sorts at the end. A good comedy, I give it 8 out of 10.