Abbott et Costello à Hollywood

Returning to the MGM lot in the Spring of 1945, Abbott and Costello make what would be their last, and funniest, film at the Tiffany of studios. Declining revenues during the war took its toll at MGM, and the loan-out deal with Universal was not renewed. Bud and Lou probably didn't mind, as there was a downturn in script quality at MGM -- not to mention a downturn in their salaries!!!

"In Hollywood" isn't as poor as their first two MGM films, however. "Rio Rita" and "Lost In A Harem" suffered from poor pacing; here, the pacing is fine. And it's fun to see Lou get into trouble on the MGM lot(in the film, the studio is Mammoth.) Incidentally, MGM lifted the idea of Lou's cavorting on the set from Buster Keaton's 1930 MGM film "Free and Easy." Another fun scene is on the midway set; it's ludicrous to believe that Costello is staying balanced on one wheel on the roller coaster, but, hey, that's what makes the scene funny and enjoyable to watch. The best scene in the film is the "insomnia" sketch, where Costello finds it impossible to sleep through the record that's supposed to put him to sleep (people raised only on CDs can't relate to this!)

All in all, "In Hollywood" is a few notches above A&C's other MGM films. Video collectors take note: although "The Noose Hangs High" and "Dance With Me, Henry" were released on video by MGM/UA, they were actually independent productions. "In Hollywood" was their last MGM film, and a decent one at that. 7 out of 10.

Can you imagine A Night at the Opera with only two Marx Brothers? That's essentially what you get in Abbott and Costello in Hollywood.

As good as they were, the Marx Brothers never got their names into the title of any picture they did. That's because they weren't half the box office draw that Bud and Lou were.

Like Chico and Harpo, Bud and Lou are barbers who get the idea to be agents. They decide to handle the career of Robert Stanton the same way Chico and Harpo sign up Allan Jones. And crooner Stanton does get into the picture in just about the same way Jones broke into Il Trovatore.

Too bad though that Stanton never got to sing some songs as good as Cosi-Cosa or Alone. Might have a career for him.

A&C got some good bits in. They had a good scene with MGM comedian Rags Ragland after Ragland comes in for a shave. And Costello being chased through the finale in a midway sequence is pretty funny.

This was the last of three films that Universal loaned out the boys to MGM for the glossier productions than what they were used to at Universal. My favorite of the three MGM films has always been Lost in a Harem. That has more the zany quality of the Universal films than either Abbott and Costello in Hollywood or Rio Rita has.

This one did only so-so box office as compared to the Universal product and Carl Laemmle, Jr. lent them out no more.

After just reviewing the first of two Laurel & Hardy movies Lou Breslow wrote (Great Guns), I thought I'd then review the only film he co-wrote for that other comedy team I've been reviewing lately on this site-Bud Abbott and Lou Costello in Hollywood. The two play barbers to the stars who also service an agent which then has them switching careers. Breslow, along with Nat Perrin, wrote some pretty funny routines for Bud & Lou without the help of their usual writer John Grant whose name is prevalent in their Universal releases. This was their third and last M-G-M one. Since this one takes place in Tinsel Town, there are some stars that appear though not Metro's biggest-Clark Gable and Judy Garland are only mentioned but one gets Rags Ragland-a studio comic who gets his unfortunate treatment from Lou in the barber chair, child star Butch Jenkins who Lou tells his version of Little Red Riding Hood with Butch interrupting with nonsense questions, and Lucille Ball-years before her TV superstardom in "I Love Lucy". Like I said, the A & C routines are funny though some probably could have been edited a little. Since this was during the early part of the comedy team's movie career, there are some musical interludes of which the amusement park sequence is a highlight with Costello on a roller coaster providing some good laughs. I especially liked the sequence where he's mistaken for a dummy! So on that note, Bud Abbott and Lou Costello in Hollywood is recommended. So as we leave A & C on their last M-G-M picture, we'll next review Laurel & Hardy on their first time actually starring in one actually produced by that studio called Air Raid Wardens.

It so often seems that iconic Hollywood comedians of years' past continue to shine more brightly than their spiritual successors; it's hardly that their modern brethren can't be funny, but the likes of Buster Keaton, Harold Lloyd, and Laurel and Hardy filled their pictures with heart as much as laughs. As Bud Abbott and Lou Costelllo entered the scene in the 40s they added certain smart aleck sensibilities and specific routines to the general gags, physical comedy, situational humor, witty repartee, and paired dynamics that characterized the works of their contemporaries and predecessors. The result, as seen in this 1945 movie, is just as fabulously fun as we could ever hope of any such fare, and without the mean streak, off-color jokes, or punching down that would increasingly dominate comedy in years to come. It may not sound like much from the outside looking in, but 'Abbott and Costello in Hollywood' is fantastic, and well worth checking out!

True, this is perhaps a tad uneven insofar as the film careens from energetic hijinks to softer scenes of repose, and musical numbers; there are also some inclusions that go too over the top for their own good. The disparity is infrequent, however, and by far the length is filled with one tremendously entertaining bit after another. At its best the feature is flush with terrific stunts and effects, and while the leading duo definitely carry most of the humor all by themselves, the cast at large unreservedly embrace the zesty spirit of the production. The narrative may mostly serve as a vehicle for the shenanigans, but still Nat Perrin and Lou Breslow are to be commended for whipping up a delightful scenario that lets the cast and crew have a blast from one moment to the next. The sets are splendid in and of themselves, and in addition to fine costume design, hair, and makeup, and sharp editing and cinematography, one would be remiss not to mention the outstanding choreography that we're treated to in the climactic sequence. The scene writing is even more important as it fuels the silliness, and even just by that measure this is super.

All the way through to the end I think this would have benefited from a smidgen more consistency. If that's the worst I have to say a title, though, then it's surely done pretty well for itself. I don't think I'd go so far as to say this is a must-see, yet even if imperfect it's a good time all around. I can understand how some viewers may have a harder time engaging with older cinema, and I'd have said the same myself at one time, but much more than not this flick bears such vibrancy that I think it should skirt around such concerns. There's no disputing the honored place that Abbott and Costello have in cultural history, and while it may not be the utmost exemplar of their style, 'In Hollywood' squarely illustrates why. Don't necessarily go out of your way for it, but if you do have the chance to watch then this is great!

Buzz Kurtis (Bud Abbott) and Abercrombie (Lou Costello) are working at a Hollywood salon for the stars. Abercrombie pays Buzz to teach him how to be a barber and it's not going well. They do a house call at Hollywood agent Norman Royce's office. They witness his work and decide to become agents themselves.

I love the shaving scenes. Lou is turning into full Curly. I like him with the kids. There are some very funny individual scenes. The overall story is not that important and it's not that compelling. This end with a couple of dangerous split second stunts and a fun roller coaster ride.