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The original trailer was actually a one-reel recruitment short, running about nine minutes, for the Army Air Corps which included clips from this film. See more »
When Benson and Heathcliff's plane lands, it is without landing gear in an area where no planes are near. When Heathcliff gets out of the plane, it is upright, indicating that landing gear is present, and other planes surround theirs. See more »
No, you don't want to drink. Remember, every time you go into a barroom, the Devil goes in with you.
If he does, he buys his own drink.
See more »
Let's Keep 'Em Flying
Lyrics by Don Raye
Music by Gene de Paul
Played during the opening and end credits
Sung by Dick Foran (uncredited)
Reprised by Carol Bruce (uncredited) and chorus near the end
Played as background music often See more »
One of the funniest of Abbott and Costello's early Universal films was Keep 'Em Flying which stuck with the tried and true formula established by Buck Privates.
The boys are working at a carnival with their pal Dick Foran who's a stunt flier. After a disagreement with management, all three of them quit and wind up in the Army Air Corps.
For Foran he gets to renew a personal rivalry with William Gargan who's an instructor who had fired Foran once before in a civilian flying job. They're both interested in the lovely Carol Bruce who sings great and is a USO hostess.
The boys are up to their usual monkeyshines. Seeing both of them on the back of a speeding torpedo was as funny as when they repeated the same gag on the back of a bucking bronco in Ride 'Em Cowboy. And seeing them hit the silk at the end of the film is indescribable.
Martha Raye plays a dual role in the film as twin sisters, one of whom likes Abbott and the other Costello. Of course poor Costello doesn't realize they're twins and Martha's on and off attitude towards him is baffling. Later on the same twin gimmick was used by Betty Hutton in Here Come The Waves.
Gene DePaul and Don Raye wrote the original songs for this film and actually came up with an Academy Award nomination for one of their songs, Pigfoot Pete which Martha Raye sings and which is incorrectly credited in Academy records to another Universal Film, Hellzapoppin'. It's not bad, but it's really a poor man's Boogie Woogie Bugle Boy. The best song in the film is one interpolated for Carol Bruce when we first meet her as a nightclub singer, the Tommy Dorsey standard, I'm Getting Sentimental Over You.
Keep 'Em Flying is right in the great tradition of Buck Privates and In the Navy and still as funny today as when first made.
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