Harry and Willie buy the Edison Movie Studio in the year 1912 from Joseph Gorman, a confidence man. They follow Gorman to Hollywood where, as stunt men, they find him directing movies as Sergei Trumanoff and stealing the studio payroll.
Two bumbling plumbers are hired by a socialite to fix a leak. A case of mistaken identity gets the pair an invitation to a fancy party and an entree into high society. As expected, things ... See full summary »
Two ex-soldiers return from overseas--one of them having smuggled into the country a French orphan girl he has become attached to. They wind up running into their old sergeant--who hates ... See full summary »
Muggs' rich Uncle Pete is coming to visit. Unfortunately, Muggs' late father had bragged that he had seven kids, so Muggs recruits the members of the gang to pose as his family--including ... See full summary »
The gang is befriended by a millionaire whom they save from a mugging. However, they begin to suspect that the man's son was actually one of the muggers. Knowing that the boy's father is ... See full summary »
Abbott and Costello are two window washers who are mistaken by Nick Craig, a bookie, as the messengers he sent for to pick up $50,000. Now the person he sent them to sent two of his men to ... See full summary »
Muggs, ordered by a judge to get a job "or else", is hired by a society matron as the chauffeur for her wacky family. An engagement party is thrown for the family's daughter, and the rest ... See full summary »
Buzz and Abercrombie are agents trying to get Jeff Parker the lead in a movie musical. Routines include Lou's insomnia and his being unable to hear Bud due to his wearing an earplug. Lots of movie studio stuff. Written by
Ed Stephan <firstname.lastname@example.org>
Bud Abbott And Lou Costello In Hollywood (1945) is a sketch film that utilises the premise of Hollywood and the film industry there to assemble a bunch of incongruous gags. Some gags work better than others, while some are a tad over done, and protracted, especially for a fast moving 21st Century audience.
Within the sketches of the storyline is a murder case. This taps into the then trendy period of film noir, a genre of film style that was at its peak at that time. In this instance Abbott and Costello satirise film noir, making a mockery out of the genre. They also take a pop at Hollywood and the inside corruption and backstabbing that goes on.
The boys ( probable unintentionally) make a mockery out of education. In one scene we see Costello's character, Abercrombie struggling with basic maths, yet he and Buzz (Abbott) are intelligent in a way that isn't obvious or conventional. They are enterprising, and clever at the way they achieve their goals, albeit in an unusual, haphazard way. In the end, the boys are the ones who end up rich and successful over the rest of the characters. As such the message here is that a formal education does not make a person clever, but is more about conditioning the cognitive processes. Abbott and Costello proved this time and again.
In sum, this film is interesting for its peak at Hollywood in the mid '40s. It's also worth watching it for the cameo by the marvellous Lucile Ball.
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