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 »
Chester Wooley (Lou Costello) and Duke Egan (Bud Abbott) are traveling salesmen who make a stopover in Wagon Gap, Montana while en route to California. During the stopover, a notorious ... See full summary »
Sgt. Ernie Bilko is the ultimate con man. He runs the motor pool at a small Kansas US Army Camp. Colonel Hall, nominally in charge of the base tries to keep Bilko's plans in check. Bilko ... See full summary »
Mister Ed is a horse who is owned by Wilbur Post. Mister Ed is not just any horse, he talks to Wilbur! But this gets Wilbur in all kinds of trouble because Mister Ed won't talk to anyone ... See full summary »
Widower Steve Douglas raises three sons with the help of his father-in-law, and is later aided by the boys' great-uncle. An adopted son, a stepdaughter, wives, and another generation of sons join the loving family in later seasons.
During filming, one camera was always kept on Lou Costello because he was constantly improvising. The funniest bits of business were then edited into the episode whether they had anything to do with the storyline or not. See more »
All of the greatest Burlesque routines done for the ages
The raison d'etre of these 52 shows is the desire of Lou Costello to leave behind definitive versions of all of their burlesque and vaudeville routines. Most of these were not original, some having circulated since Plautus. Floogle Street (also known, incorrectly, as the Susquehanna Hat Company), Crazy House,
Niagara Falls (Slowly I Turn) were all such staples that every new burlesque comic was expected to know them in case they were needed to fill in at a moments notice. They were part of the stock repertoire. What Abbott and Costello did was present the absolute perfect version of each bit. It was this absolute perfection which caused them to rise to the very top of burlesque, and to, uniquely, make the transition to the mass medium of films.
They did these bits in their films but they were usually compromised by having plots and sub plots and romance and songs and whatever the studio executives or their agents (actually the same person) thought people who went to the movies wanted. Comparing their late films with the TV series is night and day. They look old and tired and out of shape in the films but crisp and perfectly timed on TV. The big difference with the TV series is that Lou Costello was in complete charge and did things his way. Absolutely the ne plus ultra of the burlesque comic genre, pardon my French.
One day the National Film Registry will have to list the entire series as a national treasure. Lou Costello was right and their act was for the ages and this black and white series preserves it perfectly. Meanwhile watch that bit again where Mr. Bacciagalupe (I still call my greengrocer Mr. Bacciagalupe) convinces Lou that two bananas are really three bananas. Also the routine where Abbott convinces Costello not to let Mike the Cop push them around which keeps getting Lou hit on the head which is so much like modern international politics that it's frightening.
P.S. Doing my Joe Besser ('Stinky') impression got me out of the draft.
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