Sach is hired as the companion for a poodle on an ocean voyage from New York to London. What he doesn't know is that the people who hired him are actually diamond smugglers, and there is a ...
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"Sach" has become a camera fiend so, in the pursuit of some ready cash, "Duke" takes him and his photographs to the editor of the New York Morning Blade, Mr. Ray Vance. He hires them to get... See full summary »
Slip, Sach and the rest of the Bowery Boys enter a haunted house, where they engage in slapstick with the Gravesend Family which has one Creepy Butler, 2 Mad Scientists a crazy old woman with a Man eating Plant a Savage Gorilla, an 8 foot tall Robot and a Vampiress.
Slip gets fired from his job at a construction company for decking his boss. His sister, who got him a job at the company, is angry with him. Slip manages to get a job with the District ... See full summary »
Sach and Duke set out to expose a stage hypnotist as a phony. In order to do so, Sach allows himself to be hypnotized and "regressed" to a past life--which he discovers was as a tax ... See full summary »
A precocious young TV star steals Sach's and Duke's car, and they run up against some network executives when they go to find out what happened. The executives believe that the boys know ... See full summary »
Sach is hired as the companion for a poodle on an ocean voyage from New York to London. What he doesn't know is that the people who hired him are actually diamond smugglers, and there is a cache of diamonds hidden in the poodle's coat. Written by
Sach unknowingly dog-sits a diamond studded poodle for a gang of smugglers during a trans-Atlantic voyage.
It's amazing the series lasted as long as it did, surviving well into the TV era with material now common to the little black box. Hall really deserves more credit than he's gotten for his raw comic abilities, on display here in highly energetic form since he knows he has to carry the film. Sure, his style was childish and over the top, but compare that style with Jerry Lewis's nitwit kid from the same era. Yet, Lewis is celebrated in many quarters as some kind of genius, while Hall is largely forgotten. Still, I don't see that much difference in absurd styles, except Lewis was backed by big studio Paramount, while the Bowery Boys depended on poverty row outfits like Allied Artists.
I agree with others-- the series was never the same without Leo Gorcey, a fine comedic talent in his own right and sturdy counterpoint to Hall's goofy shenanigans. As a result, Hall was left to carry on as best he could with budgets not much bigger than a take-out at MacDonalds, which is very much the case here, where everything occurs indoors, even the voyage. Worse, the action appears limited to the same room and hallway that merely get rearranged from one set-up to the next. No wonder it's the gang's swan song. Too bad they couldn't have gone out on a higher note. Nonetheless, their career from Dead End (1937) to this final entry (1958) spans 20 of the most turbulent years in the nation's history and a whole series of changing popular tastes. A pretty good record of longevity, I think, for a gang of likable losers.
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