Pardon My Sarong (1942)

A pair of bus drivers accidentally steal their own bus. With the company issuing a warrant for their arrest, they tag along with a playboy on a boat trip that finds them on a tropical island, where a jewel thief has sinister plans for them.

Director:

Erle C. Kenton

Writers:

True Boardman (original screen play), Nat Perrin (original screen play)

Stars:

Bud Abbott, Lou Costello, Virginia Bruce

1 nomination.

Cast

Complete credited cast:
Bud Abbott	...	Algy Shaw
Lou Costello	...	Wellington Pflug
Virginia Bruce	...	Joan Marshall
Robert Paige	...	Tommy Layton
Lionel Atwill	...	Varnoff
Leif Erickson	...	Whaba (as Leif Erikson)
Nan Wynn	...	Luana
William Demarest	...	Detective Kendall
Samuel S. Hinds	...	Chief Kolua
Marie McDonald	...	Ferna
Janet Warren	...	Amo (as Elaine Morey)
Rest of cast listed alphabetically:
The Ink Spots	...	(as The Four Ink Spots)
Maria Montez	...	(scenes deleted)
Tip Tap & Toe	...	(as Tip Tap and Toe)

Storyline

A pair of bus drivers accidentally steal their own bus. With the company issuing a warrant for their arrest, they tag along with a playboy on a boat trip that finds them on a tropical island, where a jewel thief has sinister plans for them.

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Plot Keywords:

bus | island | bus driver | playboy | kidnapping | 

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Genres:

Adventure | Comedy | Musical | Romance

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Certificate:

Approved

Details

Country:

USA

Language:

English

Release Date:

7 August 1942 (USA)

Also Known As:

Road to Montezuma

Filming Locations:

Salton Sea, California, USA

Box Office

Budget:

$400,000 (estimated)

Company Credits

Production Co:

Mayfair Productions Inc.,Universal Pictures

Technical Specs

Runtime:

84 min

Sound Mix:

Mono (Western Electric Recording)

Color:

Black and White

Aspect Ratio:

1.37 : 1

Did You Know?

Trivia

Universal had smash hits with Bud Abbott's and Lou Costello's service comedies. With this film (originally titled "Road to Montezuma") they tried to duplicate the box-office success that Paramount was having with the Bing Crosby and Bob Hope "Road" pictures. The experiment worked and this film exceeded the box-office grosses of their service comedies to become Abbott and Costello's biggest hit to date.

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Goofs

During the drink switching scene between Lou Costello and the native guy Lou Costello tricks the native guy into thinking that he switched the glasses when in fact he didn't. The two take a drink and put their glasses down but in the very next shot, the glasses are back in their hands.

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Quotes

Wellington Pflug, aka Moola: [after being told he has to go into the temple on top of a volcano, from which no one has ever returned] I'll go up there into that temple. I'll face danger.
Algernon 'Algy' Shaw: I knew you would.
Wellington Pflug, aka Moola: I don't care if the boogeyman's in there.
Algernon 'Algy' Shaw: Thatta boy.
Wellington Pflug, aka Moola: There's only one thing I want you to do.
Algernon 'Algy' Shaw: What's that?
Wellington Pflug, aka Moola: Talk me out of it.

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Connections

Featured in 20 to 1: Big Screen Buddies (2009)

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Soundtracks

Java Jive
(uncredited)
Written by Milton Drake and Ben Oakland
Played and sung by The Ink Spots at the Seaside Yacht Club

User Reviews

DEFENDING THOSE MUSICAL NUMBERS

People who weren't around in 1942 - as I was - will not appreciate that, although we all loved Bud and Lou, in this fast moving wacky comedy, Forties cinema-goers worldwide wanted bags of *jazzy* Swing Music to help it along...hence the glut of songs and production numbers.

For today's latter-day critics who would seem to be complaining about *too many musical numbers* in this talkie, I would ask you to understand that - at this time - nearly every studio was working overtime to make just such musical films, and indeed it was as if the public's appetite for these lovely melodious lyrics, and catchy rhythmic tunes, could never be satisfied.

So, watch it again, and don't worry about the music: that's what made the world go round in those happier, less smart-assed, less cool and less funky days...days, when *pop* music was there to entertain and unite everyone in the entire family, as opposed to using it as a device to exclude all but one isolated age group, to the detriment of the rest, as would seem to appertain today.