7.6/10
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25 user 5 critic

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) | 1 more credit »
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1 nomination. See more awards »

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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 The Ink Spots ... (as The Four Ink Spots)
Maria Montez ... (scenes deleted)
Tip Tap & Toe Tip Tap & Toe ... (as Tip Tap and Toe)
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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.

Plot Summary | Add Synopsis


Certificate:

Approved | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

7 August 1942 (USA) See more »

Also Known As:

Road to Montezuma See more »

Filming Locations:

Salton Sea, California, USA See more »

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Box Office

Budget:

$400,000 (estimated)
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Recording)

Aspect Ratio:

1.37 : 1
See full technical specs »
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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. See more »

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. See more »

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.
See more »

Connections

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

Soundtracks

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

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User Reviews

DEFENDING THOSE MUSICAL NUMBERS
5 October 2004 | by Gerry_GeorgeSee all my reviews

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.


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