7.5/10
1,611
23 user 6 critic

The Naughty Nineties (1945)

When their captain is swindled out of his riverboat by a trio of gamblers, stage show star Abbott and his bumbling sidekick Costello must put things right.

Director:

Jean Yarbrough

Writers:

Edmund L. Hartmann (original screenplay), John Grant (original screenplay) | 3 more credits »
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Cast

Complete credited cast:
Bud Abbott ... Dexter Broadhurst
Lou Costello ... Sebastian Dinwiddle
Alan Curtis ... Mr. Crawford
Rita Johnson ... Bonita Farrow
Henry Travers ... Capt. Sam Jackson
Lois Collier ... Miss Caroline Jackson
Joe Sawyer ... Bailey
Joe Kirk Joe Kirk ... Croupier
Edit

Storyline

In the gay '90s, cardsharps take over a Mississippi riverboat from a kindly captain. Their first act is to change the showboat into a floating gambling house. A ham actor and his bumbling sidekick try to devise a way to help the captain regain ownership of the vessel. Written by Daniel Bubbeo

Plot Summary | Add Synopsis

Taglines:

A Show Boat Load of Laughter!

Genres:

Comedy | Crime | Romance

Certificate:

Approved | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

6 July 1945 (USA) See more »

Also Known As:

Tramposos trampeados See more »

Company Credits

Production Co:

Universal Pictures See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Noiseless Recording)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

The "Who's on First" sequence was added after the rest of the film was shot and edited. Universal executives thought the film didn't have enough laughs, so they wrote in "Who's on First," which Bud Abbott and Lou Costello had been performing for years on stage and radio, as well as a much shorter version in their first film, One Night in the Tropics (1940). See more »

Goofs

The movie is set in the 1890s, but Life Savers candy (which is used as a joke in the movie) was first created in 1912 by Clarence Crane, a Cleveland chocolatier and father of the famed poet Hart Crane, who was looking for a new "summer candy" to supplement his chocolate business. See more »

Quotes

Dexter Broadhurst: Naturally.
Sebastian Dinwiddle: Who has it?
Dexter Broadhurst: Naturally.
Sebastian Dinwiddle: Naturally.
Dexter Broadhurst: Naturally.
Sebastian Dinwiddle: Okay.
Dexter Broadhurst: Now you've got it.
Sebastian Dinwiddle: I pick up the ball and I throw it to Naturally.
Dexter Broadhurst: No, you don't, you throw the ball to first base.
Sebastian Dinwiddle: Then who gets it?
[...]
See more »

Crazy Credits

In many of Abbott and Costello's films, their faces are visible through the "O"'s in their names. In this one, only Costello's face is seen at first; then he silently calls, "Hey, Abb-bott!," and Abbott's face appears. See more »

Connections

Referenced in Law & Order: Tragedy on Rye (2002) See more »

Soundtracks

I Can't Get You Out of My Mind
(1945) (uncredited)
Music by Edgar Fairchild
Lyrics by Jack Brooks
Sung by Lois Collier (dubbed) on the showboat
See more »

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User Reviews

 
Worth it for Who's on First Alone
10 January 2005 | by daspiroSee all my reviews

This movie is too often considered great just because of the "Who's on First" routine. Now don't get me wrong, that is the best part of it, but there are other wonderful parts of it as well. This is the first costume piece that Abbott and Costello ever did. I don't know that it had to be set on a Riverboat, but it did give them the opportunity to do a lot of great gags. This movie also includes the classic "My Bonnie Lies Over the Ocean" routine where Costello thinks he is getting stage directions from Abbott and the "feathers in the cake" routine.

A couple of comments on "Who's on First": this is one of the funniest comedy routines ever, and you can be easily amused just by reading it. What makes it so great in the hands of Abbott and Costello is their ability to stay in character while doing it. Throughout the routine Abbott cannot understand why Costello doesn't get what he is saying, and Abbott tries many times, in vain, to figure out the names of the players. The routine seems to be shot in one take, and we are the better for it. Watch it many times and pay attention to only Abbott or Costello and you'll get what I mean about them always staying in character. They rarely look at the audience, the continue their thoughts (as their characters) and the fact that neither of them understands why the other is not making sense is what makes this work.


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