Associate producer: Alex Gottlieb. Copyright 26 October 1942 by Universal Pictures Co., Inc. New York opening at Loew's Criterion: 2 December 1942. U.S. release: 6 November 1942. Australian release: 13 July 1944 (sic). 8 reels. 6,934 feet. 77 minutes.
SYNOPSIS: A couple of dumb soda-jerks try their hand at being detectives.
NOTES: Universal's top-grossing domestic release of 1942, pipping another Abbott & Costello feature also produced by Gottlieb and directed by Kenton, Pardon My Sarong.
COMMENT: Having kidded the Gothic mystery genre in Hold That Ghost (1941), it was inevitable that Abbott and Costello should turn to the straight detective thriller for further inspiration.
After some clever opening titles where they are seen in silhouette, Abbott and Costello do not re-appear for ten minutes or so while the script lays the groundwork for what appears to be an elaborate plot. But when our heroes do come on, they stay on! The plot is virtually forgotten and no further attempt is made to whet our appetites as to the identity of the killer - beyond a rapid series of close-ups before the broadcast - whose motives, when he is revealed, remain somewhat obscure. Nonetheless, despite the directors' failure to generate much atmosphere and his generally lead-footed approach, A&C are in good form and run through just about every one of their standard routines. And there is a stand-out climax which despite its obvious studio construction, is a real seat-gripper.
A good support cast help Abbott and Costello with the laughs, particularly William Bendix as an even dumber detective than Lou. We also enjoyed Walter Tetley's chiselling elevator boy. He makes a great stooge for Lou and it's a shame he's not used after his two opening scenes.
John Grant has supplied the boys with some classic vaudeville routines, including the disappearing water-jet and the famous "Alexander 2222" in which a wonderful collection of goofy oddballs manage to place crazy, long-distance calls whilst the dumbfounded Lou can't even get connected to the broadcasting studio across the street. A pity the direction is so flat, Lou is forced to extract all the humor virtually unaided. Fortunately an appropriate who-done-it atmosphere is occasionally created by Charles Van Enger's moodily noirish lighting. Skinner's music helps too, especially in the satirically observed broadcast scenes.
A good effort, but it could have been richer and funnier with less flat-footed direction.
SYNOPSIS: A couple of dumb soda-jerks try their hand at being detectives.
NOTES: Universal's top-grossing domestic release of 1942, pipping another Abbott & Costello feature also produced by Gottlieb and directed by Kenton, Pardon My Sarong.
COMMENT: Having kidded the Gothic mystery genre in Hold That Ghost (1941), it was inevitable that Abbott and Costello should turn to the straight detective thriller for further inspiration.
After some clever opening titles where they are seen in silhouette, Abbott and Costello do not re-appear for ten minutes or so while the script lays the groundwork for what appears to be an elaborate plot. But when our heroes do come on, they stay on! The plot is virtually forgotten and no further attempt is made to whet our appetites as to the identity of the killer - beyond a rapid series of close-ups before the broadcast - whose motives, when he is revealed, remain somewhat obscure. Nonetheless, despite the directors' failure to generate much atmosphere and his generally lead-footed approach, A&C are in good form and run through just about every one of their standard routines. And there is a stand-out climax which despite its obvious studio construction, is a real seat-gripper.
A good support cast help Abbott and Costello with the laughs, particularly William Bendix as an even dumber detective than Lou. We also enjoyed Walter Tetley's chiselling elevator boy. He makes a great stooge for Lou and it's a shame he's not used after his two opening scenes.
John Grant has supplied the boys with some classic vaudeville routines, including the disappearing water-jet and the famous "Alexander 2222" in which a wonderful collection of goofy oddballs manage to place crazy, long-distance calls whilst the dumbfounded Lou can't even get connected to the broadcasting studio across the street. A pity the direction is so flat, Lou is forced to extract all the humor virtually unaided. Fortunately an appropriate who-done-it atmosphere is occasionally created by Charles Van Enger's moodily noirish lighting. Skinner's music helps too, especially in the satirically observed broadcast scenes.
A good effort, but it could have been richer and funnier with less flat-footed direction.