The Andrews Sisters Movies

This ambient release contains images of a yuletide fireplace that allows anyone with a TV to turn their own home into a Christmas wonderland. ~ Perry Seibert, Rovi

Disneyland host Walt Disney endeavors to demonstrate how inanimate objects can become "human", with the attendant full range of emotions and problems, in the wonderful world of animation. To demonstrate, Walt has three otherwise non-living objects narrate a series of cartoon segments, lifted from past Disney theatrical releases. Highlights include "Little Toot", the saga of an eager young tugboat excerpted from the animated feature Melody Time (1948) and musically narrated by The Andrews Sisters; and "Johnny Fedora and Alice Blue Bonnet", a romance between a pair of hats, again featuring the Andrews Sisters and lifted from the 1946 feature Make Mine Music. ~ Hal Erickson, Rovi

Road to Rio was the first of three "Road" pictures jointly produced by stars Bing Crosby and Bob Hope. On the run from the law again, musicians Bob and Bing stow away on an ocean liner. They try to come to the rescue of heiress Dorothy Lamour, who is doomed to an arranged marriage to caddish George Meeker. All gratitude and effusions for their assistance, Dorothy surprises Bob and Bing on their next meeting by slapping them in their faces and declaring "I hate you! I loathe you! I despise you!" The explanation? Dorothy is being hypnotized by her scheming aunt Gale Sondergaard, who has set up the marriage for mysterious mercenary reasons of her own. When Dorothy is "herself" again, Bob and Bing smuggle her off the ship and into their Rio de Janeiro hotel room. The boys plan to save Dorothy from her unwanted marriage by passing her off as a nightclub singer, and themselves as band leaders. Trouble is, they have no band. Enter the Wiere Brothers, three Rio street entertainers. Bob and Bing hire the threesome on the spot, unmindful that they have booked themselves into Nestor Paiva's nightclub on the promise that they're delivering an American band. Since the Wieres speak only Portuguese, Bing teaches each brother an American phrase by rote: "You're in the groove, Jackson", "You're Telling Me," and "This is Murder." Naturally, it isn't long before the boys' ruse is discovered, and this coupled with the newly hypnotized Lamour's threats to have Bob and Bing arrested, leaves our heroes broke and stranded once more. Still, they pose a menace to Sondergaard, thus she contrives a method of disposing of them. Hypnotizing them both, Sondergaard orders Bob and Bing to kill each other. They snap out of the spell just in time, but still there's the problem of rescuing Dorothy. And now there's a new angle: mysterious stranger Frank Puglia informs the boys that the only way to stop the wedding is to retrieve (pause; a furtive glance left; a furtive glance right) "The Papers." Said papers are in the possession of Sondergaard, obliging Bob and Bing to show up at the pre-nuptial festival in disguise (with Bob in drag). Managing to hypnotize Sondergaard's henchmen Frank Faylen and Joseph Vitale, Bob and Bing uncover the precious Papers, and Dorothy is saved. But how can those papers stop a wedding? We won't give away the surprise, nor will we tell you whether Dorothy ends up with Bob or Bing, nor even what the heck Jerry Colonna is doing in the picture leading a cavalry charge. Not the best of the "Road" pictures, Road to Rio is nonetheless one of the most memorable--and quotable (how many of your high school pals used to confound the teacher by declaring "You're in the groove, Jackson"?) ~ Hal Erickson, Rovi

In this romantic comedy, three man-hungry sisters consult a fortune-teller to help them with their romantic futures. ~ Sandra Brennan, Rovi

The swinging Andrews Sisters provide the musical interludes and romance in this western. They play a trio of WW II era ranchers. That they are so good at running it proves terrible surprise for a ranch hand who has just returned home after serving in the Navy. ~ Sandra Brennan, Rovi

In this musical, the three Andrews Sisters play elevator operators who work in an office building containing a music publishing business. The girls, all aspiring singers, hope to get a break while working there. Another resident in the building, a songwriter must cope with a plagiarism suit served against him by another aspiring songwriter. In order to get her to drop her suit, the first composer hires the second and begins to woo her into submission. Meanwhile the three elevator girls are discovered and happiness ensues all around. Songs include: "Don't Mind the Rain," "Take It and Git," "East of the Rockies," "Going Up," and "Here Comes the Navy." ~ Sandra Brennan, Rovi

The Andrews Sisters headline this musical. They play the lead act at a popular nightclub. The trouble begins when they hire a few students from a financially foundering dance school for their newest production. One of the dancers, a rich young socialite, desperately wants to be in it too, but her prurient maiden aunts refuse to allow her to disgrace their family by becoming a common chorine. She and the club owner (who must have the aunt's permission because the girl is underage) try to convince them, but it's not easy. Meanwhile the talented girl finds herself falling hopelessly in love with the club bandleader. In desperation, the ingenious club owner has the obliging Andrews dress up as the aunties and sign the consent forms. The real aunts are infuriated when they discover the ruse and in a tizzy rush down to the club. They arrive just in time to catch the girl's performance and a predictably happy ending ensues. ~ Sandra Brennan, Rovi

The third of Bud Abbott and Lou Costello's starring films, In the Navy was released second; Universal had just made a bundle off Abbott and Costello's Buck Privates, and the studio wanted another "service" comedy put into circulation in a hurry. Abbott and Costello share over-the-title billing with Dick Powell, who plays a popular radio singer. Eager to avoid his screaming fans, Powell enlists in the Navy under an assumed name, hoping to serve his country incognito. Girl reporter Claire Dodd chases after Powell, hoping to secure a photo of the fugitive "idol of millions." So much for the "straight" plot; what are Abbott and Costello up to? Well, Costello plays a ship's cook who wants to impress Patty Andrews of The Andrews Sisters. With his pal Abbott's help, Costello poses as an admiral -- and in so doing nearly destroys the entire American fleet. This climactic sequence ran into trouble when the U.S. Navy decided that it didn't want to be held up to ridicule by showing the bumbling Costello ordering its ships around. To save the climax -- the most expensive portion of the film -- the scriptwriters wrote a new coda, passing off Costello's "admiralty" as a dream sequence. The best Abbott and Costello routines have little if anything to do with the plot: our favorite (indeed, everyone's favorite) is Costello proving to Abbott that 7 X 13 = 28. Those viewers who prefer music to comedy will be thoroughly satisfied by the vocal contributions of Dick Powell and The Andrews Sisters, as well as a lively dance number offered by the Condos Brothers. ~ Hal Erickson, Rovi

Hold That Ghost was the second of Abbott and Costello's starring films, but was held back from release in favor of their third picture, the more "topical" In the Navy. In Ghost, Bud and Lou play a couple of service-station owners who happen to be hanging around when gangster Moose Mattson (William B. Davidson) is killed. According to the terms of Mattson's will, whosoever is present when "the coppers dim my lights for the last time" will inherit his estate, which consists of a deserted mansion in the middle of nowhere. Crooked attorney Russell Hicks, who knows that Mattson has hidden hundreds of thousands of dollars somewhere in the lodge, dispatches sinister Charlie Smith (Marc Lawrence) to escort Abbott and Costello to the house, with instructions to "take care" of the trusting boys once they've arrived. Charlie charters a bus to take A&C out to the mansion; also on board, going off to various other destinations, are handsome Dr. Jackson (Richard Carlson), lovely Norma Lind (Evelyn Ankers) and professional radio screamer Camille Brewster (Joan Davis). It is inevitable that this disparate group is stranded along with Abbott and Costello in the forbidding mansion on a dark and stormy night. Charlie Smith is promptly murdered by parties unknown; throughout the rest of the film, Charlie's body pops up at the most inopportune moments, reducing the already tremulous Costello to a quivering mass of jello. The plot is merely an excuse to showcase Abbott and Costello's superbly timed cross-talking routines, a riotous impromptu dance performed by Costello and Joan Davis, and, of course, the legendary "moving candle" bit, which may well be Costello's funniest-ever screen scene. Hold That Ghost was originally designed and previewed as a 65-minute programmer title Oh, Charlie, but Universal decided to expand the length and throw in a few guest stars to secure top-of-the-bill bookings. This is why Hold That Ghost begins and ends with barely relevant musical numbers featuring Ted Lewis and the Andrews Sisters. ~ Hal Erickson, Rovi