Murray Leonard Movies

The best thing that can be said about Abbott and Costello Meet the Keystone Kops is that it's better than the team's previous outing Abbott and Costello Meet Dr. Jekyll and Mr. Hyde. Set in 1912, the film casts Bud Abbott and Lou Costello as a couple of New Yorkers who are swindled out of their life savings by a crooked lout (Fred Clark). Pursuing the villain to Hollywood, the boys discover that the double-dealer is now posing as an autocratic Russian film director. To put A&C out of the way, the crook and his partner in crime (Lynn Bari) hire the boys as stunt men, intending to kill them off at the first opportunity. But the comic duo save the day when they enlist the aid of the Keystone Kops in capturing the fleeing villain, who has absconded with the studio payroll. Pretty dull stuff for most of its 78 minutes, Abbott and Costello Meet the Keystone Kops finally comes to life during the climactic chase, which is every bit as funny and thrilling as anything put together in the silent era. Though the film is rife with anachronisms, a measure of authenticity is achieved by such silent-era guest stars as Mack Sennett (who gets to throw a pie at Costello), Heinie Conklin, Herold Goodwyn and Hank Mann. ~ Hal Erickson, Rovi

The life of tragic jazz great Bix Beiderbecke is given the "a clef" treatment in Warner Bros. Young Man With a Horn. Kirk Douglas plays the Beiderbecke character, here named Rick Martin. An ace trumpter player, Martin is one of the few white musicians to flourish in the black-dominated jazz scene of the 1920s. Chafing against the dullness of the "respectable" orchestras for whom he works, Martin finds at least two kindred spirits in the forms of torch singer Jo Jordan (Doris Day) and piano player Smoke Willoughby (Hoagy Carmichael). He rises to popularity with his own group, and along the way falls under the spell of wealthy jazz patroness Lauren Bacall. After marrying Bacall, Martin begins neglecting his music and turns more and more to alcohol. When he skips one of her fancy parties to attend the funeral of his mentor Juano Hernandez, Bacall angrily smashes all his jazz records, effectively ending what was never a very solid relationship. Crawling into a bottle, Martin loses his touch with the trumpet-a heartbreaking sequence, in which he goes to pieces in the middle of the pop standard "With a Song in My Heart". Unlike the real Beiderbecke, who died of alcoholism at the age of 28, Rick Martin is rescued by his faithful friends Day and Carmichael. Kirk Douglas' trumpeteering in Young Man with a Horn was effectively dubbed by Harry James, while jazz pianists Buddy Cole and Jimmy Zito make uncredited soundtrack contributions. The film was adapted by Carl Foreman and Edmund H. North from a novel by Dorothy Baker. ~ Hal Erickson, Rovi

For their first independently-produced vehicle, Bud Abbott and Lou Costello chose to appear in a remake of the 1939 Universal programmer For Love or Money. Bud and Lou are cast as Ted and Tommy, two bumbling window washers hired by gangster Mike Craig (Joseph Calleila) to collect a $50,000 gambling debt. The boys manage to pick up the money, only to deliver it to the wrong person, a pretty private secretary named Carol (Cathy Downs). Ordered to retrieve the money within 24 hours "or else," Ted and Tommy trace the cash to Carol, who has mistakenly distributed it amongst the entries in a mailing list. As our heroes desperately concoct methods of escaping Craig's wrath, eccentric gambler Julius Caesar McBride (Leon Errol), the man who "never loses," comes to the rescue. Despite its seeming complexity, the plot exists merely as a peg on which to hang several of Abbott and Costello's best routines, including "Bet you 10 dollars you're not here," "Hole in the Wall," "Packing and unpacking," "Getting Arrested," and, best of all, "Mudder and Fodder." Beyond the seven credited actors, the huge unbilled supporting cast includes such reliable laugh-getters as Benny Rubin, Murray Leonard, Elvia Allman, Herb Vigran, Fred Kelsey, James Flavin, Lyle Latell, Isabel Randolph and Paul Maxey. ~ Hal Erickson, Rovi

The Abbott & Costello western spoof The Wistful Widow of Wagon Gap is predicated on an actual Montana law of the 19th century, which dictated that if a man killed another in a gun duel, that man was responsible for the care and support of the victim's family. The film gets under way with an introductory title: "MONTANA: Where Men Are Men? With Two Exceptions." Those exceptions are travelling salesmen Duke (Bud Abbott) and Chester (Lou Costello), freshly arrived in the wide-open western town of Wagon Gap. No sooner has Chester reached Main Street than he is falsely arrested for the murder of Hawkins, the town layabout. He and Duke are spared the hangman's noose when the genially corrupt Judge Benbow (George Cleveland) reminds the jury that Chester is now responsible for Hawkins' debts and family. In short order, Chester is moved bag and baggage into the ramshackle home of the rowdy Widow Hawkins (Marjorie Main) and her brood of seven noisy children. Forced to do all the chores around the Widow's home, poor Chester must also put in overtime at Jake Frame's (Gordon Jones) saloon to pay off Hawkins' debts. While the crafty Duke tries to figure out various methods of extricating Chester from his dilemma, the Widow uses all of her wiles to get Chester to propose marriage to her. The plot goes off on a new tangent when it is discovered that none of the town desperadoes are willing to shoot down Chester, lest they inherit the Widow and her brats. Emboldened by his "untouchable" status, Chester swaggers around town striking fear in the hearts of the local menfolk, bosses Duke around for a change, and is even appointed sheriff! Alas, his invulnerability comes to an abrupt end when it turns out that the Hawkins spread is the most valuable property in town, thereby making Widow Hawkins the territory's most eligible bachelorette. The story comes to an uproarious conclusion when Chester and Jake Frame confront each other in a "high noon" gun duel. Incredibly, screenwriters D.D. Beauchamp and William Bowers originally intended The Wistful Widow of Wagon Gap as a vehicle for James Stewart! ~ Hal Erickson, Rovi

Its title notwithstanding, there's precious little female epidermis on display in PRC's Queen of Burlesque. Real life stripteaser Rose la Rose is cast in the title role, a burleycue "peeler" named Blossom Terraine, but the storyline is carried by Evelyn Ankers and Carleton Young, as exotic dancer Crystal McCoy and her journalist boyfriend Steve Hurley. When Blossom is murdered backstage, Crystal is suspected of the killing, prompting Hurley to try to prove her innocence. David Lang is credited with the original screenplay, which bears more than a passing resemblance to the 1943 Barbara Stanwyck starrer Lady of Burlesque. The working title for Queen of Burlesque was Ladies of the Chorus, which would be recycled as the title of the 1949 musical which served as the starring debut of Marilyn Monroe. ~ Hal Erickson, Rovi

For their first film in a year, Bud Abbott and Lou Costello played it safe with a medley of old burlesque routines and slapstick setpieces -- and never mind a coherent plot. The boys play Eddie and Albert, a pair of plumbers hired to fix the pipes of a fancy society mansion. While a masquerade party takes place on the first floor, our heroes wreak havoc in the bathroom on the second floor. The angry owners (Thurston Hall, Netta Packer) shoot off a letter of complaint to the plumbers which gets mixed up with an invitation for a fancy weekend party. Thus it is that Eddie and Albert, accompanied by their female cab-driving pal Elsie (Marion Hutton), show up dressed to the nines at a posh country estate. While the boys get mixed up in further comic complications, Elsie carries on a romance with wealthy and handsome Peter (Kirby Grant). Things come to a head when a valuable painting is stolen, prompting Eddie and Albert to chase after the thieves by commandeering a fire engine! Released in most areas simply as In Society, this slapped-together comedy proved beyond all doubt that Abbott and Costello's appeal had not slipped during their screen absence. Highlights include a variation on the burlesque chestnut "Floogel Street" (here renamed "The Susquehanna Hat Company"), a wild and crazy fox hunt, and the climactic fire-engine pursuit, which was lifted virtually in toto from W.C. Fields' Never Give a Sucker an Even Break (1941). ~ Hal Erickson, Rovi