User reviews

Returning to the MGM lot in the Spring of 1945, Abbott and Costello make what would be their last, and funniest, film at the Tiffany of studios. Declining revenues during the war took its toll at MGM, and the loan-out deal with Universal was not renewed. Bud and Lou probably didn't mind, as there was a downturn in script quality at MGM -- not to mention a downturn in their salaries!!!

"In Hollywood" isn't as poor as their first two MGM films, however. "Rio Rita" and "Lost In A Harem" suffered from poor pacing; here, the pacing is fine. And it's fun to see Lou get into trouble on the MGM lot(in the film, the studio is Mammoth.) Incidentally, MGM lifted the idea of Lou's cavorting on the set from Buster Keaton's 1930 MGM film "Free and Easy." Another fun scene is on the midway set; it's ludicrous to believe that Costello is staying balanced on one wheel on the roller coaster, but, hey, that's what makes the scene funny and enjoyable to watch. The best scene in the film is the "insomnia" sketch, where Costello finds it impossible to sleep through the record that's supposed to put him to sleep (people raised only on CDs can't relate to this!)

All in all, "In Hollywood" is a few notches above A&C's other MGM films. Video collectors take note: although "The Noose Hangs High" and "Dance With Me, Henry" were released on video by MGM/UA, they were actually independent productions. "In Hollywood" was their last MGM film, and a decent one at that. 7 out of 10.

Abbott & Costello play two barbers in Hollywood who dream of being agents, and get their chance when a young singer they know becomes quite good, but is unknown, so the team schemes to change all that, and of course many mishaps and misunderstandings occur as a result. Last of their three films to be made at MGM is much better than "Lost In A Harem"(Never saw the other one, named "Rio Rita") Film does have some good scenes like when Lou is mistaken for a prop dummy, or they have to shave a balloon. Real actors at the studio have cameos like Lucille Ball, Preston Foster, Rags Ragland, and director Robert Z. Leonard. Still, this film isn't funny enough to succeed, and remains forgettable.

Buzz Kurtis (Bud Abbott) and Abercrombie (Lou Costello) are working at a Hollywood salon for the stars. Abercrombie pays Buzz to teach him how to be a barber and it's not going well. They do a house call at Hollywood agent Norman Royce's office. They witness his work and decide to become agents themselves.

I love the shaving scenes. Lou is turning into full Curly. I like him with the kids. There are some very funny individual scenes. The overall story is not that important and it's not that compelling. This end with a couple of dangerous split second stunts and a fun roller coaster ride.

Being yet still in the womb and pondering my next move when this was released in the UK, it was to be several years before I actually caught up with it - during an Abbott & Costello festival at my hometown theater.

One's opinion these days depends whether you "recall it" as life WAS in the mid fifties or as an entity in its own right in 2003. Fact is, it was one funny movie and as well as being the last they actually made for MGM and remembering, that the war was not officially over during early filming, it actually had a sizeable budget allocated to it.

Way better than LOST IN A HAREM, Lou was a hoot here as a Hollywood agent (with Bud) trying to get their client the lead role in a musical. Arguably the best routine on offer was that wherein Lou remains awake listening to a record designed to make him sleep.

One of their more enduring films.

I accept that this isn't the best A&C movie ever made but you cannot blame the stars.

The script was poor and some of the co-stars either didn't want to be there or just weren't up to the skills of ability that A&C achieved.

There are some classic one on one scenes between Abbott & Costello with the best being the barber scene that will have you in stitches if you like burlesque style of humor.

I for one am a fan however if you are a first time viewer of the famous duo I would recommend a movie released in the same year "The Naughty Nineties" or my personal favourite of "Abbott and Costello in the Foreign Legion" This is still a must see for A&C fans however if you watch this without prior knowledge you will be disappointed and you may not appreciate just how hard A&C work to make this a half decent movie.

Thanks for the memories boys.

After just reviewing the first of two Laurel & Hardy movies Lou Breslow wrote (Great Guns), I thought I'd then review the only film he co-wrote for that other comedy team I've been reviewing lately on this site-Bud Abbott and Lou Costello in Hollywood. The two play barbers to the stars who also service an agent which then has them switching careers. Breslow, along with Nat Perrin, wrote some pretty funny routines for Bud & Lou without the help of their usual writer John Grant whose name is prevalent in their Universal releases. This was their third and last M-G-M one. Since this one takes place in Tinsel Town, there are some stars that appear though not Metro's biggest-Clark Gable and Judy Garland are only mentioned but one gets Rags Ragland-a studio comic who gets his unfortunate treatment from Lou in the barber chair, child star Butch Jenkins who Lou tells his version of Little Red Riding Hood with Butch interrupting with nonsense questions, and Lucille Ball-years before her TV superstardom in "I Love Lucy". Like I said, the A & C routines are funny though some probably could have been edited a little. Since this was during the early part of the comedy team's movie career, there are some musical interludes of which the amusement park sequence is a highlight with Costello on a roller coaster providing some good laughs. I especially liked the sequence where he's mistaken for a dummy! So on that note, Bud Abbott and Lou Costello in Hollywood is recommended. So as we leave A & C on their last M-G-M picture, we'll next review Laurel & Hardy on their first time actually starring in one actually produced by that studio called Air Raid Wardens.

This is one of the three pictures Abbott and Costello made for MGM-- who proved with Buster Keaton, the Marx Brothers films after "A Day At the Races and Laurel and Hardy's late releases," that they really don't have much of a "touch" for this kind of comedy. Abbott and Costello fared much better at Universal with films such as "Hold That Ghost," "Buck Privates," "Who Done It?" "Abbott and Costello Meet Frankenstein," "The Time of Their Lives," etc. That's not to say that the film is terrible, it just suffers from sloppy pacing, almost no story, and somewhat weaker material for A&C (which was much sharper in the Universal films).

It definitely has its funny points, but it doesn't hold together very well as a complete film. Best to stick to the Universal's--- especially if you are a first time viewer of Abbott and Costello.

I love Abbott and Costello. They always make me laugh. This is a pretty good movie. However, I can't figure out if they were trying for straight comedy or if they were trying to carry on their service comedy films. Rags should have stayed through out the film. It is a funny movie.

Can you imagine A Night at the Opera with only two Marx Brothers? That's essentially what you get in Abbott and Costello in Hollywood.

As good as they were, the Marx Brothers never got their names into the title of any picture they did. That's because they weren't half the box office draw that Bud and Lou were.

Like Chico and Harpo, Bud and Lou are barbers who get the idea to be agents. They decide to handle the career of Robert Stanton the same way Chico and Harpo sign up Allan Jones. And crooner Stanton does get into the picture in just about the same way Jones broke into Il Trovatore.

Too bad though that Stanton never got to sing some songs as good as Cosi-Cosa or Alone. Might have a career for him.

A&C got some good bits in. They had a good scene with MGM comedian Rags Ragland after Ragland comes in for a shave. And Costello being chased through the finale in a midway sequence is pretty funny.

This was the last of three films that Universal loaned out the boys to MGM for the glossier productions than what they were used to at Universal. My favorite of the three MGM films has always been Lost in a Harem. That has more the zany quality of the Universal films than either Abbott and Costello in Hollywood or Rio Rita has.

This one did only so-so box office as compared to the Universal product and Carl Laemmle, Jr. lent them out no more.

I don't know why this AC movie is so underrated though includes a lot of funny routines and scenes, watch the "drop dummy" one, will surely laugh a lot.

ABBOTT AND COSTELLO IN Hollywood (Metro-Goldwyn-Mayer, 1945), directed by S. Sylvan Simon, returns the dynamic dual to MGM for the third and final time, following RIO RITA (1942) and LOST IN A HAREM (1944). On loan once more from Universal, and the first of many to include their names in the title, though they don't actually play themselves, it would be a matter of time before Bud and Lou would use a movie studio as part of their comedy backdrop.

Set in Hollywood, the movie capital of the world, at Mammoth Studios, "Buzz" Kurtis (Bud Abbott) and his pal, Abercrombie (Lou Costello), are introduced as employees at the Hollywood Shop, "Barber to the Stars," with Ruthie (Jean Porter), Abercrombie's girlfriend and roommate of their closest friend, Claire Warren (Frances Rafferty), taking reservations over the telephone. Buzz is shown earning extra money for barber school, with Abercrombie as his only student for a four year course. Claire, a former manicurist, has been auditioned to appear opposite singer, Gregory LeMaise (Carlton G. Young) in his latest musical, "Romance for Two." Because she refuses to work alone with him during rehearsals, LeMaise chooses not to appear in the film. Seeing how movie agent Norman Royce (Warner Anderson) makes fast money finding actors jobs, Buzz and Abercrombie try their luck as agents themselves, selecting Jeff Parker (Robert Stanton), a former banker from Des Moines, Iowa, with a talent for singing, as their first client. When Parker gets the part working opposite Claire in the upcoming production, LeMaise, fearing he'll lose his star power over a newcomer, does his best to discourage him while attempting to retain the role and Claire for himself. Things don't go as planned with the barbers turned agents wise to his diabolical plot.

Other members of the cast are Donald MacBride (Dennis Kavanaugh, the movie director); Mike Mazurki ("Klondike Pete"); Marion Martin (Miss Malbane); along with guest stars as Lucille Ball and Preston Foster; and director Robert Z. Leonard. New songs by Ralph Blane and Hugh Martin include: "As I Remember You" (sung by Robert Stanton); "I Hope the Band Keeps Playing" (a Ciro's Night Club sequence sung by The Lyttle Sisters and Robert Stanton); and "Fun on the Midway" (sung by cast). As much as the crooning might or could have been played by the up and coming Frank Sinatra, Stanton did well in the singing department, but failed to acquire the legendary status of Sinatra or a Dick Haymes.

Although not quite in the same league as the Abbott and Costello comedies produced at Universal, thanks to some really excellent material, and some repeats from their previous efforts, ... IN Hollywood is an exceedingly funny comedy. While comedy exchanges and/or routines are typically expected to be performed Bud and Lou, interestingly, there are those where Costello shares gag material with others in the cast, namely "Rags" Ragland as his first customer in the barber chair, or should I say victim; Lou making suggestions to director Robert Z. Leonard on the set that includes Lucille Ball and Preston Foster; the "Little Red Riding Hood" story Costello tells to child actors in the studio classroom, with Jackie "Butch" Jenkins and Sharon McManus hilariously interrupting him with questions; and a wild ride effectively staged during a chase between Lou and Carleton G. Young on a roller coaster being one of the true highlights. The shared material between Bud and Lou comes during its opening where Bud teaches Lou how to razor shave off lather from a facial painted balloon without popping it; another where Bud disguises himself as a studio guard to help his pal while being chased by actual studio guards. Abbott's byplay using earplugs to help his partner sleep along with record playing to "Sleeping With Doctor Snide" is classic, classic enough to be clipped in for THAT'S ENTERTAINMENT, PART II (1976). Oddly enough, Abbott disappears before the insomnia segment comes to a close. Where did he go?

Going back to 1930 when silent comedian Buster Keaton made his motion picture talking debut in FREE AND EASY (MGM) set mostly inside the movie studio, ... IN Hollywood could have been its remake of updated material for Abbott and Costello. Fortunately, unlike the Keaton carnation with songs, chases and an offbeat conclusion, ... IN Hollywood, is full-fledge comedy with song interludes in the MGM tradition, but with enough gags to go around for 84 minutes. Being one of the earliest Abbott and Costello comedies to be distributed to home video in the 1980s, IN Hollywood, also available on DVD with LOST IN THE HAREM on the flip-side. ... IN Hollywood shouldn't be a disappointment for any avid Abbott and Costello fan, especially when it broadcast from time to tome on the Turner Classic Movies cable channel. ...IN Hollywood shouldn't disappoint any avid Abbott and Costello fan. (**1/2)

I grew up with Abbott & Costello's movies and show (and even their cartoon) back on WPIX in the 1970s. In my eyes, they were the best comedy team ever, easily besting Laurel & Hardy, Martin & Lewis and Hope & Crosby. Having recently begun re-watching A&C movies, I was reminded of just how funny they were. That is, until I got to "A&C in Hollywood." I didn't remember having seen it before, likely because WPIX only played A&C's Universal classics.

The problem here is that more than most other A&C movies, this was a bunch of gags loosely strung together with a weak story. Many of the gags weren't very funny and several of them just went on far too long, among them Costello hiding out as a stunt dummy on the set of a western and Costello having insomnia. The latter was especially tiresome. It went on for what seemed like 10-15 minutes and didn't advance the plot at all. How many times do we need to see A&C stuffing cotton in their ears, plucking it out, then repeating the process?

Even more disturbing was their plan to eliminate their client's rival. Framing the man for a fake murder? That's definitely not A&C's style. They had always had harmless if sometimes negligent fun, but this crossed the line into outright crime.

For a better take on the basic premise of this movie (two nobodies try to break into show business, with Costello being chased by an angry villain in the climax), try "Who Done It?" That film about two soda jerks trying to become radio mystery writers, made three years before this one, was a much better effort for both of them.

When it comes to their performances on radio, stage, and television Bud Abbott and Lou Costello are usually hilarious. Why they can't seem to fare as well in films is really strange. This 1945 series effort produced by MGM (the boys were on a loanout from Universal) sadly ranks as an overlong and dissapointing film entry for these two comic talents. MGM lost big money on this one.

Abbott and Costello play bumbling barbers who become talent agents. Their first (and only) client is singer and actor Bob Haymes. They go to great lengths to make him a success. Fun but lesser outing from Bud and Lou; their last of three for MGM. The Hollywood backdrop provides for some funny gags like Lou pretending to be a stunt dummy. They don't get to meet any really big stars. Sure, there's Lucille Ball, but this is before TV. She was a B-level star at this time. In addition to her there's Preston Foster, Butch Jenkins, and Rags Ragland -- hardly the cream of MGM's crop. Rags' scene is pretty funny, though. Mike Mazurki, Warner Anderson, and Donald MacBride are all good in supporting parts. Frances Rafferty and Jean Porter provide the pretty. Haymes gets some singing numbers but nothing particularly noteworthy. Like I said, it's a fun Abbott & Costello movie but not one of their best. Certainly not something you'll regret watching. A nice way to pass the time.

Bud and Lou seem oddly Awkward at Times on the Back Lot of MGM. There are some Ups and Downs in this Mediocre Comedy with the Highlights often Coming from Special Effects oriented Chases and Lampoons with the Roller Coaster Climax amid an MGM Style Musical Number arguably the Funniest.

There are a Few other Bright Spots including, again, a wide open Western Movie Set with Costello being Flung about, using SFX as a "Dummy".

But the Banter between A&C is Not up to the Teams best and except for a Good Bit with a Sleep-Help Record there's not much else that is Prime Abbott and Costello.

Sort of a Mid Range Movie for the Team and there is Enough to Recommend for Fans but casual Viewers are likely to be a bit Bored with some of the Stiff Stuff that goes on about Agents and Their Clients.

"Bud Abbott and Lou Costello in Hollywood" is an okay effort from Bud & Lou. The boys are in fine form but the material isn't the greatest. With the exception of a dreamy Jean Porter, the supporting cast is on the weak side too. I watch Abbott & Costello movies all of the time. "...in Hollywood" is not one I reach for often. It's okay.

Maybe Bud and Lou's most underrated film. It's not a ten level film but it is to me. The comedy is crisp with plenty of snappy, ridiculous comebacks (Bud: "Call me a cab." Lou: "You're a cab." SLAP!) The Klondike Pete sequence is one of the funniest bits Lou ever did. The idea, by itself, is wonderful and the execution is perfect. The regular MGM musical numbers are grand and inspired, especially the end number, which is amazing in its complexity. The mood and the pace are that highly enjoyable slowness like a pinata slowly releasing candy, when you're in a zone of contentment without harsh noises or rough edges.

Even more than the comedy, though, this movie is special for me because it represents my archetypal, utopian idea of Golden Age Hollywood, that romantic, fantasy view of Hollywood as the beautiful, dreamlike fairly land so many of us grew up hoping it was. A perfect sand castle in the sky, a place as close to heaven on Earth as could be, with slow, melodic music and well dressed people smiling and happy, ready for the next fun adventure in a lifetime of adventures. The epitome of the green grass on the other side, the place we yearn to reach to escape our own life's hardships. For that reason, it's one of my favorite and most important movies, where I at least try to convince myself life can be a beautiful dream, the kind of idea I smile to in my happiest times as I drift off to sleep.

It so often seems that iconic Hollywood comedians of years' past continue to shine more brightly than their spiritual successors; it's hardly that their modern brethren can't be funny, but the likes of Buster Keaton, Harold Lloyd, and Laurel and Hardy filled their pictures with heart as much as laughs. As Bud Abbott and Lou Costelllo entered the scene in the 40s they added certain smart aleck sensibilities and specific routines to the general gags, physical comedy, situational humor, witty repartee, and paired dynamics that characterized the works of their contemporaries and predecessors. The result, as seen in this 1945 movie, is just as fabulously fun as we could ever hope of any such fare, and without the mean streak, off-color jokes, or punching down that would increasingly dominate comedy in years to come. It may not sound like much from the outside looking in, but 'Abbott and Costello in Hollywood' is fantastic, and well worth checking out!

True, this is perhaps a tad uneven insofar as the film careens from energetic hijinks to softer scenes of repose, and musical numbers; there are also some inclusions that go too over the top for their own good. The disparity is infrequent, however, and by far the length is filled with one tremendously entertaining bit after another. At its best the feature is flush with terrific stunts and effects, and while the leading duo definitely carry most of the humor all by themselves, the cast at large unreservedly embrace the zesty spirit of the production. The narrative may mostly serve as a vehicle for the shenanigans, but still Nat Perrin and Lou Breslow are to be commended for whipping up a delightful scenario that lets the cast and crew have a blast from one moment to the next. The sets are splendid in and of themselves, and in addition to fine costume design, hair, and makeup, and sharp editing and cinematography, one would be remiss not to mention the outstanding choreography that we're treated to in the climactic sequence. The scene writing is even more important as it fuels the silliness, and even just by that measure this is super.

All the way through to the end I think this would have benefited from a smidgen more consistency. If that's the worst I have to say a title, though, then it's surely done pretty well for itself. I don't think I'd go so far as to say this is a must-see, yet even if imperfect it's a good time all around. I can understand how some viewers may have a harder time engaging with older cinema, and I'd have said the same myself at one time, but much more than not this flick bears such vibrancy that I think it should skirt around such concerns. There's no disputing the honored place that Abbott and Costello have in cultural history, and while it may not be the utmost exemplar of their style, 'In Hollywood' squarely illustrates why. Don't necessarily go out of your way for it, but if you do have the chance to watch then this is great!

ABBOTT AND COSTELLO IN HOLLYWOOD (1945) **1/2 Pretty funny send-up of poking fun at Tinsel Town with the boys running amok on a studio's backlot (MGM) and causing the usual problems/laughs. Think of it as a precursor to "The Player" without the irony. Look for Lucille Ball in a cameo. Best bit: Lou being used as a stunt dummy in a Western shoot.