Son of the American Cinema

Recycle This Paper- P age 13 Son Of The American By Mark M cKinnon Cinema TM U M i «MAN 30 », w h m AUMRICA LAUOMB) This Friday evening, for those of ...TO KMT THOM OTTINO! his patsy identity. Bud Abbott plays the ancient status of their material. All Star Cast! you who aren't running around at a straight man again, but comes o ff And audiences were completely Andrew Sisters parties and such, the AS Film differently in that there is a distinct won over by their infallible timing, IKIRMOnriHIIEIR. Jack Benny Senes is presenting an evening of separation of rapport between the despite the face that some of their James Cagnet fantasies. Headlining the bill is the two compared to their other films. CA\KN VflMUl jokes were older than they were. A1 jolsow \ largely ignored, but charming T he j The results are highly entertaining, Hollywood beckoned in 1940, and SIPAURIE Bessie Smith Time of Tbeir Lives (1946) with marking this film as perhaps their the team was signed by Universal Rudy Vallee Abbott and Costello. Playing with it ] best ever. AMBIIIMIIE? Pictures to provide comedy relief in Shirley Temple is the excellent and comic H ere Bud Abbott and Lou Costello One Night In the Tropics. After the Dorothv I .amour Comes Mr. Jordan (1941) with became a comedy team in the late film's release, critics singled them Bob Hope if Robert Montgomery, Evelyn Keyes I920's when Costello's straight man out as the sole bright spot, despite Billie Holiday and Claude Rains. failed to appear and Abbott stepped having music and lyrics by such W.C. Fiekls The Time of Their Lives was in as a replacement. Remaining notables as Jerome Kern, Dorothy directed by Charles Barton and is a together as a team, they worked Fields and Oscar Hammerstein II. well-written tale about Lou Costello vaudeville circuits until its decline Universal put them under con -ALSO- and Marjorie Reynolds as ghosts. was marked by the advent of sound tract and gave them their first Shot mistakenly as accomplices of to films. They made the switch to starring roles in 1941 in Buck Benedict Arnold, they haunt the burlesque, a last-gasp, unruly P rivates. The film was such a manor in which they were killed. version of vaudevill that served as a success that the prestigious MGM Bud Abbott is a psychiatrist who spawning ground for developing studios also signed Abbott & arrives at the estate with some talents. Costello to a contract to do one T H ftr c friends, encountering pranks Abbott was the straight man, and picture a year for 3 years. Q iK R n M w ir played by the invisible Costello. the dominant half of the team; Over the next fifteen years the A 1 2« Wf. 2W0 STREET Midnight Show EL REY ch,co A UNITE D ARTISTS THEATRE SAT ALL SEATSfrLSO F S It A t \ \; In 1939 a highly censored motion pic ture struggled out of Hollywood. There AfOO t m'srCLLHKs/ has been a lot of talk that something like] a conspiracy boiled around this film, because what it contained was not good The film is enhanced by some wisecracking and caustic. Costello team starred in thirty-five more for public consumption Cut froih it were fine special effects, especially in the the innuendoes that depicted one man's played the affable fall guy, bearing films. The 40’s however marked scene where Reynolds and Costello ¡different approach, an elementary ap the brunt of Abbott's attack, and in their best work, with H old That proach-pure deduction. This poignant ran head-on into each other. Being the meantime providing the major G host (1941), Pardon My Sarong film, set in the late 19th century, displayed ghosts, they pass through each portion of their comic relief. (1942), who Done It (1942), The the first hip cop —a violin-playing cop, other without a collision, but in the a junkie cop hooked on a 7% solution - Working steadily in burlesque time of Their Lives (1946), Buck process switch clothing. His record—unimpeachable; his habits — houses around the country, Abbott I Privates Come Home (1947), and Binnie Barnes and Gale Son- eccentric; his name —Sherlock Holmes and Costello etched out a presti j Abbott and Costello Meet Frank We proudly present the uncensored ori tergaard are excellent in their gious reputation during the 30’s. enstein (1948). ginal version of The Hound of*the Basker- supporting roles as Abbott’s wise Their specialty was rapid-fire dia Showtime is 7:30 p.m. at Tehama villes, starring Basil Rathbone cracking sister and eerie house logue that resulted in landing them i 106 for SI.2$. keeper respectively. important engagements at Min j Next Friday: Cary Grant and ALSO— PEARL OF DEATH The plot development involves sky’s in New York, and eventually I Ethel Barrymore in None But the the search for a letter located to Loew’s State Theatre. j Lonely Heart (1944), and Robert plus, from 1927, the only film interview with somewhere in the manor that will After being signed on as regulars Taylor and Margaret Sullavan in Sir Arthur Conan Doyle prove the innocence of the ghosts on Kate Smith's radio show, their | Three Comrades (1938). and vindicate their souls. popularity raised them to the Next Saturday (Nov. 8); An Being their most unusual film, nightclub bracket and their first j evening with Alfred Hitchcock; ^ Time o f T heir L ives is a contact with stardom when they Rebecca (1940) and The 39 Steps * DUE OF THE ROST EXTR£0n?iT^ • * departure from the usual Abbott were signed to a Broadway revue 1 (1939). and Costello fare. Lou Costello if FILMS EVER MADE AKYWKLREÌ * the Streets of Paris in 1939. t*d Dwr.Gwcn Hmtctfri plays straight scenes remarkably Critics heralded the team as if if •ell and at the same time retains being very funny, largely ignoring * Ï if fS p g ìp sa if 1 * I K f L * * * 1 ; if * H, Pfi- * THE DAMNDEST THING if YOU EVER SAW. if if N FULL 4-TRACK STEREOPHONIC S0UN0! M if Fri. & Sat., 7:15 & 9:45 p.m. all other nights 8 if ; PAGEANT THEATER if ^ 351 E. 6th St. 343-0663 Dragula Follies * i r k ft * * Ar i.

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