Olsen & Johnson go to Universal Studios to film their successor to Hellzapoppin', while everyone at the studio runs for cover. Since no one at the studio will back them, O&J decide to return to Miracle Pictures to get their film started. Since O&J can get no bankable stars, they decide to do the novel approach of having a film w/ new faces including singer Marjorie Nelson (who happens to catch the eye of director Ed MacLean). When films creditors find out that O&J's backer is an eccentric sort who thinks he's a millionaire broker, they put an injunction on the film, and its up to Olsen & Johnson to prove their case in court to save the film. Probably this film was on the same page w/ the WC Fields film, Never Give a Sucker an Even Break with the plot of the comedian(s) trying to film the movie. Olsen & Johnson are up to their same antics again, but after the opening scene of the Universal lot running for cover, the film can't maintain the pace of that scene or what made Hellzapoppin a laugh riot. The musical numbers are nice, but there just seems to be so many in the film, that this is a jukebox film more than a comedy. Still the film has many funny moments and is a sure treat. Rating, 7.
12 Reviews
Olsen&Johnson make a movie
bkoganbing26 January 2014
The frantic and anarchic style of Olsen And Johnson was never put to better use than in Crazy House. The boys have Universal Pictures in a state of siege at the thought of their returning to the lot after the success of Hellzapoppin'. Great success, but no one wants to work with them again. A whole lot of familiar faces show up to tell them just that.
When they do get to see producer Thomas Gomez he dismisses them, but aspiring director Patric Knowles sticks up for them. So Ole, Chic, and Pat decide to make their own film and when name stars refuse them, they hire unknowns like carhop Martha O'Driscoll as a singer.
The big problem is when they mistake Percy Kilbride for a wealthy backer. Percy is a refugee from a rubber room who only thinks he has great wealth. So when the creditors don't get paid, they hatch a plot to steal Olsen and Johnson's labor of love and laughs.
Just about everyone who was working on the Universal lot with the exception of Abbott&Costello and Deanna Durbin got into Crazy House even for only a walk on. And I did love the fact that a whole slew of second banana comics got a bit in this film and that would include Billy Gilbert, Shemp Howard, and Edgar Kennedy as a sorely tried judge. And Cass Daley gets a dual role as Cass Daley and her lookalike cousin Sadie whom the boys sign for the film.
Add Allan Jones singing The Donkey Serenade and you have a great comic film. Jones does this as part of a stall during the premiere of their masterpiece. Why they are stalling is for you to see. And still more musical guest stars that I can't name all of them. In fact this is the only all star extravaganza that was filmed from 1941-45 without a single reference to the war.
Ole and Chic were not really at their best on screen. Like Al Jolson you had to see them live to get the full effect of their zany comedy. Rowan&Martin were the closest to them with their anarchic Laugh-In show. Still Crazy House and Hellzapoppin' are the best examples of their work.
When they do get to see producer Thomas Gomez he dismisses them, but aspiring director Patric Knowles sticks up for them. So Ole, Chic, and Pat decide to make their own film and when name stars refuse them, they hire unknowns like carhop Martha O'Driscoll as a singer.
The big problem is when they mistake Percy Kilbride for a wealthy backer. Percy is a refugee from a rubber room who only thinks he has great wealth. So when the creditors don't get paid, they hatch a plot to steal Olsen and Johnson's labor of love and laughs.
Just about everyone who was working on the Universal lot with the exception of Abbott&Costello and Deanna Durbin got into Crazy House even for only a walk on. And I did love the fact that a whole slew of second banana comics got a bit in this film and that would include Billy Gilbert, Shemp Howard, and Edgar Kennedy as a sorely tried judge. And Cass Daley gets a dual role as Cass Daley and her lookalike cousin Sadie whom the boys sign for the film.
Add Allan Jones singing The Donkey Serenade and you have a great comic film. Jones does this as part of a stall during the premiere of their masterpiece. Why they are stalling is for you to see. And still more musical guest stars that I can't name all of them. In fact this is the only all star extravaganza that was filmed from 1941-45 without a single reference to the war.
Ole and Chic were not really at their best on screen. Like Al Jolson you had to see them live to get the full effect of their zany comedy. Rowan&Martin were the closest to them with their anarchic Laugh-In show. Still Crazy House and Hellzapoppin' are the best examples of their work.
Bizarre B musical
blanche-218 April 2007
I just saw this film in NYC at the Film Forum, where it was introduced by a nephew of Billy Gilbert, who has a small part in the film.
It was one wild ride.
The audience enjoyed the film thoroughly for what it is, a B movie musical starring Olsen & Johnson that is insane. The comedy duo has to break into Universal in order to make a film there, since no one wants them - in fact, a secretary, on learning who they are, jumps into her desk - we got to see that bit twice because the film broke. If you want to call the plot a plot, O & J run into difficulties getting financing for their film and, faced with huge debts, decide to auction it to the highest bidder. The film they make is awfully short.
Some of O & J's bits are quite funny and others are of the groan variety. There are many familiar faces in the film - Patric Knowles, Percy Kilbride, Hans Conried, Thomas Gomez, Franklin Pangborn, Shemp Howard, and some funny cameos by Universal stars in the beginning of the movie when they realize Olsen & Johnson are in the building - Basil Rathbone as Sherlock Holmes, Nigel Bruce, Alan Curtis, Leo Carrillo. Allan Jones sings "The Donkey Serenade," the De Marcos dance, and the end of the film within a film is a huge musical number done by The Glenn Miller Singers, Count Basie's Orchestra, the Delta Rhythm Boys, Leighton Noble's orchestra, and Chandra Kaly's Dancers.
"Crazy House" has a great deal of energy and is a real oddity. It was fun to watch, but I don't think I'd want to watch it again.
It was one wild ride.
The audience enjoyed the film thoroughly for what it is, a B movie musical starring Olsen & Johnson that is insane. The comedy duo has to break into Universal in order to make a film there, since no one wants them - in fact, a secretary, on learning who they are, jumps into her desk - we got to see that bit twice because the film broke. If you want to call the plot a plot, O & J run into difficulties getting financing for their film and, faced with huge debts, decide to auction it to the highest bidder. The film they make is awfully short.
Some of O & J's bits are quite funny and others are of the groan variety. There are many familiar faces in the film - Patric Knowles, Percy Kilbride, Hans Conried, Thomas Gomez, Franklin Pangborn, Shemp Howard, and some funny cameos by Universal stars in the beginning of the movie when they realize Olsen & Johnson are in the building - Basil Rathbone as Sherlock Holmes, Nigel Bruce, Alan Curtis, Leo Carrillo. Allan Jones sings "The Donkey Serenade," the De Marcos dance, and the end of the film within a film is a huge musical number done by The Glenn Miller Singers, Count Basie's Orchestra, the Delta Rhythm Boys, Leighton Noble's orchestra, and Chandra Kaly's Dancers.
"Crazy House" has a great deal of energy and is a real oddity. It was fun to watch, but I don't think I'd want to watch it again.
CRAZY HOUSE (Edward F. Cline, 1943) **1/2
Bunuel197624 January 2010
This is the third Olsen & Johnson vehicle I have watched; in a way, it is a direct follow-up to their most notable outing i.e. HELLZAPOPPIN' (1941) since the latter is mentioned a number of times throughout. Like that film, this one has only a wisp of plot: turned down by Universal after their zany antics in the earlier title, the duo here try to finance their own movie – helped by producer wannabe Patric Knowles and Percy (Pa Kettle) Kilbride as a man suffering from delusions of being a millionaire! The rest is taken up by typically surreal gags (funny while they are on but not exactly memorable, except for the opening which sees the entire studio personnel bolting at the comics' arrival at the studio gates
including Basil Rathbone and Nigel Bruce in character as Holmes and Watson, then appearing in a series of films for Universal!) and numerous specialty – and boring – musical numbers (the most irritating of which being that of Cass Daley who not only shouts her lyrics but even plays dual roles!). In pure Hollywood terms, Knowles discovers – and falls for – a female singing 'sensation'; also, when the film is finally completed and the backers see no remuneration coming their way, they decide to sabotage the premiere
only that, when most of the reels go 'missing', Olsen & Johnson have the brilliant idea of enacting the situations live (since most of it is revue-style material anyway)! For the record, director Cline was a comedy expert and, while producer Erle C. Kenton directing films in this genre himself, is perhaps best-known for his horror output at Universal itself and other studios.
"Universal's greatest comedy team is here!" "Oh, Abbott and Costello? Send them right in!"
mark.waltz13 July 2018
Warning: Spoilers
...And in walks Olsen and Johnson.
Two years have passed since Universal underwent the torment of making the film version of the hit Broadway musical revue "Hellzapoppin'" and the memory of Oles Olsen and Chic Johnson has not left the back lot. Having spent two years on Broadway in "Sons O' Fun", they are back in Hollywood, prepared to start the next movie on their contract, but Universal wants no part of it. This doesn't stop Olsen and Johnson from unintentionally wrecking the studio, sending every contract player current on the lot from heading into a bomb shelter, including Pepe Le Pew (probably on loan from Warner Brothers) whom the players would rather take their chance with than this wacky duo and their assortment of macadamia pals. Left on their own, they must find their own star and producer, and after agreeing to try and get Cass Daley, they get the money they need from wealthy Percy Kilbride. But unknowingly, they sign her double, an equally wacky female named Sadie Silverfish and that means that they are in for legal trouble as they prepare to break her contract. Other factors get in the way of them trying to get the film made and sent out for a preview, but the boys are filled with zany ideas which sets into motion 90 minutes of shear nuttiness that I'm sure had audiences in stitches. Audiences today might be of another matter, however.
Musically, this film is a treat, with so many great musical groups and specialties that listing them would take forever. There are also cameos by Universal's contract players, either as themselves or in character, such as Basil Rathbone's Sherlock Holmes and Nigel Bruce's Dr. Watson, a special treat for fans of that long series. Portly Andy Devine is on his scooter to announce the arrival of Olsen and Johnson, while Alan Curtis is interrupted by the team while shooting a fight scene during the making of "Gung Ho!" Then there's a specialty list of comical character actors who bring additional laughs including Franklin Pangborn in his usual part of irritated hotel clerk, Edgar Kennedy as a tough judge, Billy Gilbert (in the same scene as Kennedy) as a beleaguered attorney for clients trying to stop the film from going through, along with Shemp Howard and Fred Sanborn as a duo of comics named Mumbo and Jumbo. Martha O'Driscoll and Patric Knowles provide a romantic subplot as the young lovers on screen and the film within the film, but ultimately, it is Olsen and Johnson (along with the deliciously funny bucktoothed Daley) who steal the show.
Going for more laughs than they had in "Hellzapoppin'", they also take a jab at their screen rivals Abbott and Costello in several scenes, probably the only two Universal contract players outside of Deanna Durbin, Karloff and Lugosi, who do not appear. (The later two were no longer exclusively under contract to Universal, but were both on the lot around this time.) There's time to rest from the chortles of this frenetic comedy team through performances by such musical notables as Count Basie and his orchestra, the Delta Rhythm Boys, dancers Sally and Tony DeMarco, and Marion Hutton along with the Glenn Miller singers. The last reel is devoted to a "live" preview that occurs when only the first reel of the completed film is received in working order, and this brings the film to a similar conclusion that "Hellzapoppin'" had just two years before. They go out of their way with the ending to be completely unique and indeed it is very funny. Depending on your style of humor, you may or may not like this overall, but it certainly comes down to an artifact of 1940's American culture that had audiences jivin' and jumpin' and has influenced much of what remains popular today.
Two years have passed since Universal underwent the torment of making the film version of the hit Broadway musical revue "Hellzapoppin'" and the memory of Oles Olsen and Chic Johnson has not left the back lot. Having spent two years on Broadway in "Sons O' Fun", they are back in Hollywood, prepared to start the next movie on their contract, but Universal wants no part of it. This doesn't stop Olsen and Johnson from unintentionally wrecking the studio, sending every contract player current on the lot from heading into a bomb shelter, including Pepe Le Pew (probably on loan from Warner Brothers) whom the players would rather take their chance with than this wacky duo and their assortment of macadamia pals. Left on their own, they must find their own star and producer, and after agreeing to try and get Cass Daley, they get the money they need from wealthy Percy Kilbride. But unknowingly, they sign her double, an equally wacky female named Sadie Silverfish and that means that they are in for legal trouble as they prepare to break her contract. Other factors get in the way of them trying to get the film made and sent out for a preview, but the boys are filled with zany ideas which sets into motion 90 minutes of shear nuttiness that I'm sure had audiences in stitches. Audiences today might be of another matter, however.
Musically, this film is a treat, with so many great musical groups and specialties that listing them would take forever. There are also cameos by Universal's contract players, either as themselves or in character, such as Basil Rathbone's Sherlock Holmes and Nigel Bruce's Dr. Watson, a special treat for fans of that long series. Portly Andy Devine is on his scooter to announce the arrival of Olsen and Johnson, while Alan Curtis is interrupted by the team while shooting a fight scene during the making of "Gung Ho!" Then there's a specialty list of comical character actors who bring additional laughs including Franklin Pangborn in his usual part of irritated hotel clerk, Edgar Kennedy as a tough judge, Billy Gilbert (in the same scene as Kennedy) as a beleaguered attorney for clients trying to stop the film from going through, along with Shemp Howard and Fred Sanborn as a duo of comics named Mumbo and Jumbo. Martha O'Driscoll and Patric Knowles provide a romantic subplot as the young lovers on screen and the film within the film, but ultimately, it is Olsen and Johnson (along with the deliciously funny bucktoothed Daley) who steal the show.
Going for more laughs than they had in "Hellzapoppin'", they also take a jab at their screen rivals Abbott and Costello in several scenes, probably the only two Universal contract players outside of Deanna Durbin, Karloff and Lugosi, who do not appear. (The later two were no longer exclusively under contract to Universal, but were both on the lot around this time.) There's time to rest from the chortles of this frenetic comedy team through performances by such musical notables as Count Basie and his orchestra, the Delta Rhythm Boys, dancers Sally and Tony DeMarco, and Marion Hutton along with the Glenn Miller singers. The last reel is devoted to a "live" preview that occurs when only the first reel of the completed film is received in working order, and this brings the film to a similar conclusion that "Hellzapoppin'" had just two years before. They go out of their way with the ending to be completely unique and indeed it is very funny. Depending on your style of humor, you may or may not like this overall, but it certainly comes down to an artifact of 1940's American culture that had audiences jivin' and jumpin' and has influenced much of what remains popular today.
Too much "entertainment" not enough O & J
ChungMo13 October 2003
A strange concoction. Some of the Olsen and Johnson visual routines are incredible and some are painfully corny (and I like corny routines). Their standup routine in a nightclub is really bad. The sight gags seem to be inspired by animated cartoons as the two pull out all sorts of weird items at a moments notice. The hotel scene is a standout example.
There are way too many standard 1940's musical numbers for my taste. But the other acts were sometimes entertaining. The harp and violin hobos were funny.
This was shown on the TRIO network as part of Quentin Tarantino's favorite movie month. I think he likes it because of the "shocking" ending, that's it. I wouldn't suggest go out of your way to see it although.
There are way too many standard 1940's musical numbers for my taste. But the other acts were sometimes entertaining. The harp and violin hobos were funny.
This was shown on the TRIO network as part of Quentin Tarantino's favorite movie month. I think he likes it because of the "shocking" ending, that's it. I wouldn't suggest go out of your way to see it although.
Olsen and Johnson invade Universal Studios
kevinolzak15 November 2023
1943's "Crazy House" may not strike many as Ole Olsen and Chic Johnson's best film, but it's one of the highlights of their Universal resurgence in the 1940s, a gaggle of guest stars in a wacky satire of Tinseltown that would be repeated by Mel Brooks' "Silent Movie" in 1976, and "The Happy Hooker Goes Hollywood" in 1980. The picture opens with Olsen and Johnson making their triumphant return through the studio gates, or rather flying over it since studio chief N. G. Wagstaff (Thomas Gomez) made it clear that they stay locked out; they proclaim themselves 'Universal's most sensational comedy team,' and are immediately welcomed as Abbott and Costello! This is by far the most engaging part, familiar faces scrambling to escape the shadow of Olsen and Johnson, from Andy Devine and Leo Carrillo preferring the company of a skunk, to Nigel Bruce's Doctor Watson making the announcement to Basil Rathbone's Sherlock Holmes, who is already aware of their presence: "I am Sherlock Holmes, I know everything!" (the duo were currently shooting "The Spider Woman"). Nothing else comes close to this self spoofing, and six contract players include this title on their resumes without actually appearing on screen: Lon Chaney, Evelyn Ankers, Louise Allbritton, Turhan Bey, Grace McDonald, and Gale Sondergaard. Chaney would join Andy Devine and Leo Carrillo for the next Olsen and Johnson caper, "Ghost Catchers," but not their screen finale, 1945's "See My Lawyer." Today's viewers might understandably find it difficult to tell the team apart, Ole Olsen the short one with high pitched giggle, his more straight laced partner a smidgen taller.
April 18, 2004 ... I just saw the digitized revival on Trio Network. Booked on TV by Quentin Tarantino.
Peter2206018 April 2004
When I was only six, my mother and father sent my older brother to
take me to watch the Olson and Johnson routine at a New York
City nightclub called THE CARNIVAL. I had been aware of the
antics of the Three Stooges, Laurel and Hardy and Abbott and
Costello, but now I could see first hand the live slapstick of
involved comedy.
The film "Crazy House" is a perfect example of keeping the wild art
of updated slapstick alive on film. It is an update of the pie
throwing of early silents and the progression from Charlie Chaplin
to Charlie Chase. This film even has small roles for all the lesser
known comics of that era. Their roles in this movie are much the
same as the bit inserts into "It's a Mad, Mad, Mad, Mad World".
For those a little bit younger than myself, this film would be called
the progenitor of "Rowan & Martin's Laugh In", a TV series that ran
from 1968-1973.
All I can say is, "If you want to see the visualization of one liners as
presented in the 1940's try and get to see this film". In the short
while, watch "Laugh In" reruns and prep yourself for a look back
into comedy history.
take me to watch the Olson and Johnson routine at a New York
City nightclub called THE CARNIVAL. I had been aware of the
antics of the Three Stooges, Laurel and Hardy and Abbott and
Costello, but now I could see first hand the live slapstick of
involved comedy.
The film "Crazy House" is a perfect example of keeping the wild art
of updated slapstick alive on film. It is an update of the pie
throwing of early silents and the progression from Charlie Chaplin
to Charlie Chase. This film even has small roles for all the lesser
known comics of that era. Their roles in this movie are much the
same as the bit inserts into "It's a Mad, Mad, Mad, Mad World".
For those a little bit younger than myself, this film would be called
the progenitor of "Rowan & Martin's Laugh In", a TV series that ran
from 1968-1973.
All I can say is, "If you want to see the visualization of one liners as
presented in the 1940's try and get to see this film". In the short
while, watch "Laugh In" reruns and prep yourself for a look back
into comedy history.
Excellent Olsen and Johnson comedy is hampered by too many musical numbers which put the breaks on the comedic madness
dbborroughs21 January 2006
I recently saw this film with Quentin Tarantino's introduction to this film on video tape from Trio. Quentin goes on about how Mel Brooks lifted a good chunk of the premise of this movie for Silent Movie. While the basic idea is the same, down on their luck film makers try to sign big stars for their up coming film, the results are decidedly different. Brooks played it pretty much as a straight film, while Olsen and Johnson used it as an excuse to do silly things with famous people. I prefer the pure insanity of Olsen and Johnson's take.
This is one of the best films that Olsen and Johnson ever made, even if it has one really big problem (which I'll get to in a minute). This is pure Olsen and Johnson insanity. Its a film where anything can happen, usually the silliest of all possible options. Its wild and wacky with Olsen and Johnson acting as steam rollers over Hollywood and the studio system. When the comedy is happening its a rapid fire collection of jokes and gags that never seem to stop.
Or rather stop a bit too often. The one really big problem I was talking about is that the comedy and the madness stops every couple of minutes for a musical interlude. These interludes pretty much stop the movie dead since any of the momentum thats been built up comes crashing to a halt. Most of the numbers are played straight so its a radical shift in tone that really annoyed the heck out of me. (Actually the numbers aren't bad they just belong in a different film) I know that the numbers are the result of this being one of those "studio" films where everyone in the studio appears partly as part of the story, but also as an advertisement for themselves and what ever movie they are currently promoting. (Hollywood turned these out every now and again often to mixed results)
Music aside I really like this movie. If you want to see Olsen and Johnson in great form this is a good choice to make.
This is one of the best films that Olsen and Johnson ever made, even if it has one really big problem (which I'll get to in a minute). This is pure Olsen and Johnson insanity. Its a film where anything can happen, usually the silliest of all possible options. Its wild and wacky with Olsen and Johnson acting as steam rollers over Hollywood and the studio system. When the comedy is happening its a rapid fire collection of jokes and gags that never seem to stop.
Or rather stop a bit too often. The one really big problem I was talking about is that the comedy and the madness stops every couple of minutes for a musical interlude. These interludes pretty much stop the movie dead since any of the momentum thats been built up comes crashing to a halt. Most of the numbers are played straight so its a radical shift in tone that really annoyed the heck out of me. (Actually the numbers aren't bad they just belong in a different film) I know that the numbers are the result of this being one of those "studio" films where everyone in the studio appears partly as part of the story, but also as an advertisement for themselves and what ever movie they are currently promoting. (Hollywood turned these out every now and again often to mixed results)
Music aside I really like this movie. If you want to see Olsen and Johnson in great form this is a good choice to make.
Prepare for another CRAZY Olsen and Johnson movie!
binapiraeus28 February 2014
When the news spreads around Universal Studios that Olsen and Johnson are back, panic breaks out and everybody runs away as fast as they can - because they can still remember the making of "Hellzapoppin'" (and who of us doesn't remember "Hellzapoppin'"? If there was such a thing as an award for 'the looniest picture', it would CERTAINLY go to this one!)... So, when they're thrown right over the studio walls out on the street, Ole and Chic just try to look for an 'angel' to finance the movie they're planning to make, and a director and cast of course! And as the title clearly suggests to us, "Crazy House" will be very little less loony than "Hellzapoppin'"...
Only this time, there's more emphasis put on the many music numbers, some of which are really wonderful (especially the exotic 'Tropicana') - and besides the musical entertainment and the - as always - hilarious humor of the crazy duo, we can spot a lot of Universal regulars in cameo appearances, from Franklin Pangborn (distressed-looking as ever) to Basil Rathbone and Nigel Bruce as Holmes and Watson!
Of course, the movie's filled to the brim with surprises and jokes - nothing highbrow or ambitious, just REAL good, plain entertainment to make us laugh and forget all our problems for just a while... And that wasn't only VITAL back in 1943 during the War, but it's still a GREAT thing today - and always will be!
Only this time, there's more emphasis put on the many music numbers, some of which are really wonderful (especially the exotic 'Tropicana') - and besides the musical entertainment and the - as always - hilarious humor of the crazy duo, we can spot a lot of Universal regulars in cameo appearances, from Franklin Pangborn (distressed-looking as ever) to Basil Rathbone and Nigel Bruce as Holmes and Watson!
Of course, the movie's filled to the brim with surprises and jokes - nothing highbrow or ambitious, just REAL good, plain entertainment to make us laugh and forget all our problems for just a while... And that wasn't only VITAL back in 1943 during the War, but it's still a GREAT thing today - and always will be!
A funny thing took place when they called "Lunch, one hour."
bdewar127 March 2004
Once the movie....in the movie--the "Crazy House" outdoor set starts; watch for the two boys licking the barber pole. The skinny, seven year old boy in the sideways striped shirt is me!!! One of those watching is Shemp Howard (in a cutaway shot). The other boy and I were having a hard time licking that barber pole; it was just dry painted wood, and even in a B&W "el-cheepo", many takes were made. Then (before the director was satisified and called, "O.K., print it); the A.D. called, "Lunch, one hour," and we walked off and around some corners to the back lot for lunch on outdoor tables. A strange event took place while we were gone and I am writing about it in a book called, "Peeping Into Hollywood." The non-fiction book takes place around 1962, when I myself was directing a film called, "BACHELOR TOM PEEPING." (Look it up on IMDB). In that book I tell many stories about my eighteen years as a child extra and sometimes bit player. Watch for the book, due out some day? The barber pole and it's aftermath is a funny, strange event.
It'a AWFUL!
Norm-3019 September 1999
I'm an O & J fan, but this film is just plain AWFUL! The concept of the film is interesting -- the boys want to make a film at Universal, are turned down, and make their OWN film. There are cameos by almost every artist on the film lot and a lot of interesting "behind-the-scenes" action. The problem is that FAR too many people are crowded into this film, and O & J "get lost in the shuffle"! And, they spend too much time with Cass Daley (I own over 700 films & never heard of her!). She strikes me as a young "Minnie Pearl". If you could cut out all the musical numbers & just keep O & J (& Shemp Howard -- he's GREAT in this film!), you'd have a good film.....as it is, it's a mish-mosh that doesn't go anywhere. No wonder Universal "didn't want to do it"!
Norm
Norm
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