Almost two
years after all-too-briefly meeting Boris Karloff on screen in 1949, Bud and
Lou’s creative team opted to do another comedy film plundering Universal’s
horror back catalogue for inspiration. The
Mummy was yet to be excavated, but instead a story was developed by Hugh
Wedlock Jr and Howard Snyder centred around The
Invisible Man whom you’ll recall made a cheeky, hat-tipping audio cameo via
Vincent Price’s voice at the end of Meet
Frankenstein (1948). The resulting script welcomed back the team of Robert
Lees, Frederic I. Rinaldo and invaluable house gag-smith John Grant; their
first film with the boys since that classic horror-comedy melange three years
before, and the more assured tone given to this new one is as transparent as
H.G. Wells’ anti-hero. Russian-born veteran comedy director Charles Lamont cut
his teeth in churning out silent comedy shorts for the likes of Mack Sennett
before later graduating to Universal features. This would be his second for Bud
and Lou, going on to helm all their last three horror-tinged ones we will
explore.
Abbott and Costello Meet the
Invisible Man (1951)
benefits from using the most compelling aspect of the sublime 1933 Claude Rains
original: his eroding humanity into serum-inspired megalomania. Fans will
recall its sly black humour even so, courtesy of masterful director James
Whale. As a vehicle for this loud comedy duo though, a less subtle approach was
needed to play to their strengths. The clever stroke was splicing the plot to a
vigorous genre whose literally knockabout energy suited Bud and Lou’s style:
the sports movie. To be specific, the writers used the popular sub-genre of
corruption in the boxing world, one they would have seen notably exploited in
the recent Body and Soul (1947), The Set-up and Champion (both 1949).
Abbott and
Costello – actually named Bud and Lou here - make the acquaintance of a boxer when
he is their first client as new graduates of the Dugan Detective School - The acronym D.D.T. a deliberate reference
to the controversial pesticide on sale in the U.S. from 1945. Tommy Nelson has
broken out of jail and is on the run from the cops as chief suspect in his
manager’s murder following a middleweight bout. Arthur Franz is fittingly raw
as Nelson, combining the decency of the lead’s pal he played in Invaders From Mars (1953) with the
gritty edge of his most famous role, the unhinged homicidal ex-soldier in The Sniper (1952).
Tommy is
desperate to prove his innocence, so the boys agree to take him to see his fiancée
Helen Gray, the lovely Nancy Guild, and her uncle Dr Philip Gray, a scientist
who just happens to be experimenting with a revolutionary invisibility serum.
(Though American-born, Gavin Muir’s English education equipped him with a handy
British accent for a career of upmarket Hollywood villains.) He supplies a nice
name-check and a wall photo harking back to Claude Rains’ John Griffin from The Invisible Man (rather than the
gradually weaker sequels) to warn Tommy of the mental instability the serum
still causes until a reagent can be created. The frantic Nelson cannot wait
that long, and as the police arrive he sends the Grays out to run interference
while he self-injects the drug. A further nod to the superior originating film
is the sight of Tommy resembling Rains’ iconic bandaged head complete with
goggles.
From here
on, this spin-off of two worlds is well mined for the visual gag potential of
invisibility and the co-opting of boxing physicality for laughs. Verbal gags
are thinner on the ground, despite an occasional pleasing turn of phrase such
as Lou’s eye-witness account to the cops that Tommy disappeared “in
instalments”.
There are
some boisterous burlesque-style routines, such as Lou’s subsequent visit to a
city psychiatrist (Paul Maxey, better suited to portraying a burly butcher
perhaps) who, along with an office full of others, falls under Lou’s reverse
hypnosis. There’s a slick sleight of hand sequence where Lou continually
pockets their new client’s retainer despite Bud’s best efforts to keep hold of
it.
We also see
the advancement of special optical effects since the early Thirties by David S.
Horsley. He had worked on the last three sequels: The Invisible Man Returns and its jokier follow-up The Invisible Woman (both 1940) plus the
espionage war iteration The Invisible
Agent (1942). He creates marvellous moments of floating objects, especially
some seamless card manipulation by the unseen Tommy during a game.
The
transparent fugitive is a great lynchpin for drawing together the funny and the
serious elements on offer. On the one hand, Tommy partners Lou in a show-off
exhibition at the gym to convince murder-guilty gangster Morgan (Sheldon
Leonard, continuing his crime-wave after Zombies
on Broadway’s Ace Miller) to pit him in a bout against John Daheim’s Rocky
Hanlon. This then sets up Lou’s unlikely porky pugilist in the extended end fight
for maximum sight-gags. To the movie’s credit, it meanwhile honours the horror
franchise in never forgetting the vital escalating monstrosity building inside
Tommy. “I don’t want friends. I want followers” he drunkenly declaims in a
club.
The fight clock
is ticking. Can Bud and Lou expose Morgan as the one who framed Tommy before
their client is KO’d by his inner megalomania? It’s hard to believe that Morgan
as written is trusted with anything more demanding than the mob’s laundry, such
is his stupidity. Not only does he send ‘Louie the Looper’ a note spelling out
a death threat if he doesn’t take a dive (handy evidence for the cops), he even
accompanies it with the boys’ $15,000 bribe in
advance. His moll Boots Marsden (Adele Jergens), unable to win over Lou
either with her siren seductiveness, is understandably deadpan when he tells
her he has the syndicate’s entire holdings riding on the match.
We are then given
a ring-side seat for an extended climactic bout between the two totally
mismatched opponents - sight-gags aplenty capitalising on a comedy scenario dating
as far back as silent maestros Charlie Chaplin and Harold Lloyd. Plot-wise, the
hapless Lou simultaneously aims for authenticity, avoids a beating by Hanlon
and gets a two-fisted unseen assist by Tommy to actually win, much to Morgan’s
eventual self-incriminating rage.
It only
remains for Tommy to receive the re-agent in a blood transfusion with Costello
that somehow backs up into bestowing invisibility upon the donor. Lou blithely
rolls with the punch as gifting him future detective stealth, albeit with an
inexplicable back-to-front torso!
Like
Brando’s doomed ex-boxer Terry “I coulda been a contender” Molloy in On the Waterfront (1954), Abbott
and Costello Meet the Invisible Man ultimately had no chance of an awards
title-shot - but it comes out swinging, and sometimes with this pair that
bruiser spirit goes the distance...
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