Mexican Hayride

Before writing this review I took a look at George Eells biography of Cole Porter which has a good reference section listing his Broadway shows and original film productions.

To make this film fit for Abbott and Costello whole sections of the plot and entire characters were junked as well as Cole Porter's entire musical score. The barebones of the book by Herbert and Dorothy Fields was retained and the whole business about stock swindling and the Amigo Americano was from the musical. For instance listed as characters in the play were the then Vice President of the United States Henry A. Wallace and the former King Carol of Rumania and his notorious mistress Madame Lupescu. I can't even imagine what they might be doing as characters in an Abbott and Costello comedy.

Cole Porter's scores rarely made it intact to the screen. Usually it was because of his risqué lyrics not playing well in Peoria. However as we learn it was simply because Abbott and Costello fans didn't want their favorites clowning interrupted by musical numbers as they were in so many of their World War II era films.

If that's the case why in heaven's name did Universal buy Mexican Hayride and rework it for them? I'm sure there must have been any number of Cole Porter fans who wanted to see a film adaptation of one of his Broadway shows. Once they had bought their tickets and were seated in the movie house, they must have been sorely disappointed.

The boys have some good routines here, Costello has some funny moments in an interview with reporter Sid Fields and also with elocution teacher Fritz Feld. The highlight of the film of course is Costello in a bull ring trying to get money Abbott swindled in some watered stock case. Problem is the money is in a hat that was tossed in the ring and landed on the bull's horns.

One routine they did was previously done in the Bing Crosby film Double Or Nothing by Martha Raye. Costello won a marathon dance contest doing the Samba for 36 hours and goes into autopilot the exact same way Martha Raye did in Double or Nothing.

It's not the best film from Abbott and Costello and boy are those Cole Porter lovers in for a disappointment.

I don't know why people think so poorly of this film. Although it seems a little odd the way it begins in the middle of the story, it ticks along at a good rate; Pat Costello has an effective repartee with Lou, which is very interesting; Luba Malina, Fritz Feld, Sid Fields and Chris-Pin Martin are all funny. Costello is over the top, yet seems lovable and genuine in this movie. There are no gratuitous musical numbers to FF through, but there are a couple of comic musical numbers. It does not have the slow moments or the maudlin handling they had in "Little Giant" (which does have some good moments, by the way); Lou keeps things moving, and I can count 10 good skits off the top of my head--the one with Lou preparing tortillas has something close to a spectacular ending...if only the plot hadn't got in the way. Even the grand finale with a few rear-projections (and a "trained" bull) turns out pretty funny.

It's the logical extension of Abbott's character for him to be an all-around swindler, so that doesn't bother me; their teamwork is still top-rate, and I'm happy to see Costello get the better of Abbott once in a while. It's also relieving that in this context (and maybe an off-screen agreement?), Abbott refrains from slapping Costello, which would make his character unacceptable.

So spend a few bucks and watch it on DVD. Not a classic, but a good Sunday afternoon comedy with two comedians still at their peak of performance. And that's not bad.

Fresh from the hit "Abbott and Costello Meet Frankenstein," the comedy duo set out on "Mexican Hayride." Costello plays Joe Bascom, who is on the trail of Harry Lambert (Bud Abbott). Lambert coerced Bascom into swindling friends in Iowa, and Bascom has followed him into Mexico to force him to pay up. Through a series of misunderstandings, Bascom becomes "Amigo Americano" and is honored and feted. Lambert sees this as an opportunity for further land swindles in Mexico, and again tries to use Bascom as an unwitting pawn.

If this description sounds like an unusual plot for an Abbott and Costello film, you would be right. The story is based upon a Broadway show. A&C stalwart screenwriter John Grant does his best to interject A&C humor and routines into the existing Broadway storyline. Two of his best examples are the scene where Abbott rips off Costello's clothes in an effort to hide his initials, which are sewed on every piece of clothing; and the scene with Fritz Feld as an diction specialist.

"Mexican Hayride" is considered one of the weakest films in the A&C series, and I agree. The main problem lies in trying to interject A&C into a Broadway storyline built for other actors. A&C give it their best as usual, but the storyline simply isn't for them. One expects Abbott to take advantage of Costello here and there; it was seen in many of their best comedies. But for Abbott to swindle many people besides Costello simply isn't funny. There are also many gaps in the humor that result in dull moments. I really tried to like "Mexican Hayride," but the storyline simply didn't fit A&C snugly, and the humor is not consistent enough to generate many laughs. 3 out of 10.

This film is a bit unusual for an Abbott and Costello film in that Bud and Lou work against each other. In other words, they are not friends in the film and Lou is hiding out in Mexico. It seems that Bud is a swindler and has made it look like Lou is guilty. Naturally, Lou's goal is to get the money back so that he can pay off everyone back home and get the police to drop the case against him. Again and again throughout the film, Bud promises to give Lou all the money...in a few days.

Complicating things is that the police have just spotted Lou and are hot on his trail. But, they aren't positive it's the right guy and they are forced to back off when Lou is designated the "Guest of the People of Mexico". In other words, he was supposedly randomly chosen to be wined and dined as a sign of good will between the US and Mexico. In a very ironic scene, just when the Mexicans are set to honor Lou, the American police are ready to arrest him. What stops them is that one of the cops also matches this vague description! And, in reality, this part is played by Pat Costello--Lou's older brother in real life! Low points in the film include Luba Malina's performance. At times, she speaks with a typical American accent and in others she tries (in vain) to approximate a Mexican accent...and fails miserably. Why the director didn't bother to fix these scenes or notice is beyond me. Apparently, Malina was Russian-born and lived all around the world and if you listen, you can clearly hear this in her voice! Another is the scene late in the film where Lou is hiding out as an old lady with a tortilla wagon. His fake Spanish is really, really lame and sounds like Spanish only to someone with severe brain damage--and it's not really very funny--though the scene otherwise isn't bad at all. Could audiences back in 1948 have actually thought this was an approximation of Spanish?! High points are the lack of musical numbers and irrelevant secondary characters in the film. There is no handsome couple (unless you count Lou and Luba) and the film tends to focus exclusively on Bud and Lou.

Unfortunately, though, there aren't a ton of laughs in the film and it is a rather bland affair compared to the rest of the comedy team's work. An mildly interesting diversion and that is all.

An Abbott and Costello movie that comes off as something of a misfire, especially following right after the great ABBOTT & COSTELLO MEET FRANKENSTEIN, often considered one of their very best. Based on a play, this story is sort of awkward in the realm of Bud and Lou misadventures. We have Costello as a fugitive who's just won a contest where he danced a samba for 68 hours, and is now pursued by the police to Mexico. Of course, it's not poor Lou's fault; he was swindled by the character played by Abbott, and Costello needs to catch up with Bud and get his money back, and clear himself.

Naturally we get some gags here and there, but they're not among the comedy duo's finest. One running joke that really gets boring after the first couple of tries is Lou uncontrollably conditioned to dance the samba from force of habit, whenever hearing the music played. Another routine has Lou confronting a wild bull in an arena (what else would you expect in a Mexican comedy?). There are a couple of humorous scenes with assistance from guest stars like Fritz Feld (who attempts to teach Costello how to speak properly), and my personal favorite involving Sidney Fields as a fast-talking interviewer who won't let Lou get a word in edge-wise (Fields would later go on to play A&C's landlord on their TV show). Lou's brother Pat Costello has a steady role here as one of the cops constantly trailing Lou. He'd made brief appearances in other movies and often as Lou's stunt double, but Pat is pretty much a wooden Indian throughout. **1/2 out of ****