You visit the movie hoping for a fine funny film like some of their 1940s ones, but almost every scene in it is a let down or a formulaic rehash from their earlier pictures. This movie is typical of the early to mid 50s films of 'The Bowery Boys', 'Francis the Talking Mule' as well as Abbott and Costello's fifties films-- you go expecting something good and get mediocre unfunny humor instead.
Nostalgically, it's interesting to see the comic interplay between them that was so funny in the forties. Some of the routines seem like they're taken from their TV or even earlier radio shows (such as Lou's meeting the café show girl). Others are too familiar-- the done to death scenes of Costello unknowingly sitting or being in front of a dead body or monster, his running for Abbott and their coming back to find nothing (done three times in the first part of the film); the 'point and switch' plate switching routine; and the obligatory final chase sequence (this time with three mummies, one of whom for some reason is Bud Abbott). The difference here is that they still have energy and some edge, and that makes their interplay watchable. unlike the final films of the Marx Brothers, Martin and Lewis and of Laurel and Hardy.
B movie queen Marie Windsor has a major role, but Richard Deacon as the High Priest of an Egyptian cult is totally miscast; he exudes about as much menace as an archeology text book. The boys give a brief nod to their 'Who's on First?' fame with 'The shovel is my pick,' but it doesn't really get very far. Peggy King, a vocalist from the George Gobel television show, appears for no reason and sings 'You Came a Long Way From St. Louis' while showing us her semi-butch hair do and zero stage presence.
I guess we're been so spoiled by 'Abbott and Costello Meet Frankenstein' (1948), that we really lament any hint of spookiness, horror, or dark shadows that are so clearly missing from this film. It's almost as if the movie's best part is the dancers! The funniest moment comes when Bud promises and then shows the high priest that he, Abbott, can keep the legend of Klaris alive by turning the tomb site into 'Kafe Klaris' complete with a dance band wrapped up as mummies!
But that's about it. We've come such a long way from 'The Mummy' (1932) that it's not even funny. Even though it's fun to watch them together one more time, I'll sadly have to give the movie a 3 and four fifths, or one out of four mummies.
Nostalgically, it's interesting to see the comic interplay between them that was so funny in the forties. Some of the routines seem like they're taken from their TV or even earlier radio shows (such as Lou's meeting the café show girl). Others are too familiar-- the done to death scenes of Costello unknowingly sitting or being in front of a dead body or monster, his running for Abbott and their coming back to find nothing (done three times in the first part of the film); the 'point and switch' plate switching routine; and the obligatory final chase sequence (this time with three mummies, one of whom for some reason is Bud Abbott). The difference here is that they still have energy and some edge, and that makes their interplay watchable. unlike the final films of the Marx Brothers, Martin and Lewis and of Laurel and Hardy.
B movie queen Marie Windsor has a major role, but Richard Deacon as the High Priest of an Egyptian cult is totally miscast; he exudes about as much menace as an archeology text book. The boys give a brief nod to their 'Who's on First?' fame with 'The shovel is my pick,' but it doesn't really get very far. Peggy King, a vocalist from the George Gobel television show, appears for no reason and sings 'You Came a Long Way From St. Louis' while showing us her semi-butch hair do and zero stage presence.
I guess we're been so spoiled by 'Abbott and Costello Meet Frankenstein' (1948), that we really lament any hint of spookiness, horror, or dark shadows that are so clearly missing from this film. It's almost as if the movie's best part is the dancers! The funniest moment comes when Bud promises and then shows the high priest that he, Abbott, can keep the legend of Klaris alive by turning the tomb site into 'Kafe Klaris' complete with a dance band wrapped up as mummies!
But that's about it. We've come such a long way from 'The Mummy' (1932) that it's not even funny. Even though it's fun to watch them together one more time, I'll sadly have to give the movie a 3 and four fifths, or one out of four mummies.