Lost in a Harem (1944)
Abbott and Costello finally returned to MGM in 1944 to make Lost in a Harem. Although Rio Rita’s story wasn’t really good, it did show that MGM knew how to properly showcase the team’s talents. Lost in a Harem further proves this, except this time they are provided with a better story.
Prince Ramo (John Conte), whose throne has been taken from him by his uncle (Douglass Dumbrille), enlists the help of singer Hazel Moon (Marilyn Maxwell) and her buddies Peter Johnson (Abbott) and Harvey Garvey (Costello) in an attempt to get it back. If they help him, he promises to help them return to their home country. They must steal a pair of magic rings from the uncle that hypnotize people while also avoiding being hypnotized themselves.
Before moving on with this review, I think it is important to address the fact that this is a film from the 1940s that takes place in the Middle East. Unsurprisingly, there are Middle Eastern stereotypes, notably the fact that many of them keep and use a specific type of sword as well as the harem, and at least the main characters are played by white actors. These stereotypes are wrong, though we do have to keep in mind this was a different time and to be fair, a good amount of the Middle Easterners in this film are portrayed in a good light, particularly the prince character.
If you can get past these stereotypes, this should be an entertaining experience, as just about everything in this film works well. Most of the musical numbers are entertaining, especially the ones by Jimmy Dorsey and His Orchestra and while we’re on the subject of the music there’s even a really nice musical score in this film as well. The romance is a bit confusing; Hazel gets mad at the prince at the beginning for looking at her too much yet she suddenly gets upset when she thinks he isn’t paying enough attention to her. However, moments like this aren’t too common and both are still likeable enough for their concerns for others, notably Abbott and Costello’s characters. I should also note here that Costello’s character is briefly portrayed as being in love with Hazel, sort of like in In Society. However, unlike In Society, this is much more clearly a throwaway joke than anything actually serious.
What I really like about the story is just how well it ties together. Even Jimmy Dorsey and His Orchestra, who of course are there only to provide musical entertainment, still feel important because of the circumstances they are in. The prince uses them as an example of the rings’ power, as they are unable to recognize Hazel, who was their friend, and are under the spell of the rings. Similarly, Murray Leonard, who is there mostly as a comic relief (ironic, isn’t it?), still helps out in the main characters’ escape from their prison cells the first time.
Much like in Rio Rita, Abbott and Costello are in top form and given plenty of screen time. Like I mentioned in the In Society review, this is especially surprising given the circumstances in Costello’s life around this time. Among the highlights of their comedy are the “Slowly I Turned” routine with Murray Leonard, a magician routine in which Costello messes up their act and causes a riot, a scene in which they’re hypnotized into acting like termites, and a scene in which Costello runs into numerous troubles while simply trying to fall asleep.
Easily my favorite part is a scene that appears late in the film. Abbott and Costello meet up with Murray Leonard again in a new prison cell. If you didn’t think he was crazy before, this should prove it. He tells them he’ll help them get out, only for them to still be in the cell and for him to start getting delusional. He, Abbott, and Costello then start interacting with imaginary objects and people, but the hilarity comes from the fact that you can actually hear some of the imaginary objects, like when Costello closes a door or when Leonard plays a piano. Abbott and Costello’s reactions in this scene are fantastic and Leonard’s crazy outbursts throughout the film provide a lot of laughs.
Lost in a Harem is a very entertaining movie, with great comedy and excellent production values. It’s occasionally bogged down by a confusing and kind of tedious love story, though even that is tolerable. Much like with Rio Rita, I’m debating between two ratings, so once again, I’ll meet in the middle.
9.5 out of 10
Prince Ramo (John Conte), whose throne has been taken from him by his uncle (Douglass Dumbrille), enlists the help of singer Hazel Moon (Marilyn Maxwell) and her buddies Peter Johnson (Abbott) and Harvey Garvey (Costello) in an attempt to get it back. If they help him, he promises to help them return to their home country. They must steal a pair of magic rings from the uncle that hypnotize people while also avoiding being hypnotized themselves.
Before moving on with this review, I think it is important to address the fact that this is a film from the 1940s that takes place in the Middle East. Unsurprisingly, there are Middle Eastern stereotypes, notably the fact that many of them keep and use a specific type of sword as well as the harem, and at least the main characters are played by white actors. These stereotypes are wrong, though we do have to keep in mind this was a different time and to be fair, a good amount of the Middle Easterners in this film are portrayed in a good light, particularly the prince character.
If you can get past these stereotypes, this should be an entertaining experience, as just about everything in this film works well. Most of the musical numbers are entertaining, especially the ones by Jimmy Dorsey and His Orchestra and while we’re on the subject of the music there’s even a really nice musical score in this film as well. The romance is a bit confusing; Hazel gets mad at the prince at the beginning for looking at her too much yet she suddenly gets upset when she thinks he isn’t paying enough attention to her. However, moments like this aren’t too common and both are still likeable enough for their concerns for others, notably Abbott and Costello’s characters. I should also note here that Costello’s character is briefly portrayed as being in love with Hazel, sort of like in In Society. However, unlike In Society, this is much more clearly a throwaway joke than anything actually serious.
What I really like about the story is just how well it ties together. Even Jimmy Dorsey and His Orchestra, who of course are there only to provide musical entertainment, still feel important because of the circumstances they are in. The prince uses them as an example of the rings’ power, as they are unable to recognize Hazel, who was their friend, and are under the spell of the rings. Similarly, Murray Leonard, who is there mostly as a comic relief (ironic, isn’t it?), still helps out in the main characters’ escape from their prison cells the first time.
Much like in Rio Rita, Abbott and Costello are in top form and given plenty of screen time. Like I mentioned in the In Society review, this is especially surprising given the circumstances in Costello’s life around this time. Among the highlights of their comedy are the “Slowly I Turned” routine with Murray Leonard, a magician routine in which Costello messes up their act and causes a riot, a scene in which they’re hypnotized into acting like termites, and a scene in which Costello runs into numerous troubles while simply trying to fall asleep.
Easily my favorite part is a scene that appears late in the film. Abbott and Costello meet up with Murray Leonard again in a new prison cell. If you didn’t think he was crazy before, this should prove it. He tells them he’ll help them get out, only for them to still be in the cell and for him to start getting delusional. He, Abbott, and Costello then start interacting with imaginary objects and people, but the hilarity comes from the fact that you can actually hear some of the imaginary objects, like when Costello closes a door or when Leonard plays a piano. Abbott and Costello’s reactions in this scene are fantastic and Leonard’s crazy outbursts throughout the film provide a lot of laughs.
Lost in a Harem is a very entertaining movie, with great comedy and excellent production values. It’s occasionally bogged down by a confusing and kind of tedious love story, though even that is tolerable. Much like with Rio Rita, I’m debating between two ratings, so once again, I’ll meet in the middle.
9.5 out of 10
Comments
Post a Comment