IT CAME FROM THE BOTTOM SHELF!

Don your reading glasses, classic comedy enthusiasts,

From time to time, I use this space to shine a spotlight on various film guides, reference books, and biographies that I feel should be on the bookshelf of every rabid film fan. Here’s more recommended reading from the Bottom Bookshelf:

The Annotated Abbott and Costello
by Matthew Coniam and Nick Santa Maria
Foreword by John Landis
©2023 McFarland Books
Format: Softcover (7 x 10)
490 pages

pISBN 978-1-4766-8244-0
eISBN 978-1-4766-4776-0
80 photos, appendices, notes, bibliography, index

I tend to get a bit long-winded when reviewing something I like, so for those with less tolerance for immoderate prose, let me quickly sum things up by saying, “It’s great! It’s stupendous! It’s essential! You’re seriously gonna love it! What are you waiting for? There are purchasing links below, so don’t give me any of your excuses. Just buy the book already!” There. You have your marching orders. Of course, if you crave a bit more detail, read on.

Back in 2015, Matthew Coniam, one of the hosts of The Marx Brothers Council Podcast, produced his first book, The Annotated Marx Brothers: A Filmgoer’s Guide to In-Jokes, Obscure References and Sly Details. While there had been no shortage of books on Minnie’s boys, Matthew’s book was a welcome addition to the Marxian library due to its unique format. Like a travel guide one might use when on vacation, The Annotated Marx Brothers provided a road map to an unfamiliar landscape — pop culture of the early Twentieth Century. Every movie is a product of its time, and the Marx Brothers films are overflowing with antiquated cultural references and private jokes that could baffle (or more likely escape the notice) of the average viewer. Matthew’s book provided explanations for those obscure allusions, with time code markers (both PAL and NTSC video) to easily pinpoint the scene being discussed.

With the success of The Annotated Marx Brothers, it made sense to apply the same format to Matthew’s second favorite comedy team, Bud Abbott and Lou Costello. However, the task of completing The Annotated Abbott and Costello was more daunting, because Bud & Lou made nearly three times as many movies as the bothers Marx. As a result, Matthew decided to split the writing duties with actor, comedian, writer, and film historian Nick Santa Maria (one person with multiple vocations, rather than four people with a single claim to fame). Nick is the perfect match for Matthew and for the material. As Nick mentions in the book’s first appendix, “Lou and Me,” seeing Lou Costello’s work inspired him to become a comedian. Nick also brings a unique performer’s perspective to the analysis of Abbott and Costello’s comedy, having acted in several comedy shorts in the style of the 1930s and 40s (collected in the DVD The Misadventures of Biffle and Shooster).

Matthew and Nick’s combined work carries the official moniker of The Annotated Abbott and Costello: A Complete Viewer’s Guide to the Comedy Team and Their 38 Films. True to the title, the book is primarily a film guide, with individual chapters covering each of Bud & Lou’s movies (36 pictures as a team, Lou’s solo outing The 30 Foot Bride of Candy Rock, and the compilation film The World of of Abbott and Costello). Each chapter explores the plot, players, and production of each movie, with critical appraisals and loads of esoterica (including those handy time code markers). If you’ve ever wondered how other burlesque performers responded to Bud & Lou’s stardom, how Limburger cheese became a comedy staple, or why Lou said “I feel just like Donald O’Connor!” in Here Come the Co-Eds (1945), look no further.

However, the book isn’t just a collection of trivia. The authors have a higher stated purpose — to try to improve the reputation of these burlesque comics who became movie stars. Even in their 1940s heyday, Abbott and Costello were looked down upon by critics and contemporaneous performers; and today’s film fans often compare the team unfavorably with “more serious” comedians (really?), such as Charlie Chaplin, Buster Keaton, W.C. Fields, the Marx Brothers, and especially Laurel & Hardy. Matthew and Nick feel that Bud & Lou’s reputation as lesser comics with lazy working methods is unfounded and that the duo deserve higher status in the pantheon of filmdom’s funnymen. I think the authors make a valid case (although, to be honest, I didn’t need a lot of convincing in the first place).

The authors have split the chapters equally, each covering 19 of the 38 films. I’ve read many books in which multiple authors contribute separate chapters, and most come across as a collection of essays rather than as a coherent work. Happily, The Annotated Abbott and Costello is much more cohesive, because Nick and Matthew comment on each other’s writing throughout. Each author’s chapter ends with a short reply from the other, adding agreement, opposing opinions, or added details. They also chime in with comments throughout the text in form of footnotes (which shouldn’t be skipped). As a result, the book reads as a conversation between two highly informed and enthusiastic Abbott and Costello fans.

In addition to commentary on each of the films, the book is a truly comprehensive guide to the comedy team. When discussing Abbott & Costello’s classic crosstalk routines and lesser-known bits of verbal and physical business found in the movies, the authors can’t resist siting other uses of the same material in the team’s work in burlesque, on Broadway, radio, and television. The authors also explore other aspects of the duo in their dual appendices. Nick Santa Maria’s “Lou and Me” is heartfelt consideration of the human fallibility of one’s heroes; and it is my single favorite addition to the book. While Matthew Coniam’s “The Trials and Tribulations of Tinybud” is an intriguing look into areas where Bud Abbott’s comedy character and his early business endeavors overlap. Finally, there is a third appendix with a collection of thirty-three Abbott & Costello “Top Ten” lists submitted from authors, filmmakers, and historians, including John Landis (who also provided a foreword), Leonard Maltin, Joe Dante, Danny Peary, and Lou’s daughter Chris Costello. It all adds up as a generous love letter to one of the greatest comedy double-acts in the history of Hollywood.

The main questions I’ve received from classic comedy fans about The Annotated Abbott and Costello is “How does the book stack up against previous books on Bud & Lou? Do I really need another book on the team?” The short answer is that Matthew and Nick’s book is the essential guide to the duo and their films. I don’t want to take anything away from the prior books, especially Abbott and Costello in Hollywood by Bob Furmanek and Ron Palumbo, which I dearly love. I’m not going to remove any books from my bookshelf. Still, if I was only allowed to keep a single reference on the team, it would be The Annotated Abbott and Costello. The authors of the new book are able to build upon prior scholarship with additional information, and they debunk a few stories that had previously been accepted as gospel. Best of all, the book is funny. This is no dry, academic text. Matthew and Nick are both very witty fellows, and their writing is peppered with jokes, puns, and humorous asides. As a result, The Annotated Abbott and Costello is the most entertaining film study you’re ever likely to read.

The Annotated Abbott and Costello is available in paperback and digital versions. However, some retailers have had a hard time keeping the physical book in stock. Currently, your best bet for finding a copy of the paperback is by ordering directly from the publisher.

Purchase The Annotated Abbott and Costello in paperback from McFarland Books: https://mcfarlandbooks.com/product/the-annotated-abbott-and-costello/

Amazon links for digital editions (and paperbacks when in stock):

In the spirit of the book, it makes sense to add an Appendix to my review with my personal Abbott and Costello Top Ten List:

I stumbled across the movies of Abbott and Costello in my pre-school years. It wasn’t difficult. One of the local television channels had licensed the Universal film package, and the movies played in rotation every Saturday afternoon. I instantly fell in love with the team, and their antagonistic burlesque relationship never bothered me a bit. Here are my current ten favorites from their filmography. Of course, the ranking might change tomorrow.

1. Who Done It? (1942) — I love mystery comedies as much as horror comedies. The old radio backdrop and noirish photography also add to the atmosphere. The boys are highly energetic here, and their comedic timing and physicality are at their best. It’s not a “fair play” mystery, so don’t even try to figure out “who done it.”
2. The Time of Their Lives (1946) — The best A&C movie that isn’t an A&C movie. Let’s call it a C&A movie, because I have to give Lou top billing here. This non-team movie is a nice change of pace. Both Lou and Bud acquit themselves quite well in their individual roles, and the fantasy elements are fun.
3. Bud Abbott and Lou Costello Meet Frankenstein (1948) — This is a perfect film, and it might be the most successful combination of two film genres ever produced. It is both a top tier A&C comedy and an effective Universal horror. It’s just not my favorite A&C film. The boys aren’t quite as energetic as in the earlier films, and they have other movies that are funnier. Still, I have to put it near the top of the list, because as a horror-comedy it’s never been topped.
4. Hold That Ghost (1941) — I adore “old dark house” movies, so this could easily have been #1 on my list. However, it falls down a few slots due to the bookend reshoots. While there are some great moments in the tacked-on scenes, I wish the film was presented in its original “Oh, Charlie!” form.
5. Mexican Hayride (1948) — I was surprised how much I loved this one on my most recent re-watch. Bud is more of a criminal here, but due to this change, the antagonistic relationship between Bud and Lou makes a bit more sense than usual. I also love the Samba running gag.
6. The Noose Hangs High (1948) — While this film is a bit of a mixed bag, it features my single favorite scene in any A&C movie. The marathon crosstalk scene in the restaurant/club is one for the ages. It displays the boys at their burlesque best. I also may love the “Mustard” routine more than “Who’s on First.” Bud is either a psychopath who believes that Lou will cause mustard factories to go out if business if he doesn’t put the condiment on his hot dog, or he’s a sociopath that enjoys torturing Lou for the fun of it.
7. Abbott and Costello Meet Captain Kidd (1952) — Many don’t think this is a good film. I have to disagree. It’s just different from most A&C films in that rather than being a comedy with music, this is a true musical comedy. The film is fast-moving, colorful, with laughs and enjoyable songs. Plus, it’s fun watching Charles Laughton having the time of his life. What’s not to like?
8. In the Navy (1941) — This is just as fun as Buck Privates, but I rank it slightly higher. For one thing, I like the supporting characters more in this service comedy. If you need a male lead for the romantic subplot, you can’t do better than Dick Powell.
9. Buck Privates (1941) — I can’t get “You’re a Lucky Fellow, Mr. Smith” out of my head, and that’s a good thing. It’s fun seeing the boys in their early form, when they were a bit younger and hungrier. I was tempted to include One Night in the Tropics in this list for the same reason.
10. The Naughty Nineties (1945) — There are probably better A&C films that should have snuck into my A&C top ten, but this was a favorite of my childhood. It features the “Who’s on First?” routine and very nice production values. However, I probably love it mainly for its personal nostalgia value.