Lost in a Harem

Lost In A Harem is one of the best Abbott & Costello films for 3 reasons: One, unlike most of their films in the 1940s which were produced at Universal Studios (and available on DVD in a Universal set), this one was done at MGM with that studios usual higher production standards, including a few spectacular musical numbers. Two, it is one of only about a dozen filmed appearances of big band great Jimmmy Dorsey, who performs, with his band, a number called John Silver ("15 men on a dead man's chest") which I haven't found elsewhere, and a few other songs. Three, the "Pokomoko" routine ("Slowwwwly I turned, step by step I crept upon him . . .") is done to perfection by A&C with Murray Leonard as the Derelict, which I've always remembered as one of my favorite A&C routines since I was ten years old. Furthermore, there's a real live giant (Lock Martin), full costumes and exotic sets as you would expect from MGM, a magic skit by A&C, hypnotism, a fine performance from Douglas Dumbrille as the bad guy, and more good music. I would rate it below Abott & Costello Meet Frankenstein, In The Navy, In Society, The Naughty Nineties, and perhaps 3 or 4 others, but definitely in their top ten or twelve. But since it's not in the Universal set, it's not available on DVD anywhere.

The review dated 21 May 2000 is indeed amazing. The reviewer states that he never cared for Bud and Lou. Well, dear reader, I sure hope that y-o-u never waste your time on a topic that you have no interest in. Profit from Ron's time-wasting and do what you enjoy. This film, which may be a step-up, budget-wise, may also be a step down in content, to some. It is definitely a product of its time and audiences of World War II couldn't get enough of Abbott & Costello. If you enjoy big band music, the idea of Jimmy Dorsey's band will excite you. To see one of the era's prettiest women, Marilyn Maxwell, this is a fine showcase. Just as every Bogart film isn't CASABLANCA, every A & C film isn't MEET FRANKENSTEIN. But this one will do ...

First,I attempted to see this on a double-DVD of HAREM and ABBOTT&COSTELLO IN HOLLYWOOD----while the latter was intact,the first 20 minutes of HAREM were missing from the DVD;depriving me of "the magic act" and the SLOWLY I TURNED routine(I caught up with the latter on YOU TUBE)/This DVD is widely distributed,so buyer beware.

Second,who is the unbilled drummer in The Jimmy Dorsey Orchestra?

This is an average film---marilyn Maxwell's role fizzles out after her red-hot opening song;and John Conte' is a completely wooden romantic leading man.

While Murray Leonard makes an OK foil in two comedy routines,you can find better versions of "Niagara Falls" and "Mike's Place" in their 1950's television show.

It gets tiresome as Bud and Lou put on numerous completely unconvincing disguises as they run around the palace trying to avoid being executed.

Bobo Lewis,as a gigantic palace guard,is most noticeable.

LOST IN A HAREM (Metro-Goldwyn-Mayer, 1944), directed by Charles Reisner, marks the second of three Abbott and Costello comedies for MGM. Taking another loan from their home base of Universal, this production is a spoof on either Paramount's "Road" comedies featuring Bing Crosby and Bob Hope, or the then current Arabian Nights adventures minus the Technicolor backdrop. It does include a villain, wonderfully played by Douglass Dumbrille, who had menaced another comedy team of The Marx Brothers in A DAY AT THE RACES (1937) and THE BIG STORE (1941), as earlier menaced Abbott and Costello in RIDE 'EM COWBOY (Universal, 1942). For romantic subplot, Marilyn Maxwell and John Conte come along for the ride with plot that's mostly a series of vaudeville gags put together in story form for much of its 90 minutes of entertainment.

Following a narrative introduction from a crystal glazer (Milton Parsons), the story begins in a mythical city of Port Inferno where Hazel Moon (Marilyn Maxwell) works as a singer at the Cafe of All Nations, accompanied by Peter Johnson (Bud Abbott) and Harvey D. Garvey (Lou Costello), who had earlier helped her stranded troupe and now has acquired them jobs as magicians for their good nature. Prince Ramo (John Conte) wants to meet with Hazel, but while in need of her assistance to help him regain his throne taken from his wicket uncle, Nimativ (Douglass Dumbrille), she simply mistakes him for a masher. Following a riot that sends Pete, Harvey and Hazel to jail, Ramo agrees to their escape in return for Hazel's assistance, considering how Nimativ is attracted to rarely seen blondes. After Ramo and his caravan return to Barabeetla to get him out of power by stealing his uncle's hypnotic rings, Pete and Johnson pose as Hollywood talent scouts while Hazel, much to her dismay, to find herself chosen to become Nimatiy's wife number 37, among other unforeseen results. Others in the cast include: Lottie Harrison (Teema); J. Lockhard Martin (Bobo); Adia Kuzenikoff (Chief Gnamu); and Ralph Sanford (Mr. Ormulu). On the musical program is Jimmy Dorsey and his Orchestra with songs featuring: "What Does It Take to Get You?" (Sung by Marilyn Maxwell); "Sons of the Desert," (good tune) "Old John Silver," and "Noche De Ronda" (dance number).

Among the gags by John Grant involving Abbott and Costello, such as the opening magic act, other highlights include them with a third party, Murray Leonard as the Derelict, with their classic exchange of "Pokomogo! Slowly I turn. Step by step!" This familiar routine dating back to vaudeville has been performed by other comics as the Three Stooges as later by Lucille Ball in her classic 1950s show of "I Love Lucy." Leonard's character adds much to the story, especially when reappearing numerous times when least expected. He would do his "Pokomogo" routine again with Bud and Lou on television in "The Abbott and Costello Show." Another funny bit involves Bud and Lou hypnotized as termites and eating anything made of wood, followed by Costello disguised as one of Nimativ's harem wives. While some comedy material works, others such as the very extended one involving an invisible friend named Mike is often amusing, especially when sound effects are concerned, but is something that could have been shortened a bit before viewer's lost of interest sets in. Marilyn Maxwell plays a satisfactory heroine, but with Abbott and Costello around, she gets little to do except look pretty.

While Abbott and Costello got lost again in LOST IN ALASKA (Universal, 1952), the much better LOST IN A HAREM, formerly available on video cassette and later DVD, can be seen and appreciated the next time it turns up on Turner Classic Movies cable channel. (**1/2 sheiks)

John Conte is the renegade Prince in hiding with his desert tribesmen, with both a yen for Marilyn Maxwell and an interest in getting back the throne that his Uncle, Douglass Dumbrille, has stolen from him. The first I can understand, but who does he get to aid him in his second objective. Marilyn, stranded showgirl in the desert, and her sidekicks Abbott and Costello. If you're willing to suspend reality and believe' that anyone looking to pull off a coup d'etat is looking for help from Abbott and Costello, well then sit back and enjoy the fun.

I have to say that the boys are up to their usual monkeyshines and Marilyn Maxwell is inclined to make any self-respecting prince drool, but the real treat is Douglass Dumbrille. Dumbrille was a fine character actor who usually played smooth villains. He's probably best remembered for being the lawyer trying to cheat Gary Cooper out of his inheritance in Mister Deeds Goes To Town. However there are moments went Dumbrille shows a nice sense of comic timing and plays a very good straight man for Costello. Hypnosis is one of the tricks in Dumbrille's bag and he hypnotizes the boys, Marilyn Maxwell, and even the whole Jimmy Dorsey band. I guess they like swing music on the desert.

Dumbrille played a similar function in The Big Store with the Marx Brothers. He gets right into the clowning with them also.

There's a woman who plays one of Dumbrille's hare girls who looks a lot like Rosie O'Donnell. Naturally at one point the plot calls for Costello to get into drag and disguise himself as her to fool Dumbrille.

Good, funny, Abbott and Costello nonsense. Easily the best of the films they did on that MGM loan out from Universal.