Less of a critique than an observation, movies have clearly become freer in many respects – violence, nudity and profanity can now be littered throughout the narrative. . . yet, the twenty-first century has brought with it a more politically correct outlook, and stories are impeded in this very different respect (unlike films during the Motion Picture Production Code and after – which, for many reasons, were able to be more politically incorrect, for lack of a better term). Case and point, Abbott and Costello’s Pardon My Sarong, directed by Erle C. Kenton (Island of Lost Souls; Who Done It?). The piece of dialogue in question finds the comedic duo discussing marriage –
Abbott: “Wouldn’t you marry a pretty girl like that?
Costello: “No. I’d marry a homely girl.”
Abbott: “Why?”
Costello: “Well, if you marry a pretty girl like her, she’s liable to run away.”
Abbott: “A homely girl is apt to run away too.”
Costello: “Yeah, but who cares!”
It is somewhat reminiscent of the classic response on Hollywood Squares when Paul Lynde was asked, “when a man falls out of your boat and into the water, you should yell: Man overboard! Now what should you yell if a woman falls overboard?”. . . the comic replied – “full speed ahead!” This type of dialogue, jokes, and writing is close to extinct now – with the deaths of Joan Rivers and Don Rickles closing the final chapter on two of the least PC comics and actors out there. . . and, when something along these lines does make its way into a movie, you are likely to read reviews and comments lambasting the moment. Now, this debate will likely have people on both sides, with others somewhere in the middle, and, in the end, it is up to you to decide where you fall.
A classic Abbott and Costello tale, it finds the duo, this time named Algy Shaw and Wellington Pflug, in trouble after accidentally stealing a bus while transporting a wealthy American yachting icon, Tommy Layton (Robert Paige), to his most recent competition. With the Illinois bus company looking for the pair (jail is in their future), they find themselves as crew members for the sailor, along with Joan Marshall (Virginia Bruce – The Invisible Woman), a saboteur who was caught trying to ruin Tommy’s chances in hopes that her brother will win the big race.
Finding themselves on the wrong course (piloted directly into a giant storm), they are soon starving and without water, fortunate to discover an uncharted island – populated by a group of natives who speak very little English and a sole archaeologist, Varnoff (Lionel Atwill). By an ironic twist of fate, they believe chubby, dim-witted Wellington to be a God-like hero, destined to reconquer the haunted temple of their ancestors and marry their princess, Luana (Nan Wynn), which displeases the Big Kahuna, Whaba (Leif Erickson). All is not what it appears, with the less than dynamic duo stuck in the middle of a mysterious caper. . . will they, but mostly Wellington, be able to uncover the quandary and save the day?
Packed with clever, silly and fun dialogue and gags, it is quite evident why the comedy team have been popular for eight decades – the most iconic sketches that find their way reworked into the tale are the ‘go ahead and back up’ skit and the ‘tree of truth’ sequence. Though, there are so many other entertaining moments, including a cheeky one when Wellington calls the much stronger Whaba a stinker, and with Algy’s help, is able to convince him that is a flattering term. . . soon, the behemoth is stating that everyone else in the village pale in comparison, and only he and all of his ancestors are stinkers. Physical comedy finds Wellington outwitting Whaba after he slips a Mickey into his drink, while another great moment has Wellingon tapping out while in a leg lock (the only problem is that his shoe has slipped off – unbeknownst to either of the wrestlers). I will leave you with another piece of quirky stupidity for your enjoyment. . .
Wellington: “Look at that. What is that thing?”
Algy: “That’s a seal.”
Wellington: “A seal?”
Algy: “Sure. They make fur coats.”
Wellington: “They make fur coats? How do they teach them that type of work?”
Like all of their other early films, there are also some spectacular song and dance numbers. The iconic 30s and 40s group The Ink Spots are featured (singing “Do I Worry?” and “Shout Brother Shout”), while the classic dance group Tip, Tap, and Toe show off their tapping skills – an absolutely mesmerizing sequence full of slick, stylish and speedy tabletop manoeuvres. Funnily enough, the primitive tribe, with their limited English, are able to transition from a more native sounding tune to a swinging Big Band number with utter ease – only in the movies.
The second biggest money maker of 1942 (with box office receipts trailing only Mrs. Miniver – the Oscar Best Picture winner that year), Pardon My Sarong, loosely spoofing the Dorothy Lamour “Sarong” Paramount films, is a most entertaining comedic adventure (that somewhat resembles an extended episode of Gilligan’s Island). So, just sit right back and you’ll hear a tale, a tale of a fateful trip. . . oh, sorry, wrong story, in any case, this one gets my seal of approval.