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Crazy House 1943
Description: Ole Olsen and Chic Johnson are Broadway stars who return to Universal Studios to create other movie. The mere mention of Olsen and Johnson's names evacuates the studio and terrorizes the management and personnel. Undaunted, the comedians hire an assistant director and unknown talent, and set out to create their own movie.
Released: 08 Oct 1943 Director: Edward F. Cline Writers: Robert Lees (screenplay), Frederic I. Rinaldo (screenplay) Actors: Ole Olsen, Chic Johnson, Cass Daley, Patric Knowles Genres: Comedy, Music
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Crazy House Reviews:

Olsen & Johnson go to Universal Studios to movie their successor to Hellzapoppin', while everyone at the studio runs for cover. Since no one at the studio will back them, O&J decide to return to Miracle Pictures to receive their movie started. Since O&J can receive no bankable stars, they decide to do the novel approach of having a movie w/ fresh faces including singer Marjorie Nelson (who happens to catch the eye of director Ed MacLean). When movies creditors search out that O&J's backer is an eccentric sort who thinks he's a millionaire broker, they place an injunction on the film, and its up to Olsen & Johnson to prove their situation in court to save the film. Probably this movie was on the same page w/ the WC Fields film, Never Give a Sucker an Even Break with the plot of the comedian(s) trying to movie the movie. Olsen & Johnson are up to their same antics again, but after the opening stage of the Universal lot running for cover, the movie can't maintain the pace of that stage or what made Hellzapoppin a laugh riot. The musical numbers are nice, but there just seems to be so many in the film, that this is a jukebox movie more than a comedy. Still the movie has many funny moments and is a sure treat. Rating, 7.


When I was only six, my mother and father sent my older brother totake me to watch the Olson and Johnson routine at a Fresh YorkCity nightclub named THE CARNIVAL. I had been aware of theantics of the Three Stooges, Laurel and Hardy and Abbott andCostello, but actually I should see first hand the live slapstick ofinvolved comedy.The movie "Crazy House" is a excellent example of keeping the wild artof modernized slapstick alive on film. It is an modernize of the piethrowing of early silents and the progression from Charlie Chaplinto Charlie Chase. This movie even has tiny roles for all the lesserknown comics of that era. Their roles in this film are much thesame as the bit inserts into "It's a Mad, Mad, Mad, Angry World".For those a tiny bit younger than myself, this movie would be calledthe progenitor of "Rowan & Martin's Laugh In", a TV series that ranfrom 1968-1973.All I can tell is, "If you wish to see the visualization of one liners aspresented in the 1940's test and receive to see this film". In the shortwhile, watch "Laugh In" reruns and prep yourself for a look backinto comedy history.


I recently saw this movie with Quentin Tarantino's introduction to this movie on video tape from Trio. Quentin goes on about how Mel Brooks lifted a nice chunk of the premise of this film for Silent Movie. While the primary concept is the same, down on their luck movie makers test to sign large stars for their up coming film, the effects are decidedly different. Brooks played it cute much as a straight film, while Olsen and Johnson used it as an excuse to do silly things with popular people. I prefer the pure insanity of Olsen and Johnson's take.This is one of the greatest movies that Olsen and Johnson ever made, even if it has one really large trouble (which I'll receive to in a minute). This is pure Olsen and Johnson insanity. Its a movie where anything can happen, usually the silliest of all possible options. Its wild and wacky with Olsen and Johnson acting as steam rollers over Hollywood and the studio system. When the comedy is event its a rapid fire collection of jokes and gags that never seem to stop.Or rather stop a bit too often. The one really large trouble I was talking about is that the comedy and the madness stops each couple of mins for a musical interlude. These interludes cute much stop the film dead since any of the momentum thats been built up comes ruining to a halt. Most of the numbers are played straight so its a radical shift in tone that really annoyed the heck out of me. (Actually the numbers aren't terrible they just belong in a various film) I know that the numbers are the effect of this being one of those "studio" movies where everyone in the studio appears partly as part of the story, but also as an advert for themselves and what ever film they are currently promoting. (Hollywood turned these out each actually and again often to mixed results) Melody aside I really like this movie. If you wish to see Olsen and Johnson in nice form this is a nice choice to make.



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