I like the storyline of this show,it attract me so much

An Exercise In Nonsense

It's an amazing and heartbreaking story.

There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

This is another of the early Bud Abbott and Lou Costello movies that began just before World War II. Even after the films with armed services settings, the Abbott and Costello films continued for a while to include some music and dance performances. "Pardon My Sarong" features The Ink Spots (sometimes known as The Four Ink Spots) singing, and some very fancy and entertaining tap dancing by a trio that went by the name of Tip, Tap and Toe. Those talented African-American dancers had marvelous routines. Each danced with an emphasis that his name indicated. Samuel Green was the tip, Ted Fraser was the tap and Ray Winfield was the toe. Winfield was particularly entertaining as he introduced sliding actions that made it look as though he was moving on butter or oil. Much smoother, even, than moonwalking that came along in the 1980s. The trio had performed for years in vaudeville and would dance in five films in all. Bud and Lou play Algy Shaw and Wellington Pflug, respectively. How they came up with some of their names in films is anyone's guess. Even that add some humor to their films. Unlike all their films before this, the boys are the center of the plot here. They have more antics that must have involved considerably more trick camera work and some special effects. The supporting cast for their romp across the screen includes Virginia Bruce as Joan and Robert Paige as Tommy. They are a token romantic interest, of sorts. But supporting actors William Demarest and Leif Erickson are more a part of the hijinks and hilarity of the comedy duo. A couple of the very funny scenes are the biggest stinker on the island; the familiar switching cups of a drugged drink; and Bud and Lou in an artillery relay sequence shooting huge coconuts at the bad guys with a big slingshot atop the palm trees. This all makes for good fun and a movie the whole family can enjoy. Some reviewers think it's the best of the A&C films, but I think two or three are much funnier. With the number of antics here, the movie appears choppy at times.

Having reviewed Laurel & Hardy in Pardon Us a few days ago, I'm now commenting on Abbott & Costello's Pardon My Sarong. The significance of these two being submitted so close together is what I'll mention when I'm nearing the end. Right now, I'll just say that this is the funniest of the early A & C vehicles that I've just rewatched on YouTube. And not only are Bud & Lou at the top of their game-how refreshing to see Abbott get a few good laughs himself here-but the rest of the cast, including the romantic leads of Robert Paige and Virginia Bruce seem to be having fun every step of the way. I mean, William Demarest as a cop and Leif Erickson as the "Biggest Stinker of Them All" (LOL) are great foils for the team. And the musical interludes by The Four Ink Spots and Nan Wynn are soooo enjoyable to me! Really, Pardon My Sarong is one of the most fun of the A & C pictures. Okay, so the reason that Pardon Us and Pardon My Sarong have gotten comments from me on the closest of days is because since Black History Month is only a few days away, I've been mentioning the contributions of various performers of color to these movies. So with this one, we have not only The Four Ink Spots (Deek Watson, Charles Fuqua, Hoppy Jones, Bill Kenny) but also a tap dancing trio named Tip, Tap, and Toe (Ted Fraser, Samuel Green, and Ray Winfield who was the innovator of the sliding style of tap as evidenced by the way he glided on that table during The Four Ink Spots second set. Really impressive, that was especially when I watched it a second time!), and the choreographer of those island dances led by Ms. Wynn was Katherine Dunham. They were quite sexy especially "Vingo Jingo". By the way, Ms. Dunham studied and began practicing her art in Chicago, Ill., my birthtown (Chicago was also where the bus driven by Bud and Lou in the picture's beginning came from). One more thing, I always like to acknowledge whenever players from my favorite movie, It's a Wonderful Life, are in other films and TV shows. Here it's Charles Lane as Bud & Lou's superior at the bus terminal and Samuel S. Hinds as one of the natives. They both previously were in A & C's last Universal movie before this one, Ride 'Em Cowboy.

Just recently I began re-watching the films of Abbott and Costello. As a kid, I'd seen just about all of them and now, decades later, I am going through a nostalgic phase seeing them again. I started at the beginning and have already noticed one thing. While the team tries hard and does just fine, Universal Studio (as well as MGM for three films) insisted on sticking the boys with the same tried and true formula--and it handicapped the films. First, they insisted on making Bud and Lou more like supporting players and had an unrelated love story which starred some hunky guy (such as Dick Foran or Dick Powell--two Dicks that were unnecessary in the film). Second, the films were given at least 4 or 5 big production number songs--often in nightclubs but always with lots of gloss and they are certainly not subtle! Heck, in this film, they even did a few numbers like this on a primitive tropical island!! Well, as I mentioned PARDON MY SARONG above, you can correctly guess that it, too, is one of these early formulaic movies. So, in addition to way too much music, it had a love story involving Virginia Bruce and Robert Paige--two people who had no reason to be in the film. Why, oh why couldn't they just give the film to Abbott and Costello and them alone? Later, this would be the case in many films, but for now this one is yet another that is handicapped at the start--though I must admit that the two Ink Spots songs were more enjoyable than most.As for the plot, it's not bad and the film is fun. BUT, Universal also severely handicapped the team again by creating the lamest tropical island in the history of film. It's inhabited with people that look like Hollywood extras covered in a dye to make them look "tropical". Along with the women's 1942 hair styles (complete with perms) they looked about as native as Lana Turner!! And, unfortunately, there were some dumb gimmicks added as well that simply looked like dumb gimmicks--such as the terribly unrealistic swordfish and the underwater scene early in the film (it's obviously an aquarium scene with Mollies and Guppies superimposed over Bud, Lou and William Demarest). It's a shame the studio took so many shortcuts, I could have ignored the unnecessary songs and love story but I couldn't ignore the cheesiness. It's also a shame, as the idea of the film is good AND it was nice to see Lou really be a hero by the end of the film. Too bad--a film with a lot of promise that is undone by stupid studio hacks that insisted on formula and didn't trust Abbott and Costello to be funny on their own.

Two unlikely buddies hijack a bus, stow away on a charter boat, land on an uncharted island, and save the sacred ruby of Mantua. On paper, the concept doesn't seem to work, but with Abbott and Costello, anything is possible. In "Pardon My Sarong", all this and more combine to present a musical comedy that works even after sixty years.Watching the night club scene, it occurred to me that you never see any act today that features tap dancing, but the efforts of the team of Tic, Tac and Toe make for a very entertaining presentation, combining originality, athleticism and choreography all rolled into one. The musical stylings of The Four Ink Spots are also a treat, and a reasonable alternative to the Andrews Sisters who graced a number of the comedy duo's earlier films.When I saw this movie as a kid, the Big Stinker routine always made me roar, and surprisingly, it still holds up pretty well today in the chuckle department. It's neatly complemented by the "Tree of Truth" gag, with Lou taking his licks each time he makes a comment.There's also a bevy of pretty girls around to offset the nefarious deeds of the evil Doctor Varnoff (Lionel Atwill) and his henchmen. It all combines to make an entertaining hour and a half of antic fun for the "moola" team of Abbott and Costello.