The obvious annoying dumbness becomes visible during the time Abbott and Costello were still working at the soda counter. Then continues on throughout the movie. Lou Costello's comedy makes it look like he has some kind of mental disorder. Bud Abbott is like a mental health nurse that Lou Costello made friends with during his time he was still living in the psychiatric ward and Bud helped him escape. Now they found a job at a soda counter for a local radio station and wanted to be writers for a radio program.

Associate producer: Alex Gottlieb. Copyright 26 October 1942 by Universal Pictures Co., Inc. New York opening at Loew's Criterion: 2 December 1942. U.S. release: 6 November 1942. Australian release: 13 July 1944 (sic). 8 reels. 6,934 feet. 77 minutes.SYNOPSIS: A couple of dumb soda-jerks try their hand at being detectives.NOTES: Universal's top-grossing domestic release of 1942, pipping another Abbott & Costello feature also produced by Gottlieb and directed by Kenton, Pardon My Sarong.COMMENT: Having kidded the Gothic mystery genre in Hold That Ghost (1941), it was inevitable that Abbott and Costello should turn to the straight detective thriller for further inspiration. After some clever opening titles where they are seen in silhouette, Abbott and Costello do not re-appear for ten minutes or so while the script lays the groundwork for what appears to be an elaborate plot. But when our heroes do come on, they stay on! The plot is virtually forgotten and no further attempt is made to whet our appetites as to the identity of the killer - beyond a rapid series of close-ups before the broadcast - whose motives, when he is revealed, remain somewhat obscure. Nonetheless, despite the directors' failure to generate much atmosphere and his generally lead-footed approach, A&C are in good form and run through just about every one of their standard routines. And there is a stand-out climax which despite its obvious studio construction, is a real seat-gripper. A good support cast help Abbott and Costello with the laughs, particularly William Bendix as an even dumber detective than Lou. We also enjoyed Walter Tetley's chiselling elevator boy. He makes a great stooge for Lou and it's a shame he's not used after his two opening scenes. John Grant has supplied the boys with some classic vaudeville routines, including the disappearing water-jet and the famous "Alexander 2222" in which a wonderful collection of goofy oddballs manage to place crazy, long-distance calls whilst the dumbfounded Lou can't even get connected to the broadcasting studio across the street. A pity the direction is so flat, Lou is forced to extract all the humor virtually unaided. Fortunately an appropriate who-done-it atmosphere is occasionally created by Charles Van Enger's moodily noirish lighting. Skinner's music helps too, especially in the satirically observed broadcast scenes. A good effort, but it could have been richer and funnier with less flat-footed direction.

Two soda jerks desperate to break into radio to have their murder mysteries produced end up investigating the real deal in this amusing slapstick comedy that is one of Abbott and Costello's funniest. Filled with gag after gag and some great comedy performances, this jump into slapstick from the start and never lets go. Lou's getting hoodwinked by a juvenile telegram boy, first losing five cents and a bunch of glasses of orange juice, and later tickets to a radio show he believed were for a previous performance, as well as falling for the old two dimes for a nickel gag. More comedy is provided by a young Mary Wickes as the radio station secretary, and there are also amusing gags involving various takes on the old "Who on First?", including one where Lou wins a radio, turns it on and hears the real Abbott and Costello doing the routine, and being turned off by having to hear this again over and over again. Unlike other Abbott and Costello movies, this one doesn't have any musical numbers, but it focuses more on plot for a change and that makes it a bit better than some of the musical comedies they had done up to that time.

Abbott and Costello are still in top form in this film. This is the second of their films that could be considered a horror spoof, but it's really more of a mystery. However, being made at the monster factory that was Universal(also responsible for the Basil Rathbone Sherlock Holmes films), this one passes with flying colors. There are no musical numbers in this one, which leaves more time for Abbott and Costello to do their routines, and the ones they do are done with excellent timing. In fact, some of these are the best versions of the routines. Also, the love interest plot involved in the story actually isn't so bad, and fits in with the rest of the film quite well. If you want to watch an Abbott and Costello film where you don't have to forward through songs ever five to ten minutes(unless you like those), then this one should be on your list for sure.