This is actually one of the boys better outings. It has their regular script writer in John Grant & one of their regular directors in Charles Lamont at the helm. It is in a way, very much a salute to the early silent Mack Sennett Comedies as it's title suggests.

Fred Clark does a very good turn as the heavy though evil stands little chance in getting one up on Lou Costello as he proved in taking on all the monsters & milking them for laughs. The film starts with a little history as A&C are conned into purchasing the historic Edison studios in New Jersey which by the 1950's were a run down set of slums.

Then through only the kind of trip A&C can make, they decide to go to Hollywood. One way or another they ride the rails & live by their wits & stale bread reaching their destination. Here is where some fine silent slapstick sequences are put together in order to foil the heavy.

The sequences are borrowed from Harold Lloyd, W C Fields, & the Keystone Kops are thrown in for good measure. Enjoy it

As that famous silent film comedian Charlie Chaplin said, Lou Costello had pathos and its unfortunate that he and Abbott did not meet up with the Keystone Kops when they were in their prime.

The setting is at the beginning of the film industry and the boys get taken by conman Fred Clark and his moll Lynn Bari. Never mind that they're in pursuit of Clark and Bari and their pursuit takes them out to the new film colony of Hollywood.

It's one of those Clark Kent/Superman situations where Clark puts on a rug and adopts and accent and Costello keeps thinking he's seen him some where, but he's not sure. Which would make Costello brighter than Lois Lane or Jimmy Olsen who never had a clue.

The worm turned somewhat in Abbott And Costello Meet The Keystone Kops because Abbott gets to take the hits and falls. That might have been at Lou's instigation, but quite frankly it doesn't work though it does show Bud's versatility.

Several original Keystone Kops join in the final chase scene and Mack Sennett himself makes an appearance here to give it that ring of authority. Not the best of their films, sadly their best days were left in the Forties.

Everything that you would expect to happen when Abbott and Costello meet the Keystone Cops does indeed happen here, and while the comedy is predictable, everything works because it is so entertaining. Lou has inherited $5,000 from an aunt and wants to head to Florida, but they are swindled out of the money by shyster Fred Clark who sells them a movie studio that actually belongs to Thomas Alva Edison. They find out that Clark is heading to Hollywood and screw every bizarre effort make it there, and encounter him on the Mack Sennett studios where he is disguised as a Russian director. Intending to kill them, he puts them up in a plane and shoots the footage for an action picture but it turns out to be hysterically funny and they end up as comedy stars. When they discover that under his disguise he's the man who conned them, they do all they can to trap him, especially after finding out that he has stolen studio money which results in a hysterical chase with the real Keystone Cops.

Heading towards the end of Abbott and Costello's career at Universal, this is surprisingly very amusing and is non-stop laughs from start to finish. Lynn Bari and "Slapsie" Maxie Rosenbloom are Clark's equally nefarious comical cohorts with Frank Wilcox as the studio chief who basically blackmails Clark into switching his focus from action to comedy. Roscoe Ates, a veteran comic from the early sound era, makes a series of recurring appearances as a stutterer (of course) traveling cross-country in a covered wagon whom Abbott and Costello calling out of $20.

There's also a hysterical sequence on a moving train where Abbott and Costello try to escape from the conductor and end up in a car filled with angry bulls. The frog in the soup bit from "The Wistful Widow of Wagon Gap" has been redone successfully here as the squirrel in the loaf of bread. Mack Sennett appears briefly in a very funny cameo involving a pie. this is one of the few times where Abbott got as good as he gave, punching a tree instead of Lou, and ending up with the pie when Lou conveniently ducks. It wasn't always easy to put silent style comedy along with sound, or on stage, but Abbott and Costello succeed with this.