Redwarmin This movie is the proof that the world is becoming a sick and dumb place

Wordiezett So much average

CrawlerChunky In truth, there is barely enough story here to make a film.

BelSports This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

JohnHowardReid Bud Abbott (Duke Eagan), Lou Costello (Chester Woolley), Marjorie Main (Widow Hawkins), Audrey Young (Juanita Hawkins), George Cleveland (Judge Benbow), Gordon Jones (Jake Frame), William Ching (Jim Simpson), Peter Thompson (Phil), Olin Howland (aka Howlin) (undertaker), Bill Clauson (Matt Hawkins), Billy O'Leary (Billy Hawkins), Pamela Wells (Sara Hawkins), Paul Dunn (Lincoln Hawkins), Diane Florentine (Sally Hawkins), Jimmie Bates (Jefferson Hawkins), Rex Lease (Hank), Glenn Strange (Lefty), Edmund Cobb (Lem), Dewey Robinson (miner), Emmett Lynn (old codger), Iris Adrian (dance hall hostess), Charles King (gunman), Ed Peil (townsman), Lee "Lasses" White (shot-gun rider), Gilda Feldrais (hostess), Billy Engle (undertaker's helper), Dave Sharpe (man thrown by widow), Frank Hagney (barfly), Harry Evans (card dealer), Frank Marlow, Ethan Laidlaw, Jerry Jerome, Zon Murray (cowboys), Wade Crosby (Squint), Murray Leonard (bartender), George Lewis (cow puncher), Jack Shutta (tough miner), Mickey Simpson (big miner), Forbes Murray.Director: CHARLES BARTON. Screenplay: Robert Lees, Frederic I. Rinaldo, John Grant. Original screen story: D. D. Beauchamp, William Bowers. Film editor: Frank Gross. Music composed by Walter Schumann. Photography: Charles Van Enger. Art directors: Bernard Herzbrun, Gabriel Scognamillo. Set decorations: Russell A. Gausman, Charles Wyrick. Music orchestrations: David Tamkin. Assistant director: Joseph E. Kenny. Dialogue director: Norman Abbott. Costumes: Rosemary Odell. Hair styles: Carmen Dirigo. Make-up: Bud Westmore. Sound recording: Charles Felstead and Robert Pritchard. Associate producer: Sebastian Cristello. Producer: Robert Arthur.Copyright 31 October 1947 by Universal Pictures Co., Inc and C S Co. Released through Universal. New York opening at Loew's State: 20 November 1947. U.S. release: October 1947. U.K. release: 15 November 1948 (sic). Australian release: 15 January 1948. 7,041 feet. 78 minutes.U.K. release title: The WISTFUL WIDOW.COMMENT: Critics who decry the work of Abbott & Costello will not find much ammunition in this agreeably-paced western directed with style and gusto and produced on a lavish budget.In this film, Abbott & Costello's routines do not derive from radio or vaudeville, nor are they extraneous items clumsily tacked on to the main plot by an indifferent script-carpenter. Here, they form an integral part of a very amusing story based on an excellent comic idea.The humor is much less noisy and frantic than usual and the script allows Bud and Lou — particularly Bud — much more scope with their respective characterizations. The supporting cast, headed by Marjorie Main and George Cleveland, has been well-chosen and offers Dewey Robinson a meaty part as an unruly drunk.There is a fine action climax. Production values are first-class.OTHER VIEWS: My editor always wanted to include Laurel and Hardy's "Way Out West" as a superb example of western satire for my book of Hollywood Classics. I said if I'm going to laud "Way Out West", I must also do a piece on "The Wistful Widow". (This abbreviated title was actually used for the film's U.K. release, so I'll stick with it). "The Wistful Widow" I said, is not only much funnier and more openly satirical, but it's a much smoother film than the Laurel and Hardy effort which suffers from jerky continuity and a lack of technical polish in many behind-camera departments, such as direction, photography, film editing and sound recording. These technical defects, admittedly small enough to be overlooked by rabid fans, give "Way Out West" something of a museum air.But there's nothing musty, unpolished or less than thoroughly professional about "The Wistful Widow". In fact it's hilarious enough to rank as one of my favorite Abbott and Costello pictures. The boys play well with Marjorie Main and a great support cast, taking every advantage of a really funny script. For the record, my top Abbott and Costello is "The Time Of Their Lives". Then "Meet Frankenstein", then "Hold That Ghost", then "The Wistful Widow."Their worst film? That's easy — "Dance With Me Henry." JHR writing as George Addison.

AaronCapenBanner Abbott & Costello play two salesman named Duke Egan & Chester Woolley in the old west who, while visiting the rowdy town of Wagon Gap in Montana become famous after Chester is believed to have shot a notorious outlaw. Unfortunately, this means that Chester inherits his wife widow Hawkins(played by Marjorie Main) and his many children of varying ages. Duke is assigned as his guardian, and at first poor Chester is worked to death, but later realizes that, since no man envies his position, makes him the perfect sheriff, since no one dares oppose him for fear of being the new husband! This will change when it is learned the widow will soon be rich... Clever comedy uses an old obscure law for good comedic effect. Result is a most amusing and appealing film from the team, with Miss Main being their near-equal.

DKosty123 This Abbott & Costello outing is definitely a very much formula Comedy Western done in the late 1940's when all the movies were pretty much formula. Director Charles Barton who worked with the boys more than any other director does pretty well here. Barton never became a household name as a director but anyone who is a fan of the team knows his name was the most frequent one with them.The best thing about this film is Marjorie Main. She is a major addition to a cast which includes Gordon Jones. Marjorie does comedy well including her Ma Kettle films but in this one she plays off and supports A&C just fine. She is the Widow here and as in the case of the Kettles has a big household of young ones. This is very much in her element of comedy.While Abbott & Costello do not get a lot of verbal comedy in this, there is enough of them for their fans. Some of the special effects used we OK then but look dated now. At least there is not a lot of musical interruptions to annoy the viewer in this one. Overall, this one is much better than their worst outings.

bkoganbing Two traveling salesmen (guess who) arrive in the lawless frontier town of Wagon Gap where the outlaw boss Gordon Jones and citizen's committee head William Ching are in a power struggle. Poor inept Costello winds up getting framed for a murder and he and Abbott are both about to be hung when Ching discovers a law in Montana Territory about a man who causes the death of another is responsible for the deceased's debts and family. Costello takes the responsibility.He soon thinks capital punishment even the extralegal kind might be preferable to dealing with Marjorie Main and her squalling band of kids. Think of Costello inheriting the Kettle clan if Pa Kettle had met his demise at Costello's hands and you have some idea what Costello is going through.But quite by accident it's discovered that Costello has carte blanche in Wagon Gap because no one wants to see any harm come to him or else they might inherit Marjorie Main. Costello carries a picture of her and the clan close to his heart and it's more valuable than a Sherman Tank would have been. He has a very funny scene cooling down a town drunk played by Dewey Robinson after he's made sheriff.Marjorie Main with her own brand of rustic humor does not yield the film to Bud and Lou. You might also like the performance of George Cleveland as a judge not unlike Samuel S. Hinds in Destry Rides Again.In fact the whole film has a lot of similarity to Destry and no surprise there since this was originally supposed to be a more serious story that was to have starred James Stewart. When he passed on it, it was rewritten for Abbott and Costello.The Wistful Widow of Wagon Gap should appeal to both fans of the Kettle family and those of Bud and Lou. Between them they accounted for a big portion of what counted as profits for Universal Studios.