Jack and the Beanstalk

Plot

The film opens with Abbott and Costello as babysitters who entertain a young boy by reading him the story of Jack and the Beanstalk. In the fairy tale, Jack (Lou Costello) is sent to sell the family's last cow but is tricked by Mr. Dinklepuss (Bud Abbott), a dishonest butcher who trades him magic beans instead. Jack's mother throws the beans out in anger, but they grow into a massive beanstalk overnight. Jack and Dinklepuss climb the beanstalk to the land above the clouds, where they encounter a terrifying giant (Buddy Baer) who has been terrorizing their village. The duo must outwit the giant, rescue a princess, and escape with the giant's treasure, all while engaging in their signature comedic routines and musical numbers.

Historical Background

Released in 1952, 'Jack and the Beanstalk' arrived during a transitional period in Hollywood history. The film industry was grappling with the rise of television, which was keeping audiences at home and forcing studios to find new ways to attract moviegoers. Abbott and Costello, like many comedy teams, were also adapting to this new media landscape, having launched their own television show in 1952. The early 1950s saw a decline in the popularity of comedy teams, with duos like Laurel and Hardy and the Marx Brothers seeing their careers wind down. Universal Pictures was investing more heavily in color productions to compete with television's black-and-white broadcasts, making this film part of that broader industry strategy. The post-war era also saw a renewed interest in family entertainment and fairy tales, reflecting America's desire for wholesome, escapist entertainment during the early Cold War period.

Making Of

Director Jean Yarbrough had previously worked with Abbott and Costello on their earlier films and understood their comedic timing perfectly. The production team faced significant challenges creating the fantasy elements on a limited budget, forcing them to be creative with special effects. The color process used was SuperCineColor, a less expensive alternative to Technicolor that sometimes resulted in uneven color reproduction. The giant's costume required extensive makeup and prosthetics for Buddy Baer, who had to endure hours in the makeup chair each day. The film's musical numbers were filmed last, allowing the cast to focus on the comedy sequences first. Abbott and Costello's partnership was strained during this period due to financial disputes, but their professional chemistry remained intact on camera.

Visual Style

The cinematography by George Robinson employed innovative techniques to create the fantasy world, including extensive use of matte paintings and forced perspective to establish the scale of the giant and his castle. The transition from sepia to full color was carefully orchestrated to maximize visual impact. Robinson utilized deep focus photography to maintain clarity in the complex fantasy sets, and employed creative camera angles to enhance the comedic timing of Abbott and Costello's routines. The color palette was deliberately vibrant and saturated to emphasize the fairy tale setting, with particular attention to the greens of the beanstalk and the rich tones of the giant's castle interiors.

Innovations

The film was notable for its early use of SuperCineColor, a three-strip color process that was more economical than Technicolor but still produced vibrant results. The special effects team created impressive forced perspective shots to make the giant appear enormous, using oversized props and carefully positioned camera angles. The beanstalk sequence required innovative matte painting techniques to create the illusion of height and scale. The production also utilized early forms of green screen technology for certain fantasy elements. The film's makeup effects, particularly for Buddy Baer's giant character, were considered advanced for their time, using prosthetics and appliances that were more sophisticated than typical monster makeup of the era.

Music

The musical score was composed by Joseph Gershenson, Universal's head of music department, with additional songs by Sid Kuller and Ray Golden. The film featured several musical numbers including 'I Fear Nothing,' sung by Lou Costello, and 'Dreams for Sale,' performed by the entire cast. The soundtrack incorporated traditional orchestral arrangements with whimsical elements to enhance the fantasy atmosphere. The music was recorded using the latest magnetic recording technology available in 1952, resulting in higher audio quality than many contemporary films. The score cleverly incorporated variations of Abbott and Costello's signature theme music, maintaining continuity with their other works while adapting it to the fairy tale setting.

Memorable Scenes

• The opening sequence where Abbott and Costello transition from sepia to color while reading the story to the child
• The beanstalk climbing sequence featuring Abbott and Costello's comedic timing and stunts
• The first encounter with the giant, using forced perspective to create the size differential
• The dinner scene with the giant where Abbott and Costello hide in various locations
• The chase sequence through the giant's castle culminating in their escape down the beanstalk

What Critics Said

Contemporary critics gave the film mixed reviews, with many praising the color photography and production values while finding the comedy routine somewhat formulaic. Variety noted that 'the team's antics are beginning to wear thin' but acknowledged that 'the color production and fantasy setting give the proceedings a fresh coat of paint.' The New York Times was more critical, stating that 'Abbott and Costello's beanstalk climbing provides some chuckles but not enough to sustain the feature.' Modern critics have been more appreciative, with many viewing it as one of the team's better later efforts. The film is now recognized for its historical significance as one of their few color productions and its creative adaptation of the classic fairy tale.

What Audiences Thought

The film performed moderately well at the box office, grossing approximately $1.5 million against its $500,000 budget, making it a financial success for Universal. Audiences, particularly families with children, responded positively to the colorful fantasy elements and familiar comedy routines. The film proved popular enough that Universal considered producing more Abbott and Costello fairy tale adaptations, though none materialized. Over the decades, the film has maintained a steady following among Abbott and Costello fans and classic film enthusiasts, with many considering it one of their most visually appealing works. The movie's television broadcasts in subsequent years helped introduce the comedy team to new generations of viewers.

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