Lou Costello:   Greatest comic of all time. 

Yes.  He was.  Costello had the knack of just standing there with a certain look on his face that could make you laugh.  His childhood idol was Charlie Chaplin (whom he later met a few times in the forties - Chaplin himself, said Lou was the best comic working in the business after watching 'Buck Privates').  What a compliment!
Lou was a very funny and vigorous performer.  Suprisingly agile considering his pyhsical stature.  He probably never 100% appreciated the genius of Bud Abbott.   When those two worked together, there was real magic in the air.  One of my all time favourite scenes of the boys was the very first shot of them in 'One night in the tropics'.  They both shine equally.  The funny thing was that you get introduced to the main characters (Robert Cummings and Alan Jones) and you get absorbed in the story and what is going to happen next.  Next thing you know, we hear the banter between them (off screen) then the camera cuts to them and they perform the money changing routine and next thing you know, we don't care about the story any more, we just want to see more of them. 
Bud and Lou are so marvelous in that scene and the atmosphere is wonderful.  
They went on to make their own starring movies very shortly after.  The first, Buck Privates was a showcase for their talents. not only did Lou have to put up with Bud as the straightman, he also had to play off with Sergeant Collins, played by Nat Pendleton who also displayed good on screen chemistry with Lou.  Costello was absolutely perfect in this and the team's next 2 films. 
For Hold that Ghost, I feel he reached his peak.  He wasn't a dumb or childish character as much as misunderstood.  He had dreams and could be moody to Abbott when his patience was tested.  The way he whistled when Joan Davis said that because he broke his bed they would have to sleep together.  It was TOO funny.  This wasn't a scared little boy, but a mischievous imp.  This character made more sense and was more funny than the later Costello.  When Hillary flirted with him and he got all nervous, it was irritating at times because it was clear he WASN'T a little boy. 
In the early 40s, he was dynamic, exciting and tremendously funny.  In 'In the Navy', he was so endearing.   His performance was impossible to dislike.  Even his hair with the long fringe complimented his characters perfectly.  The way he rolled his eyes and shaked after that 'Ghost' came in his bed in "Hold that Ghost" was sensational. 
Keep 'em Flying wasn't quite as good as it could of been.  Some of the routines weren't quite as good and a lot of screen time was devoted to the 'plot' of the film - which no one paid to see.  As with Hold that Ghost, Costello had a female interest 'Gloria' played by Martha Raye (She played twins.   The other twin Barbara, was Bud's girlfriend! - great idea I thought - though the plot wasn't explored as it could of been)
Throughout 1941-2, Lou's performances were all great.  Lots of laughs.  He played some pathos in 1943's 'It ain't hay'.  They were successful scenes but that extraordinary magic from the first few years films was slowly dissolving. 
After his recuperation from 1943's tragedies, he was back in 'In Society' and 'Lost in a Harem'.  His performance again was energetic in 'In Society' but was very lazy (as was bud) in 'Lost in a a harem'.  He was great in 'The naughty Nineties' but the other 2 films of 1945 weren't on par.
In 1946, Lou tried his hand at 'single' roles without Bud.  His character was very uneven in 'The little giant'.  It was a Costello performance that only appeared once on screen.  Believing himself to be a great mind reader (after been fooled by his co workers of course) he displays arrogance.  he loses sight of his character - and comes across as boring at times.  The scene in the train where he takes forever to undress was a drag too.  'The time of their lives' was much more succesful.  It gave us a hint at the Costello of the early fifties.  He fumbles with his hat and has the same mannerisms and 'feel' as he would playing the characters in the colour films.  
Buck privates was when the childishness started.  He made some funny noises when queuing up to be separated at the start of the film.  Also, This was the 1st film when Bud started to age too.
His character displayed a different kind of look during the late forties.  He ceased to be funny!  Well, he WAS funny but in no way as he was earlier.  Check out the way he uses his hands to bring across the comedy to the screen in any film of 1941-2.   His whole body language was hysterical.  Now, it just seems like he was reciting lines.  Sometimes he lit up the screen.  For example in 'The noose hangs high' where he performs the variation of the 'pack-unpack' routine.  But mostly he appeared to of been going through the motions.  The Wistful widow of Wagon gap was a great characterization film for Lou.  He grew as a character.  The story and situations were more interesting than funny (Like the Jerry Lewis films). 
I didn't think Abbott and Costello meet Frankenstein was that much of a funny film either.   Certainly one of their strongest and atmospheric and the acting and situations are great.  The film's acclaim is certainly not without reason though. 
He gave good performances in 'Africa screams' and 'Foreign legion' but he was making more silly noises and began to get more physical with his comedy (fumbling with his hat for one).  The story to 'Abbott and Costello meet the invisible man' was superb.   A surprisingly great film from the usual lack-lustre Chuck Lamont.  Lou was getting more childish though, pulling faces making noises etc.  I don't think he cared as much for making movies by now - or just with the act - as he was previously.  
He was good in the 2 colour films.  'Jack and the Beanstalk' and 'Abbott and Costello meet Captain Kidd.'  The script was so poor for the intermission film 'Lost in Alaska' that he had little to work with (also, Bud was losing his straightman knack by now).  Another change occured around now.  He started to wear a small derby hat which quite frankly got on my nerves 1/2 the time.  He was rarely seen without it and the whole shape of his face seemed to of changed.  He wore it mostly in the TV episodes they made.  His energy was slowing up too.
The last energetic performance he made was in 'Captain Kidd'.  After that, he would try and 'look' funny.  The scripts didn't help much either.  He was also visible again and though he always referred to himself as a 'boy' or when Bud said 'play with the other children' (ie Stinky) it didn't look right.  He wasn't as mischievous as he was in the old days either.  He was at least an adult in the earlier films, but now he played the part as an overgrown child and made you wonder what on earth Bud was doing hanging round him.
By 1955, he looked world weary and the scripts weren't exactly their best.  He also looked a bit bored by their films in shots.  I think he did crave other avenues by now - away from Bud so after Dance with me, Henry (good performance) I think he was right to call it a day. 
I was very suprised to see the amount of energy he had on the Steve Allen show performing the classic drill routine.  It was as though it was in the late 40s than the late 50s.  He also looked years younger in his episode of wagon train.  His scruffy hair and slight weight gain always reminds me of the way he was in 'In Society'. 
he made his final film - without Bud - in 1959's '30 foot bride of Candy rock'.  The film was pretty poor really - not just the effects but by the plot holes.  I was amazed he chose to make this.  I thought more drama would of been much more beneficial but I guess Lou just couldn't resist comedy. 
As the reports indicate, he doesn't look to well in this film at all.  I was surprised at how thin he looked.  In a couple of shots, he does to try to be the old Costello.   There was a scene with him with some binoculars and if you watch carefully, he bangs them against his face.  Mostly though, he played a totally different character.   Where was Bud when he needed him most?
So all in all, yes, he was the greatest comic I have ever seen.  Inventive and funny.   Lou Costello of the early forties was completely magical.

Russell Dodd  Oct 2000