Within the spectrum of video oddities, Bagdad After Midnight and Tijuana After Midnight will blind you with their abstruse reasons for being; Bagdad After Midnight, more so. In this fea-turette, a card-carrying schlemiel from the '50s, Wally Blair, goes to a travel agency because he wants to visit the maharaja of Magador. But because Blair has nada for pin money, he's offered the deal of a lifetime — a chance to earn a trip to visit the Pasha of Pomonia, who also happens to be the twin brother of Dick Kimball, the travel agency's owner. (This was, of course, before he became 'The Fugitive.")

Talk about plot contrivances. Not once, but twice, Blair visits the Pasha, who offers him entertainment in the form of dancing harem girls. Blair's back-and-forth jaunts between the agency and Pomonia grow a little wearisome, but Kimball's pretty entertaining with his Bud Abbott-style of delivery. Yikes, he even sounds like him. Also of interest is the presence of Arlene Hunter, the Marilyn Monroe lookalike, as Kimball's assistant, though a giant redwood's been known to be more interactive than she is in this feature.

Tijuana After Midnight is a bit more down-to-earth in its aspirations — being, ostensibly, a "live" cabaret performance originating south of the border. In other words, don't sign that lease yet for your beachfront property in the Mojave desert.

Baggy-pants comics with fractured accents essay the roles of audience spectators, and the strippers strip to Latin American rhythms. This is probably the best known feature from the roadshow circuit.