Blu-Ray Review: Kino Lorber’s On the Road with Hope and Crosby Box Set (KL Studio Classics) 

The fine folks at Kino Lorber have assembled a beautiful Blu-ray box set On the Road with Hope and Crosby that collects the duo’s 7 classic road movies.  The results are fantastic.

The Films 

Before proceeding into the world of Hope and Crosby Road movies one must understand they were filmed in a certain era.  That doesn’t excuse culturally … troubling moments within these films but it explains it.  It does give context that this is what, for better or worse, comedy was in the era.  Rather than it become a laundry list of the un-PC moments of the film let us agree that these films have many of them.  Some would say far too many.  Again, this isn’t an excuse but an understanding and agreement that these moments in our times are not acceptable.  

Road to Singapore 

One of the two Road movies that director Victor Schertzinger made with Hope and Crosby.  This one is about two adventure-seeking playboys that love their life (and secretly each other ala Butch and Sundance) more than their cushy life at home. After being home for a few days both quickly realize they need to flee.  They go to where the sea takes them and set up a life (e.g., a series of cons) on the fake island of Kaigoon, with a third wheel girl Mima (Dorothy Lamour), who they “fight over” the course of the film.  Of course, the impending marriage of Crosby’s character ruins it all as she and his father come to the island. 

This is the first of the films to name Hope a variation of a nickname like here, Ace, and figure that Crosby is the cool cat cucumber of the duo.  It’s a cliché that worked well for them and occasionally would play off the dynamics.  Here it’s great as both work overtime with their respective shtick to much success.  So much so is Hope and Crosby’s chemistry that Dorothy Lamour is an afterthought and everything that happens with the romance between her and Hope is an afterthought.  

Watch as Anthony Quinn hams it up as only Anthony Quinn can as a whip-welding criminal Ceaser! 

Road to Zanzibar 

Road to Singapore was such a success that Paramount Pictures brought the band back together, as quickly as possible, for the spiritual sequel Road to Zanzibar.  Literally, the only things that have changed are Hope and Crosby’s names, this time Fearless and Chuck, and Dorothy Lamour playing as her own friend (co-star Una Merkel) with their own con game.  The film quickly sets up that Fearless and Chuck are out of money because of Chuck’s stupidity and need to pull cash quickly.  The concept of conmen and conwomen getting the best of each other whilst falling in love on an adventure is a crackingly good one.  They almost succeed in pulling it off.  

The centerpiece of the film is when Fearless faces off against a Gorilla in a cage match for the amusement of “natives” (e.g., mostly white actors in blackface).  What makes the entire thing so entertaining is the fact that the fight is clearly done by Hope’s very different-looking stunt double.  All manner of fighting techniques including some stolen from the Looney Tunes to much hilarious success.  Not to be outdone the film does feature more prominently Crosby’s singing with a fully on musical number with accompaniment of the background players.  

Yes, it ends exactly as you think it will but it’s both entertaining and wildly fascinating to watch the film get from point A to point Z.  Surprisingly it does not take the B-C-D-E linear path one would think.  Then again… what movie with Bob Hope fighting a man in a Gorilla Suit would???? 

Road to Morocco 

Paramount changed up the director on Road to Morocco, David Butler filling in the director’s chair, but not the successful trio of Hope, Crosby, and Lamour. This film is the first time that Crosby seems to take center stage in their relationship.  It does change the nature and dynamic of the film.  Set-ups are still the same.  Nickname for Hope conceit remains, this time he’s name Turkey (from Ace and Fearless to … Turkey??? Must’ve pissed Hope off like no one’s business).  Add that Hope is a real comedic foil rather than an actual counterpoint to Crosby’s Jeff – makes this one an interesting one.

However, the dynamics are about the only interesting thing.  Without the push and pull of Hope and Crosby as real rivals and teammates, this one seems front-loaded to Crosby.  Hell, they even put Hope in drag to play the duo’s grandma.  Well, at least she gets a singing cameo (as a ghost no less) during Crosby’s crooner number Ain’t Got a Dime to My Name.  In fact, there are more singing and musical numbers in this one than in the previous two.  They even got Johnny Burke to write the numbers (for those unfamiliar with his work, he wrote Swinging on a Star, featured prominently in Hudson Hawk). 

The reason this doesn’t work is because the breaking of the fourth wall is constantly here.  It’s a solid enough setting to tell the usual Hope and Crosby story but when you’ve got a talking camel – you may have jumped the shark.  Anthony Quinn shows up again this time playing the villainous Kasim. Quinn is great here even if its Hope and Crosby’s films.  Quinn owns the film and even in the most contrite of moments the actor manages to keep his dignity and performance.  Though, I’m still trying to process the whole “magic ring” bit.  Also, trying to still figure out how they got away with the marijuana inside the cigarettes joke during the 40s.  

Road to Utopia 

The fourth film adds another director Hal Walker and a new wrinkle into the well-worn formula.  Road to Utopia has Hope and Crosby in the middle of the late 1800s and the Alaskan Gold Rush, two vaudeville performers that take on the identities of two cut-throats with a map to fortune and glory.  Add in Dorothy Lamour, a St. Bernard, a few tunes, a couple of bits of comedy, Santa Claus, a dancing monkey, and … viola! 

Part of the issue with Road to Utopia is keeping a few wrinkles that don’t work.  The fourth wall breaking continues and not for the better.  This time it’s – mainly – in the form of a studio head and his own commentary on the film as it unfolds.  As one can imagine, it’s neither cute, funny, or witty in any way shape or form.  You may as well have added in studio notes (it could have very well been).  The send-up just doesn’t work.  The other moments of fourth wall breaking may have been cute in the era but here it just feels like a true break from an interesting story, a distraction that isn’t successful. 

The concept of doing a Jack London adventure story – which was the rage at the time of this production – is a clever one.  For the most part, it works as a fish out of water adventure film sending up the conventions of this particular type of wildlife adventure.  Just done in the Hope and Crosby-style road movie.  Johnny Burke continues to write the songs – and the film is all the better for it – with some truly great crooner ditties, and a great Lamour number (Would You? that even Hope’s steaming and hucking it up can’t kill). 

The film is a mixed bag but the good is so very good and the bad isn’t as bad as the other films in the series.  One just sees how good the film is at its best and wishes that they really had connected all the dots and played it mostly straight. Including the very weird cuckold for Hope ending.  

Road to Rio 

Director Norman McLeod hops into the directing chair for this next adventure of Hope, Crosby, and Lamour.  This one has Hope and Crosby vaudeville conmen with different names set off to South America (aka the Valley and Paramount studios).  Cruise liners (a staple), beautiful exotic locales, Thor Johnson, a high wire act, Crosby speaking Spanish, Trumpets spitting bubbles, a huge wedding, and a trio of Brazilian bandmembers the true heroes of the film.  

This time to make up for the lack of nicknames in the last few both Hope and Crosby have bangers for names – Scat for Crosby and the all-timer Hot Lips for Hope.  This time the duo faces off against an evil hypnotist in Rio with the aid of Lamour playing what else – a beautiful naif who’s more than she appears and much more capable than the guys who both vie for her affections.  

McLeod keeps everything moving quickly with a beautiful camera that’s constantly moving.  His direction is so fast the ridiculous hypnosis bits don’t stop the film but are funnier than any of the comedic set pieces throughout the runtime of the film.  A hard feat because this features some of the best comedic set pieces of the road movies. 

Thankfully the fourth wall breaking is kept to a true minimum. The Frank Sinatra jokes continue, and they add Gene Autry into the mix.  The movie is pretty fantastic all the way through with a minimum of terrible jokes.  Plus, who doesn’t love a movie that’s finale is set at a giant wedding?  The answer is no one!!! 

Road to Bali 

Hope, Crosby, and Lamour in TECHNICOLOR!!  What a sight to behold!  Road to Bali has director Hal Walker returning for this lush production.  Hope and Crosby again vaudeville performers – this time – turned treasure hunters / deep sea divers.  Paramount has provided a bigger budget for this excursion to cash in on the Technicolor craze.  They even provided Edith Head as lead costume designer to boot.  The result is a lush, funny, adventure.  

Director Hal Walker returns for this big-budget comedy adventure.  The film is a beautiful shot and designed film with a heavy eye towards ensuring the Technicolor really pops.  It should be no surprise as this is the heyday of the format. Cinematographer George Barnes gives everything a fantastic look and elevates this beyond just a “comedic programmer”.  It should surprise no one that Barnes photographed DeMille’s The Greatest Show on Earth and Welles’ The War of the Worlds.  Barnes treats Road to Bali with the kind of care that he did in those two epics.

Thankfully the four-wall breaking is kept to a minimum on this one.  The jokes are a bit sharper in this one.  The editing joke to Bogart bit was kind of great (it actually made me laugh out loud), also hitting Crosby about his Oscar at the same time in the joke…  masterful.  The Dean and Jerry joke is perfectly timed as well. Best of all… who doesn’t love a Jane Russell joke to end it all.  This one is definitely an all-around sharper more focused comedy adventure.  

The Road to Hong Kong 

The film really does feel like a summation of all the road movies that Hope and Crosby did.  The film made in 1962 shows the age of both comedians.  Director Norman Panama also wrote the “Cold War” comedy.  This time Hope and Crosby are without Lamour (well, she does show up and as great as ever but in a cameo), and in her place is young ingenue Joan Collins (far too young) playing an all-too-capable CIA agent getting the duo out of trouble.  Hope and Crosby play conmen who are mistaken for Russian Cosmonauts that the entire kerfuffle of a plot centers around. 

The strangest part of the film is that they seem to indicate that all of the road movies are tied together and that Hope and Crosby’s characters change names after each film.  Though take it as you will as it’s a throwaway line from the duo at the eleven-minute mark.  It is a fascinating wrinkle into what’s probably the first attempt at “head cannon” ever in film.  This time the film takes on the Cold War / James Bond espionage troupes with a surprising amount of success.  

It should be stated that Panama is no Terrence Young or even a Jay Roach.  There is definitely a style going on here that’s aping Dr. No in a big way.  Though this is definitely not designed to the n’th degree like Ken Adams sets but they definitely try to do so.  Even Robert Morley’s Leader’s clothing is very Dr. No / Blofeld.  

The biggest surprise and delight is Peter FRIGGIN Sellers shows up in a small role as an Indian Doctor (yes, troubling, yes).  One can imagine Sellers jumping from this to Kubrick’s Dr. Strangelove gives one the giggles.  Yes, Sellers dances circles around Hope and Crosby.  Oddly enough, this appears to be one of the few films where Sellers doesn’t have a false nose.  The spaceship set eating scene is unintentionally dirty in a way that’s hilarious for all the wrong reasons.  Other than those two moments much of the comedic bits are retreads of older bits from previous road movies.  

There could be a lot worse ways of ending a sorted long-running series than Road to Hong Kong.  Anyone with an affection for Bond Films and Dr. Strangelove will find this one an entertaining diversion.  That final moment with two superstar legends showing up… chef’s kiss.  

Note: it was Bing Crosby who felt that Dorothy Lamour was “too old” for the film.  Also, it was Bob Hope that refused to do the movie without her.  When you watch her number, this is the reason why it is staged the way it is. 

The Transfers

Kino Lorber continues its amazing work of wonderful transfers.  Here is no different.  The seven films represent at their best what Blu-ray transfers can be; at their worst, they are solid representations of the films in the best version that have been produced for home video.  That said the work done here is impressive.  The crown jewel is the work done for Road to Bali which looks stunning on Blu-ray with its hallucinatory Technicolor image.  The image is crisp, and razor sharp without nary a scratch or blemish through the runtime.  The rest of the pictures are black and white and retain all the sharpness and luster of the format in its heyday.  However, it should be noted all of the films feature stock footage that degrades the image quality for various reasons (e.g., scratches, dirt, et. al.).  That minor quibble aside the image quality on all of the transfers are as beautiful as the day they were produced.

The Extras

Note discs do have repeats of certain special features. 

They include the following:

• Audio Commentary for ROAD TO MOROCCO by Film Historian Jack Theakston
• Audio Commentary for ROAD TO UTOPIA by Filmmaker Greg Ford and Film & Wall Street Journal Reviewer Will Friedwald
• Audio Commentary for ROAD TO BALI by Film Historians Michael Schlesinger and Mark Evanier
• Audio Commentary for THE ROAD TO HONG KONG by Filmmaker/Historian Michael Schlesinger
• Bob Hope and the Road to Success
• Entertaining the Troops
• Sweet Potato Piper Sing-along
• Command Performance 1944 
• Command Performance 1945
• Road to Morocco, Trailers from Hell with John Landis
• Road to Morocco Sing-a-Along
• Hollywood Victory Caravan
• Theatrical Trailers (Road to Singapore, Road to Zanzibar, Road to Morocco, Road to Utopia, The Road to Hong Kong)

The Audio Commentary for Road to Morocco by Film Historian Jack Theakston begins with a fairly detailed summation of the productions and success of the first two films Road to Singapore and Road to Zanzibar.  Some of the details include Hope and Crosby were paired together by Paramount; how Dorothy Lamour was cast – including the casting what ifs; a discussion of the film’s production at the studio lot of Paramount – second unit photography done elsewhere; the work of songwriter Johnny Burke; the influence of the Road to… Movies -including several references on Family Guy; the sequel that never happened Road to Moscow; the art design of the film and how they accomplished some trickery making the studio double for bazaars and markets of Morocco; the reasons why David Butler replaced Victor Schertzinger as director; a discussion of Butler’s career; delays in the production and the reasons why Dorothy Lamour was busy elsewhere; a detailed discussion about Lamour’s help with the war effort and selling war bonds at the time – which was at the outset of WW2; a detailed discussion of the life and work of Bing Crosby; a detailed discussion of the life and work of Bob Hope; the lack of a personal relationship between Hope and Crosby; the lifelong friendship between Hope and Lamour; detailed discussion of the life and work of Dorothy Lamour; a larger discussion of the various actors that appear in the film and their work elsewhere; and much more. Theakston provides a commentary that’s a detailed look at not only Road to Morocco but also as a catch-up track for the first two films Road to Singapore and Road to Zanzibar.

The Audio Commentary for Road to Utopia by Filmmaker Greg Ford and Film & Wall Street Journal Reviewer Will Friedwald begins with a discussion of the very odd opening for the film.  Some of the details include a discussion of the odd flashback structure – which leads to a discussion of how funny Lamour is in the old age makeup; this is the only “historical” picture of the Seven Road movies; a discussion of the work of Burke and Van Heusen; a larger discussion of the various creatives and their work here and beyond – including director Hal Walker, screenwriters Norman Panama and Melvin Frank and producer Paul Jones; the reason why the film is named Road to Utopia; a discussion throughout of Robert Benchly’s studio head who popups; the Crosby’s songs here and how they relate to his career as a whole – the formula for a time that Crosby and songwriters used for his song; Crosby’s true relationship to Sinatra and the various Sinatra’s jokes throughout the road movies; a larger discussion of the formula and troupes of the Hope and Crosby road movies; a larger discussion of the various actors that appear in the film and their work elsewhere; and much more.  Ford and Friedwald provide a cheery and informative track on one of the best of the Hope and Crosby road pictures.  

The Audio Commentary for Road to Bali by Film Historians Michael Schlesinger and Mark Evanier opens with the opening title sequences that the song Road to Bali is scored to but the Hope and Crosby number was cut from the final film.  Some of the details include the fact that this is the only color film of the Road Movies; the way that the film does not have to setup the friendship between the two because of how famous the duo was; a larger discussion of how the studios worked to make Bing Crosby’s more visually appealing for audiences; a larger discussion of the “breaking the fourth wall” troupe that occurs only a few times here but is constant in all of the other road films; the work of art director J McMillan Johnson and Hal Pereira; a discussion of the fact at the time that Bob Hope was considered a “dirty comic” by many; a discussion of Hope’s non-film work and some personal anecdotes about seeing Hope live; a technical discussion of how projection changed through the years that caused issues with visuals and visual effects – using some of the shots here as examples; a larger discussion of process photography Farciot Edouart work here and throughout his career; the connection to the work of Woody Allen; the work here and in his career of director Hal Walker; a larger discussion of the various actors that appear in the film and their work elsewhere; and much more.  Schlesinger and Evanier provide an insightful and entertaining commentary track. 

The Audio Commentary for The Road to Hong Kong by Filmmaker/Historian Michael Schlesinger and Archivist/Historian Stan Taffel begins with their estimation that this is one of the last of the truly good Hope films.  Some of the details include the opening credits done by Maurice Binder – who famously did the James Bond Gun Barrel Sequence, doing 16 Bond titles, many Stanley Donen films, et. al.; the stock footage from Hong Kong is second unit location footage from Paramount’s The Life of Suzie Wong; a discussion of the trouble racial stereotypes of the film and a larger discussion of the other films with such troubling stereotypes; a larger discussion of the kerfuffle about not having cast Dorothy Lamour in the lead; Hope’s strict schedule guidelines to ensure he could make golfing and fishing trips without issue; the work of cinematographer Jack Hildyard; how Bing Crosby’s interest in technology helped move things forward in culture with technology and would eventually become recording technology; the proposed last Road Movie that would have starred Hope and Crosby; a larger discussion of the various cameos that happen throughout; a larger discussion about the connections to the James Bond series; a larger discussion of the various actors that appear in the film and their work elsewhere; and much more. 

Bob Hope and the Road to Success (14:13) – a featurette looking at the life and times of Bob Hope and how he went from obscurity to superstardom.  The featurette effectively chart’s Hope beginnings as a boxer moving from a vaudeville performer to Broadway to Radio to eventually the big screen and eventually teaming up with Bing Crosby and discussing in detail the “Road to…” movies. Featuring author/historian Randall G. Mielke, star Phillis Diller, author Richard Grudens, and others.  

Entertaining the Troops (6:02) – a featurette begins with how Bob Hope was held back from service during WW2 by President Roosevelt because he wanted Hope to entertain. The featurette charts the history of Hope’s work entertaining the servicemen of America during the war and beyond. Featuring author/historian Randall G. Mielke, star Phillis Diller, author Richard Grudens, and others.  

Sweet Potato Piper Sing-a-Along (2:40) – as advertised, a sing-along version of the title song.  

Command Performances 1944 (6:47) – produced during WW2 these were filmed in Hollywood to be directly sent to the troops in the field to boost morale.  This is an abbreviated one that Bob Hope recorded in 1944.  

Command Performances 1945 (5:05) – another Command Performance that was produced during WW2 to be directly sent to the troops in the field to boost morale.  Again, this is another abbreviated version of one that Bob Hope recorded in 1945 and was sent to troops.  

Road to Morocco, Trailers from Hell with John Landis (2:36) – the micro commentary for the trailer from the Animal House director.  Some great anecdotes about the production and his love of the road movie turned into Spies Like Us.

Road to Morocco Sing-Along (2:08) – as advertised, a sing-along version of the title song.  

Hollywood Victory Caravan (19:43) – similar to the Command Performances, this was produced in conjunction with the War Department during WW2.  The concept is that a young lady needs to make a train to see her brother in an army hospital in DC.  The only way is to get a ride on the Hollywood Victory Caravan that Bing Crosby has rented.  The young lady goes to Paramount Studios to see Mr. Crosby himself, and hijinks ensues.  This piece of propaganda has everyone from Hope and Crosby to Humphrey Bogart to Barbara Stanwyck to Alan Ladd. 

Rounding out the special features are trailers spread across all seven discs.  They include the following – Road to Singapore (2:37); Road to Zanzibar (2:15); Road to Morocco (2:12); Road to Utopia (2:15): The Road to Hong Kong (3:16); Caught in the Draft (2:21)

The Final Thought 

Kino Lorber has treated the Hope and Crosby comedies with the respect they deserve, producing wonderful editions with beautiful transfers and illuminating extras.  Highest Possible Recommendations!!!  

Kino Lorber’s Blu-Ray edition of On The Road with Hope and Crosby is out now.