Amor por mal camino

How does this zany mid-1940's comedy/musical rate in the year 2003? I'm going to venture a guess and suggest that it probably doesn't rate as high with viewers as it may have when it was originally released. Some of the gags and one-liners seem to be about pop-culture that is obscure in the new millenium. I had a strong sense that parts of the movie were originally funny but that the humor is lost on viewers who were not alive in the 1940's.

Notwithstanding, there are some very funny bits and one-liners in this film. Here and there throughout the film, the comedy clicked and I found myself laughing out loud. On the other hand, I have watched the film twice and both times that I watched it, I was growing tired of the endless one-liners to the point that they were becoming annoying. This film definitely seems to lose quite a bit of its comic sparkle by the end, and the ending is truly idiotic.

On the other hand, I did truly enjoy several of the songs in this movie. Two that stand out are Bing Crosby singing "Welcome to My Dream" and Dorothy Lamour singing "Personality". Unfortunately, some of the good songs, especially "Welcome To My Dream" seem a bit out of place in this zany movie!

Hillary Brooke, a fine 1940's actress who appeared in a couple of Sherlock Holmes movies is totally wasted in this comedy. She looks as though she is sleepwalking through her part. Her on-screen performance comes across as if she doesn't want to be participating in this move. She is far more competent as an actress than this movie would lead you to believe.

This movie is not for all tastes. Bob Hope and Bing Crosby fans may enjoy it, but time has not been kind to this movie. I give it a 7 out of 10 points.

Crosby and Hope are at it again, this time searching for gold in Alaska. The great lines don't run as fast and furious here as they do in some of the other "Road" pictures, but there are still plenty of laughs to go around. The film loses some points in two areas: the unnecessary and unfunny commentary by Robert Benchley and the simple fact that the premise of the film is completely ridiculous. I still cannot figure out why Crosby and Hope would spend half the film pretending to be two men they know are wanted killers. Of course, thanks to movie magic, the local authorities seem to ignore this. However, these things don't detract much from this very funny film.

Bob and Bing pal through this in their breezy manner, ably assisted by Dottie Lamour and especially the dry witty commentary of humorist Robert Benchley. Students of film and lovers of movies will appreciate the quality of the production, and rejoice in the knowledge that not everything funny was created after 1990.

This is hardly an original insight, but anyone who dismisses Bob Hope as the tiresome, unfunny comic from those dreadful '60s 'comedies' he appeared in is missing out on a real national treasure - his films up to around 1952 are hysterically funny, and his ROAD entries with cohorts Crosby and Lamour are among the best of 'em. Hope, along with the brilliant Preston Sturges, had restored Paramount to the comedy throne they'd occupied in the early 30s; from the lavish budget and attention to period detail throughout UTOPIA, it's obvious that the studio was not ungrateful. For my money, ROAD TO UTOPIA is the funniest film he ever made (though there are half-a-dozen others close on its heels). As in all ROAD movies, the engine powering the vehicle was the lightning-quick banter between the two leads; Crosby smooth as snake-oil , Hope perpetually suspicious and cowardly. And with excellent reason, as no straight man ever victimized a foil the way Bing routinely does to Bob. ROAD movies always threaded their satires of B-movie plots (this one spoofing Robert W Service-style frozen-North melodrama) with plenty of topical humor, much of it capitalizing on the fans' awareness of the stars' personal foibles (Crosby's rivalry with Sinatra, his investments in thoroughbreds, Hope's disastrous box-office returns in LET'S FACE IT), and there's a goodly amount of what later generations referred to as 'breaking the fourth wall' ( they talk directly to the audience at varying points). What elevates UTOPIA over the others is the sky-high breezy confidence of everyone involved this go-around. The cast and crew, coming off ROAD TO MOROCCO, were on a roll and knew it and they ride that momentum for all it's worth, Hope's constant kibitzing particularly hilarious from start to finish. Der Bingle gets to groan a couple of subpar songs (as opposed to MOROCCO's highlights - 'Ho Hum' and 'Moonlight Becomes You' - this outing's 'It's Anybody's Spring' and 'Welcome To My Dream' are instantly forgettable) but the team's 'Put It There, Pal' is infectious fun and Miss Lamour's 'Personality' is sexy and sprightly. A further note on Lamour - she's luxuriously beautiful here, an ice-cream sundae with curves (why she's never ranked with the decade's top screen sirens is unfathomable: she's every bit the looker that Lake, Grable, Hayworth & Sheridan were, and a better singer besides). My apologies for not quoting any of the zingers from the script, but there are just too many of them to play favorites with. ROAD TO UTOPIA is well worth the effort it'll take you to track down; get cracking.

Oh this one is funny...haven't seen it since High school, years and years ago, but I remember it well...the seen where an aged couple-including Hope, talk about their son-and then in comes Bing Crosby(!!)-where Hope sez to the camera-'We adopted him!'...oh what a riot. And then there is the great scene where they are sledding, and the Paramount stars pop up over a mtn in the background...the constant lines about how, even when they're in trouble, 'Paramount won't let anything happen to us because we're under contract for another 4 pictures' or words to that effect...very funny stuff, Benchley's narration a hoot too.

***, this one is funny and to my thinking the best of the lot.