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Basically, this is a half-hour sitcom stretched out to feature length. The main players are fine, and are comfortable in their parts. But the gags are tired and obvious. For instance, in an overlong chase scene, Phyllis Diller (on motorcycle) not only does the old "knock the fire hydrant, causing geyser" gag, but also the "rides through a ditch as several workers jump out in panic" gag. There's satire on current movies (James Bond, girls in bubble baths) and a couple of laughs (mostly from Bob), but it's primarily a tepid French farce, with Hope trying to hide a sexy movie queen from his wife.

Fans of Bob Hope (like myself) might be willing to put up with it, but if you're new to his films, please do yourself a favor and start with the 1940s road pictures with Bing Crosby.

I saw this film twice: once when I was a pre-teen in the 60s and then about 40 years later. The first time I saw it, I thought it was one of the funniest movies I had ever seen. The second time I saw it, I wondered what I saw in it the first time. Since it was the same movie, I guess it had to be me, but what a difference 40 years makes. This movie seems to have been made as a vehicle for Bob Hope's and Phyllis Diller's comic skills. However, what seemed knee-slapping funny back then, seems dull and trite now, especially Hope's one-liners. Most of the movie revolves around Hope's character keeping his association with Didi secret. It was funny then but a little overbearing now. His "murder confession" seems just silly now. I gave the movie a 6 rating because the chase scene with Phyllis Diller still ranks high as a hilarious chase scene, just as funny now as when the film was new.

Silly, scrappy comedy with Bob Hope trying to hide sleepy sexpot Elke Sommer from his wife. Low-budget screwball antics looks really bad, with sets which are far too large for the minimal action taking place there (the kitchen in Bob's house is positively drafty), and the poor lighting and awkward camera-work do not help. Once the action swings from suburbia to a cabin in the woods, the picture perks up a bit. The one-dimensional cabin set is another eyesore, but the slapstick involved isn't too bad (and Sommer's shrieks are funny). Phyllis Diller, as the family housekeeper with a hair problem, should've written her own dialogue: the woman is all revved up and ready, yet she's given no funny lines. As for Bob Hope, I have never been a particular admirer of his, but he's not bad here, coasting through without hogging the camera too much. I would have to say "Wrong Number" isn't offensive the way Hope's "Private Navy of Sgt. O'Farrell" was, but--for a comedy--shouldn't somebody be having a good time? ** from ****

This movie is a campfest. Elke Sommer plays a temperamental star who ends up on the run from her studio. She inadvertently gets hooked up with married man Bobe Hope who tries to conceal her from the police and his wife Marjorie Lord. Phyllis Diller steals the show as Bobe Hope's maid. Very subtle risqué humor permeates this movie. If you listen very carefully you can hear some very suggestive dialogue between Bobe Hope and Phyllis. While Phyllis is eavesdropping on Bobe & Elke's phone call she is shown peeling a banana. When she hears a vaguely sexual remark she squeezes the bottom and the banana pops out of it's skin and onto the floor! Very subtle but VERY suggestive which is what I loved about the 60's, nothing is as blatant as today. Light fluff of a movie but lots of fun. I guess some previous viewers are so bombarded with in your face grossness these days in most movies they didn't see or appreciate the innocence of this flick.

I write this review after having finished a private double feature of Bob Hope films. Being a big fan of Hope, I really wanted to like "Boy Did I Get A Wrong Number!" His 1960s films are generally considered by most cinephiles to be his weakest but I enjoyed "Bachelor in Paradise"(1961), "The Road to Hong Kong"(1962), "Critic's Choice"and "Call Me Bwana"(both 1963), none of which are regarded as among Hope's better works. Perhaps it's the fact that I watched it just after watching a vastly superior, funnier and well-written Bob Hope comedy called "Caught in the Draft"(1941), but I have to say this would-be attempt at bedroom farce/Hollywood celebrity spoof falls completely flat. What went wrong? Hope and his 2 main female co-stars(Elke Sommer and Phyllis Diller) have great comic ability, and George Marshall had previously directed top-notch Hope laughfests "Fancy Pants"(1950) and "Monsieur Beaucaire"(1950), but no amount of talent in the actors or director can make up for a leaden script which plays like a 98 minute extended rerun of "Three's Company." The comic timing which is so necessary for a film of this type to work is completely off. The funniest thing in the picture is Marjorie Lord's humongous hairdo and I don't think that was the intent of either her or the filmmakers. Even Hope's immediate predecessor film, the so-so "I'll Take Sweden"(1965) was more entertaining.

Hope fans should skip this one and watch a "Road" film or any of the above mentioned Hope films instead while Elke Sommer fans should watch "A Shot in the Dark"(1964) or "The Prize"(1963) in lieu of "Wrong Number!".

Bottom line: 3 of 10 with 1 point for each of the 3 leads only.

A real Bob Hope farce is the 1966 film, "Boy, Did I Get A Wrong Number."

A businessman (Hope) gets a wrong number and it turns out to be that of a hot-tempered actress (Ilke Sommer) who seems to have a love-hate relationship with her lover-director, a very handsome Cesare Danova. During a major spat, she runs off and is hidden by Hope.

Marjorie Lord plays the goody-goody wife and Phyllis Diller is literally along for the ride as a ditzy housekeeper, Lili. Diller is the sole of the film. She is hilarious and she aids her boss Hope.

Of course, when it appears that Sommer is dead, Hope becomes the main suspect. True to form, there is a major chase scene and an ending that we can say is appropriate for a comic "soap" opera. Silly, but the laughs are worth it. Hope and Diller were an excellent twosome together.

Oregon real estate agent Bob Hope (as Thomas "Tom" Meade) gets the titular "wrong number" by connecting with "bubble bath" movie star Elke Sommer (as Didi). She is angry over Hollywood filmmakers who keep putting her in sexy bathtub scenes. Of course, this film's strongest point is made by seeing Ms. Sommer under-dressed throughout. Although he intended innocent help, Mr. Hope is guiltily aroused by Sommer, who is staying in his cabin. When wife Marjorie Lord (as Martha) unexpectedly arrives, Hope must hide his sexy house-guest, who is running around in shirt-tails and panties...

The plot is murderously tedious. Near the end, a wise-cracking Hope is inserted into a chase scene, churning out one-liners. "Boy, Did I Get a Wrong Number!" is best when watching Hope try to hide Sommer in his cabin. Her legs receive all the attention a 1960s "G-rated" camera allows. Helping out with the comedy as best she can is Hope housekeeper Phyllis Diller (as Lily). Her trade-mark electrified hairstyle is tame compared to the much funnier one worn by Ms. Lord.

*** Boy, Did I Get a Wrong Number! (6/1/66) George Marshall ~ Bob Hope, Elke Sommer, Phyllis Diller, Marjorie Lord

The one line that really cracks me up in this, is when bob hope is outside of a cub scout cabin, or house, and they look out the window and say something to him and he just goes "communists".

I don't know why but that just cracked me up at the time. insulting young kids as communists because they belonged to this organization. a sort of a country club republican bob hope insulting children as just being communists.

This is one of the funniest movies I've ever seen. What strikes me about this flick is that I watched it with not only my parents (early 60s) but also my three sisters and two brothers, whose ages range from late 30s to early 40s, and we were all howling with laughter over it.

It is one of those campy movies that it so chock full of clever innuendos and suggestive 'adult material' but is so witty in its presentation.

In my opinion, Bob Hope & Phyllis Diller were destined to work together. Phyllis Diller's witty and barbed remarks traded with her "boss" Bob Hope were just too outrageous: ...Doorbell rings: Bob Hope: Wasn't that the doorbell? Phyllis: Could be...it had a familiar ring to it. Bob Hope: Aren't you going to answer it? Phyllis: Me?

Bob Hope berates her for her laziness as a Maid and Phyllis answers the bell and rejoins him in the kitchen, where she resumes sipping her coffee.

Phyllis: Two boys to see you, Master. Bob Hope: Didn't they say who they were? Phyllis: Look, I answered the door didn't I? Bob Hope: Yes, but you didn't keep on GOING!

Loved this sweet film!!!

This movie is absolutely loaded with one-liners. That makes sense since it's a Bob Hope movie, but this has even more one-liners than a typical Bob Hope movie. In fact, it's a contest between Bob Hope and Phyllis Diller to see who can get off the most one-liners. They both hold their own like two heavyweight boxers going toe-to-toe.

This is what you want in a Bob Hope movie. Lots and lots of laughs. There is lots of physical humor too in addition to the one-liners.

And if you want sex appeal look no further than Elke Summer. She is half-naked throughout the movie and that's no small potatoes if you know what I mean. Bob Hope certainly knows what I mean. He couldn't take his eyes off of the sumptuous Miss Summer. And Elke really has fun with this role. She's not afraid to do all kinds of wacky things that most beautiful actresses would have balked at and complained about. But Elke is a really good sport in this movie. The character she plays is utterly spoiled, but that makes it all even more fun.

There's a wonderful chase scene with Bob Hope driving a cop car and Phyllis Diller riding a motorcycle! That alone is worth the price of admission.

This is just good clean mid-sixties wacky, wacky fun.

I remember seeing this one for the first time when I was a kid and didn't get it. However, as I got older I thought this was one of Bob Hope's best latter day efforts. Probably the best part of the film is the climatic chase scene. That to me was probably one of the funniest in the movie. Phyllis Diller also did a great job playing Tom's maid/sparring partner. Her portrayal of that character helped to really make this film fun to watch. Elke Sommer is also good as D.D., the temperamental sex symbol who wants to do more than take bubble baths. Also, check out the interrogation scene. That one is priceless as Hope does his best imitation of a mad killer.

I stumbled upon this "gem" over my lunch break. Now not having seen the first half of the movie, I could follow along without a problem. The strangest thing in this movie is Marjorie Lord's red freight wig! Her "hair" reminded me of the big red furry monster in Bugs Bunny cartoons. All Marjorie was missing were tennis shoes and she and the monster could double date. Bob Hope is always Bob Hope (Gee, I wonder why he never received an Oscar?) but Phyllis is always good for a few laughs-what's up with her hair too? Elke is, well, nice to look at I suppose, but this movie has more fluff than the lint in my dryer basket! Combine this along with the worst hairdo's that I've ever seen(on the screen anyway) and you can save yourself the frustration of sitting through this bomb-o-rooney!

This movie is pretty lame like most of Bob Hope's efforts, especially in the swinging 60's. The jokes are stale and uncomfortable, but Elke Sommer is beautiful as always (especially in the 1960's). Phyllis Diller screeches around on a motor scooter and tries to pick up the slack, but it's pretty much a dead issue.

This type of film was already dead in the water by 1960, but they continued to crank them out to prolong of the career of old hacks like B. Hope who were no longer connected to the tastes of America, especially the youth. But if you want to see Ms. Sommer running around in a towel, this is the one!

It probably isn't really very fair to watch this 55 years after it was made and offer any kind of meaningful critique. To underestimate the popularity at the time of Bob Hope would be an error - he was amongst the greatest entertainment stars the world has ever known. Does that make this a good film? Well, no - sadly it doesn't, but what it does do it provide him with a vehicle for his pithy quips that frequently involve a fair (and enjoyable) degree of sarcasm and double entendre, illustrative of his style of quick-witted humour. The thickly accented Elke Sommer ("Didi") features here too, as a rather ditzy actress who ends up bringing some well scripted chaos to his life as realtor ("Meade") and there is his long suffering wife "Martha" (Marjorie Lord) with her astonishing wigs, and finally Phyllis Diller frequently stealing the show as their housekeeper "Lily". There is a plot, but that's merely a template for the continuous barrage of comedy from Hope, which though dated - and certainly political incorrect at times, just about manages to steer this through for a seemingly long 100 minutes. There are some wonderfully cheap and cheerful sets (that is so clearly a painting behind their living room window) and it's an assemble edit that most kids could probably now do on their phones. Essentially, it's only a film for Hope fans.

I saw this film when I was a kid and loved it. Watching it as an adult, I still got a kick out of it in a campy, shlocky way. The film is worth seeing as a time travel back to the WORST examples of 60's design, clothing, and decor. The garish colors and styles just have to be seen to be believed. Poor Marjorie Lord is outfitted with a towering red wig any ambitious drag queen would kill for. Bob Hope just looks too old at this stage of his career to play a suburban husband and father, despite all the expected one liners. Phyllis Diller, playing Phyllis Diller before all the glam plastic surgery, is a hoot, with bird's nest hairdo and crazy outfits. The problem is, both Bob Hope and Phyllis Diller act like they are in two separate movies, just knocking out one liners and double entendres that must have been boffo in 1966. The plot is convoluted, kind of a riff on a French bedroom farce. Elke Sommer plays a European actress who tries to escape her Hollywood life. The problem is, it is hard to tell exactly what part of Europe she is supposed to be from; sometimes, she sounds like an Ooh-Lah-Lah French maid, other times, she talks like the Fourth Gabor Sister. The chase scene at the end is a hoot, with a stunt person not even slightly resembling Phyllis Diller, riding a motorcycle and squirting mustard in people's faces (don't ask), while the loud Phyllis Diller witch's cackle laughter is dubbed into the scene. The movie is fun, in kinda a train wreck way.Just don't expect Citizen Kane.

This is, without question, the worst Bob Hope movie ever. What's even worse is that Bob Hope himself is every bit as bad as the material. To sum it up, Bob Hope plays Tom Meade, a struggling realtor trying to sell a run down house in the woods. His luck seems to change when a major Hollywood actress (Elke Sommer) wants the house to hide out in after a fight with her boyfriend (Cesare Danova, who is rightly embarrassed) whose name in the film is Pepe Pepponi. Along for the ride is Phyllis Diller, who plays his maid, and Marjorie Lord, who comes off somewhat better than the rest of the cast as June Cleaver type wife. The film is filled with wooden acting, dull situations, and truly dumb jokes. As for the car chase at the end, Michael Medved said it best when he said it would bore a high school driving class. Some of this is so bad, it's downright amateurish. It was shocking to see such poor delivery from so many established stars. This is only good for those who like bad movies and those who suffer from insomnia.

European actress Divine Didi (Elke Sommer) is tired of doing bubble baths and not be taken seriously. She runs away to a hotel in Oregon and accidentally connected to bumbling real estate agent Tom Meade (Bob Hope) who agrees to help her. She's being chased by the media. Tom is married with two kids. They have nosy wisecracking housekeeper Lily (Phyllis Diller).

Phyllis Diller should play the wife. She could be the dragon lady that Tom is running away from. Anyways, Phyllis Diller needs to calm down. She overturns this movie all by herself. It really doesn't make any sense why she hasn't been fired. Next, I get Elke Sommer doing the crazy hot chick, but on the crazy hot scale, she is too crazy for her bubble bath hotness. As for Bob, he is who he is. It's not that funny. Again, I would like to see more banter between him and Phyllis Diller. They got to be able to do some married banter.

Wholesome sitcom style family comedy not as bad as critics deemed. This G-rated comedy is very Brady Bunch style with the sum better than the parts. If your family is a fan of Nick at Nite then this movie should delight them. Directed by legendary Hollywood director turned TV-director, George Marshal, this film offers wacky slapstick, a wacky car chase, wacky boyscouts and wacky Phylis Diller on a motorcycle. Bob Hope play's a happily married (to "Make Room For Daddy"'s Marjorie Lord) real estate agent with two kids and a maid (Phylis Diller). One day he gets a wrong number from a Hollywood movie star (a dazzling and very funny Elke Sommer) in hiding from her studio. Eventually Hope tries to help the starlet in her quest for privacy. Trying to keep the news out of the paper, and his association with her from his wife, the film is basically one situation after another of trying to hide Sommer from someone. Hope is a bit subdued with terrible lines but, as usual, has good chemistry with Diller and plays the part of the responsible loving husband but victim of circumstances very well. The part of the movie starlet could easily have been a dumb-blonde role, but Elke Sommer (who was great in the comedy "A Shot in the Dark") brings the role life with a very clever performance and a great flair for physical comedy. She gets a bit upstaged by Hope and Diller, but does just fine alongside the two pros. Just a nice, clean, fun show for all ages.