Il y aura toujours des femmes

1900. Bob Hope plays Stanley Snodgrass, the world's oldest chorus boy, who can do nothing right.

Fired by his manager (the always watchable Fred Clark) he's hired back in a hurry because a mad slasher (a menacing Robert Strauss) is after his star. Stanley, thinking he's the new star because of his talent, will be an unwittingly decoy.

In future movies Strauss would often have a perfect blend of menace and humor. Here, he's all threat.

You won't find many laughs in this light-weight vehicle, but it's not dreary. It has some good songs and for Hope fans his personality is pleasant. If you don't like Hope's persona you won't enjoy this.

Besides Clark and Strauss, a standout is William Demarest as a cop playing as Stanley's put-upon valet.

The show may look peculiar but it's more a Zeigfield-type presentation that would mix song-and-dance, comedy acts and sketches.

"Here Come The Girls" has a couple of splashy musical production numbers, including some impressive dancing, particularly from the female flamenco artist and the Four Step Brothers. But Bob Hope's character is atypically obnoxious in this one: he loses our sympathies when he practically sexually harasses Arlene Dahl despite that fact that he is supposed to have a sweetheart (Rosemary Clooney) back "home". This scenario only works when Dahl is trying to seduce him, not the other way around. There are still a few funny bits (the cue cards are my favorite), but on the whole "Here Come The Girls" delivers more as a musical than as a comedy. ** out of 4.

Inane Bob Hope farce where the Great Bob portrays Snodgrass, a jerk who has only succeeded at failure in his life.

He gets the show business bug and of course he is completely inept. He is about to get the heave ho in 1900 New York, until a serial N.Y. killer is bitterly jealous of co-star Arlene Dahl and her lover Tony Martin. Unknowingly, Hope is put in as a decoy for Martin and there are some hilarious moments.

Rosemary Clooney is the girl who really loves him. Unfortunately, both Clooney and Martin have little to do here except sing some ditties, none of which ever became memorable.

Bob Hope plays the tanglefooted chorus boy who constantly fouls things up for producer Fred Clark and stars Tony Martin and Arlene Dahl in this film set in the gaslight era in New York. Clark, who had the best slow burn in film next to Edgar Kennedy, finally has had enough. He gives Hope the royal boot, but then a big problem happens. Arlene Dahl has attracted the unwanted attentions of a psychopathic killer played by Robert Strauss. He attacks and nearly kills her co-star and boyfriend Tony Martin. What to do? Get some schnook, reasons Clark, to be a new leading man just long enough for Strauss to make his move and cop William Demarest to nab him. I think you figured out the schnook they had in mind.

It's a pretty funny film with Hope getting into one situation after another with his only friend being chorus girl Rosemary Clooney truly on his side. You would think that with a couple of singers like Tony Martin and Rosemary Clooney in the film they would have been given at least one duet. But the Jay Livingston-Ray Evans score is serviceable, nothing more. No hit songs came out of it for anyone.

But its classic Bob Hope and it even has an appearance by a young kid playing Bang Crosby (I kid you not). Good enjoyable fun.

A light piece of fluff, but enjoyable fluff! Watch out for the last scene with the great chase - some fantastic and hilarious acrobatics done there. Bob Hope fans, you can't miss this one. Non-fans, give it a go anyway, it's so silly that you'll laugh!