L'avventuriera di Tangeri

I read somewhere here in this forum a readers take on the Bob-Hedy friction. Let me settle this once and for all. Hedy was always Bob favorite...look at some of the old war newsreels with the stars getting involved in the war, in their own way. There's a clip where Bob is surprisingly sharing a bed with his crony, Bing Crosby and in his dreams, he keeps calling out for Hedy. Hedy was an MGM player, so odds were against them making a movie together, each under contract to different studios. It turned out that some of Hedy's best funny scenes were cut, because the studio head at Paramount, didn't want anyone to be more funnier than their bread and butter comedian. She resented it, after all she was in the midst of making a comeback, as they called it in those days, after her terrific success in Samson and Delilah for that same studio a year before. Its odd that in 1951, Bob and Hedy made a comedy radio stint on top of a U.S.Navy flattop, in front of the sailors, in San Diego port. They even made jokes about appearing together in that movie. So, if there was friction, it was short lived. As far as her role, she was suppose to be playing it straight to Bob's antics. To me,the funniest scenes involved Hedy, mainly because I was surprised at how well she did handle comedy. Her hitting Bob like a wildcat, after he 'punched' her. Her double take upon seeing "both" Bob's was priceless...and that ending, with her driving the fire truck.

1951's "My Favorite Spy" stars Bob Hope, Hedy Lamarr, Francis L. Sulllivan and Mike Mazurki. Hope plays Peanuts White, a burlesque comedian, who bears a strong resemblance to a spy, Eric Augustine. When Augustine is injured, the government gets Peanuts to go in his place to Tangier with $1 million to collect some microfilm. Peanuts, like Hope's other characters, is a bona fide coward, but he goes after Harry Truman talks with him on the phone. ("Oh, she's out on tour?" Hope asks, referring to Truman's daughter Margaret, who at that time was pursuing a singing career.) When Peanuts arrives in Tangier, he meets the woman with whom Eric was previously involved, the beautiful nightclub singer Lily Dalbray. She's under orders from the other side to get the microfilm, so she acts as if she's ready to resume things with Eric. Unfortunately, the real Eric escapes from the hospital and makes his way to Tangier, causing the situation to become even more confusing as everyone chases everyone else.

Hope is very funny in this and does indeed create a second role in Eric Augustine, who has a much darker persona than Peanuts. There are some great laughs, my favorite scene being Hedy and Peanuts dancing in the hotel while his contact tries to get his attention. The part where Lamarr drives a fire engine while Hope hangs onto the ladder is funny as well.

Hedy Lamarr was 36 or so at the time of the filming and looks glorious, particularly in the form-fitting white sequined gown she wears during her nightclub act. It's so unfortunate that in Hollywood, once a woman turned 30, lead roles became so difficult to get. Lamarr was one of the most beautiful and glamorous women in film - at any age. She's basically straight man to Hope here and holds her own in what is a Dorothy Lamour part, right down to the nightclub act. She contributes to the foreign flavor of the film.

This isn't Hope's best film, but it's still very good with some great bits and laughs.

Haven't movie fans wondered how Bob Hope has managed to have so many glamorous leading ladies fall for the schnooky characters he played in his career? It's a source of amazement and amusement too. But I've always thought that was part of the secret of Hope's appeal, that if he could get the glamor girl, anyone could.

They don't get much more glamorous than Hedy Lamarr who was in the midst of a mini-comeback because of Samson and Delilah. Unfortunately the roles she got post DeMille didn't sustain her career.

When one works on a Bob Hope film as a leading lady you will definitely be second banana. Hedy Lamarr was not second banana material and that was a source of some friction between her and Hope. But being second banana was something she should have known walking in.

In My Favorite Spy, Hope was spoofing all those espionage/adventure films set in various exotic places like Casablanca. He gets to play a dual role here. First as Eric Augustine, Bogart like adventurer, and secondly as Peanuts White burlesque comic who is a dead ringer the U.S. government drafts into getting some secret microfilm before Sidney Greenstreet stand-in Francis L. Sullivan does. Of course Hope has a Peter Lorre type factotum in Arnold Moss.

Though uneven in spots, mainly because Hope doesn't have the chemistry between him and Lamarr the way he did with Jane Russell or Madeleine Carroll, or Dorothy Lamour, My Favorite Spy does have some good moments. My favorite moment is when the truth serum is administered to Peanuts White and he starts doing his burlesque shtick for Sullivan.

It's not the best of Hope's Paramount films, but it does have some good moments.

And besides only Bing Crosby could ever really expect to not be a second banana.

Hope fans should enjoy this showcase. The comedian's in about every scene where the one-liners, throw-aways, and snappy retorts fly faster than a machine-gun on rapid fire. After all, there were seven writers, yes, seven! And I expect each wanted his or her work accommodated. So, it's a loaded script. Bob plays a baggy-pants comedian (Peanuts) pressed into government service in order to catch a dangerous look-alike who's on the run. Along the way he gets "help" from the gorgeous Hedy LaMarr.

Plots are secondary for Hope vehicles, mainly furnishing set-ups for the gag-lines. Here, the setting for international intrigue is Tangier. Thus there's a hint of he Hope-Crosby Road pictures, while La Marr provides the eye candy, in spades. But, I gather from other reviewers that her best scenes ended on the cutting room floor courtesy Hope's desire to dominate. Then too, don't expect much continuity given the generally ragged editing process.

Anyhow, I love that line where a ringing sound comes from Lilly (LaMarr) and Peanuts observes that she always makes him tinkle—snuck by the censors, I guess. And, if you don't like this gag, hold on because more will soon fly by. All in all, it's a Hope showcase during his most productive movie period.

HEDY LAMARR may have been one of BOB HOPE's most glamorous co-stars, but she lacks the sort of comic timing needed for any female who plays opposite the hyper-active Hope. She never loses her poise no matter how ridiculous the situations are, but she never looks at home in this kind of spy story that even has her doing a nightclub act--singing the kind of sultry song that Dorothy Lamour could always put over. It's in the nightclub scene that she looks most uncomfortable as a performer, obviously dubbed by a real singer.

The story itself is the kind of mistaken identity thing that either Hope or Danny Kaye had done many times before and there's nothing new in the way of original material. It's a pleasant enough spoof of spy stories about a cowardly impostor (Hope) assigned by the government to obtain a top secret microfilm from spies in Tangier. Hope is his usual cowardly self and has to be prodded by the contact man (ARNOLD MOSS) to carry out the assignment, which he is more than willing to do once he meets the alluring Lamarr.

This was part of Hedy's deal with Paramount to give them another film after SAMSON AND DELILAH--and there's even a bit of Victor Young's "Samson and Delilah" theme played by the orchestra in the nightclub scene. Hope, who has all the best lines, plays the impostor with his usual comic finesse and gets away with varying amounts of mugging whenever the script isn't funny enough. Hedy tries valiantly to keep up with him, but she's just a little too restrained to make her efforts seem casual and effortless--as they should.

The screwball slapstick for the finale keeps things rushing along toward the predictable conclusion, but it's the sort of average entertainment that pleased Hope's fans who enjoyed his comic energy in this sort of espionage romp from time to time.