Louisiana Purchase

This one's a real oddity: a semi-musical satire of a period of corruption that will mean nothing to anybody who is either not a resident of the United States or under eighty-ish years of age. Bob Hope stars as a naive hero who finds himself set up to take the rap when a corrupt cadre find themselves on the brink of discovery and hatches one of those ridiculous Hollywood musical plots to get himself out of trouble. Somehow, I don't think this is too closely based on factual events.

The film opens with a quirky number in which a colourful group of girls sing about how the characters are fictitious and not based on any persons living or dead, and include lyrics stating they are singing this to save the producers from being sued. Bizarre. When Hope is on screen the film is a typical Hope vehicle - which isn't necessarily a good thing - and when he's not the pace slows to a crawl. Despite this it is Victor Moore as the ageing virginal investigator on the trail of the corrupt politicos who steals the movie. Vera Zorina as Hope's love interest is an actress of extremely limited talent and best forgotten to save her descendant's embarrassment. The storyline is littered with references to contemporary matters that mean nothing today, meaning most of them flew way over the top of my head, making it somewhat flawed as a political satire - and fairly insipid as a musical

Excellent movie with many beautiful sets and funny jokes by that master Bob Hope,The Mardi Gras parade and the French Quarter in which it is set are Idealized and certainly not realistic but that was typical of musical comedies,like the pictures of Astaire and Rogers,typical of the period,so it is nothing to criticise,just a lot of fun,the filibuster scene is outrageously funny,and full of references to the movie it parodies.The set looks like the real Louisiana State senate chamber,but apparently is not.This movie is loads of fun and after all that is the purpose of comedies.Zorina is lovely amnd makes a good foil for hope.All in all a wonderful picture!

Recently, I was reading one of Internet columnist Jeffrey Well's articles and he wondered what the appeal of Bing Crosby was and that he doesn't translate beyond his era. One can say the same of his partner in crime from that era, Bob Hope. Truly, what was the appeal of this fella? Most of his pictures are terrible, including the Road Movies. The ones I can stomach are the Paleface pictures. All Bob Hope ever did was deliver puns and innuendos laced as wisecracks rather than real comedy - punchlines with no punch. He was a spoofish of current pop culture which he uses so frequently that a lot of the wisecracks fly over your head once you are out of the era, no let's the year, not even that three months ago pop culture events. This movie is one of his further nonsense. As the trailer spieled, this an adaptation of a Broadway smash that has been running for two years but as soon as you see the movie, you know it has been warped beyond belief for the screen because nothing this flimsy could have run on broadway for two years lest two weeks. And you just can feel there is a lot of political humor that has been cut out, the Victor Moore character keeps referencing democrats and republicans in oblique terms that do not advance the movie and thus are not funny because the terra firma has been eviscerated. The plot - Hope is a state rep in the house who is set up as the fall man for a bunch of corrupt school board officers. Moore is the good to his bones senator sent to investigate the irregularities. Somebody'd going to jail and it ain't going to be Hope so he tries to blackmail the senator by photographing him in an uncompromising situation, to say. The girl for the task the Hungarian immigrant played by Zorina. That's that. There is a Mardi Gras scene that is an embarassment to all involved in the production, us as an audience and others who have not seen this movie. Musical numbers are lovely but numb. Why does this movie have musical numbers? No reason except a Hope picture must have some and Hope is in none of them. By the time he is doing a filibuster a la Jimmy Stewart in Mr Smith goes to Washington, you the viewer will be ready to kill him. What a shame!

This starts off with quite a fun little ditty that serves as their libel/defamation disclaimer - proclaiming that none of this is based on any real people! Who might have taken offence in the US of A in 1941 to the idea of a senate investigation into the dodgy goings on in any state at all, let alone Louisiana? Well it appears that the imminent arrival of the tee-total "Sen. Loganberry" (Victor Moore) has set the cat amongst the pigeons, and talking of pigeons it looks like "Taylor" (Bob Hope) is going to become exactly that. The great and the good of his state have been merrily creaming off the top for years, but any evidence of their miscreant behaviour will stop firmly with this poor patsy. Facing a million years in jail, the bosses encourage him to find a way to leverage their inscrutable visitor and so he'd better get his thinking cap on. What now ensues sees Hope (well two of him quite often) and his friend "Marina" (Vera Zorina) try to embroil the man in all sorts of compromising scenarios. Of course, as things mosey on along there are a few romantic opportunities with Irène Bordoni making up this quartet of mischief and mayhem. It's based on the stage play with a few Irving Berlin numbers - notably "You're Lonely and I'm Lonely? - amongst it, and though it does drag a little as the joke borders the slapstick too closely for my liking, it does show Hope in a slightly less hapless light, Moore delivers engagingly and there's been a little thought gone into the plot to keep it from farce. It's a colourful and lively production and might well do wonders for the sale of oysters in Nebraska.

Comedian Bob Hope, in his first Technicolor performance, effortlessly portrays Jim Taylor, a political lackey of the Louisiana Purchasing Company who is unaware that he is being gulled, replacing William Gaxton who starred on Broadway in this long-running satirical comedy, featuring music and lyrics by irving Berlin. Although the original work by Morrie Ryskind, with its sardonic savaging of politicians and their methods, is carefully muted in this cinematic version, there remains much to enjoy as Taylor frantically struggles to avoid taking a rap for the misdealings of a coterie of his graftsodden superiors, played effectively by such as Donald MacBride and Frank Albertson. An opera bouffe opening serves to explain to the audience that in order to avoid onerous lawsuits, Louisiana must be accepted as a mythical location, with a bevy of comely singers offering the standard "no resemblance" disclaimer for the decoy State. Victor Moore, Vera Zorina and Irene Bordoni reprise their stage roles from a work sadly seldom performed since, with the veteran director of musicals Irving Cummings doing his best to retain some of its operetta nature and still permit Hope to gambol about as the target of a Congressional investigation headed by Senator Oliver P. Loganberry (Moore). The screen play generally fails to capture the essence of its source, and therefore much of Hope's timing is wasted upon poor material, while Moore is so torpid that he appears to be more sleep deprived than anything else. Raoul Pene Du Bois formulated the beautiful costumes and designed the splendid sets, including that for a traditional dream ballet sequence showcasing prima ballerina Zorina, and plot propelling and witty lyrics by Berlin, although too often cut, enhance the overall production, particularly the delightful title piece, sung and danced to by alluring Dona Drake. The opening scenes fare best, in particular that wherein Emory Parnell, a top studio lawyer, reads the script and then dictates a singspieled letter in rhymed couplets to advise executives against replicating the original show, a very clever and funny beginning to this lavish Paramount motion picture.