ROAD TO BALI is Paramount's sixth excursion down that road of gags with BING CROSBY, BOB HOPE and DOROTHY LAMOUR--and the material is silly but fun in the sort of way that the Hope and Crosby fans expected whenever a new "Road" picture came out. In this case, they were even more grateful than usual when Paramount gave the men Technicolor and Dorothy Lamour again for a playmate.
Nothing really new here. The men are on the lam for some reason from Australia, and when they land on a tropic isle without work they volunteer to become deep sea divers in a hunt for buried treasure. Naturally, their employers are up to no good and the rest of the film has Bing and Bob trying to escape the clutches of the bad guys while enjoying and fighting over the charms of Princess Lala (Lamour, of course).
The usual sight gags involving snake charmers and unexpected bit cameos from well-known stars (HUMPHREY BOGART is seen in a clip from "The African Queen" trudging through the jungle swamp), and JANE RUSSELL emerges for another gag routine. Hope and Crosby keep the quips sounding as though they ad-libbed as they went along (although this is not entirely true, I'm sure).
Whatever, it's all in good fun and it's good to see them sharing the screen with the fetching Lamour, who gets to warble the film's best song, "Moonflower", in that sultry manner she was famous for.
Nothing really new here. The men are on the lam for some reason from Australia, and when they land on a tropic isle without work they volunteer to become deep sea divers in a hunt for buried treasure. Naturally, their employers are up to no good and the rest of the film has Bing and Bob trying to escape the clutches of the bad guys while enjoying and fighting over the charms of Princess Lala (Lamour, of course).
The usual sight gags involving snake charmers and unexpected bit cameos from well-known stars (HUMPHREY BOGART is seen in a clip from "The African Queen" trudging through the jungle swamp), and JANE RUSSELL emerges for another gag routine. Hope and Crosby keep the quips sounding as though they ad-libbed as they went along (although this is not entirely true, I'm sure).
Whatever, it's all in good fun and it's good to see them sharing the screen with the fetching Lamour, who gets to warble the film's best song, "Moonflower", in that sultry manner she was famous for.