Jeanskynebu the audience applauded

AniInterview Sorry, this movie sucks

UnowPriceless hyped garbage

FuzzyTagz If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

bigverybadtom Hope and Crosby are two childhood fighting pals, first on a raft at sea, then reaching a desert shore. A camel finds them and they ride to Morocco. With no money, Crosby sells Hope into slavery (without the latter's knowledge), only to find him with the local princess, who he now wants for herself. Rivalry and treachery ensue.Yes, the movie is old, silly escapist entertainment for a worried wartime audience, but still works today thanks to broad if crazy humor and great performances by the leads, who also take jibes at their employers and government censors without overdoing it. Classic songs also make the experience enjoyable.

Uriah43 After accidentally causing their ship to sink "Orville Jackson" (Bob Hope) and his buddy "Jeff Peters" (Bing Crosby) find themselves drifting in the middle of the ocean on a small raft with no food or water. Fortunately, they discover land in the distance and eventually manage to make their way to shore. Not long afterward they come across a camel and ride on it through the desert to a nearby city. At that point Jeff sells Orville to a slave trader and after finding out that he is being tortured decides to rescue him. It's at this time that Jeff discovers that nothing could be further from the truth as Orville is actually having a great time and is soon to marry "Princess Shalmar" (Dorothy Lamour). Unfortunately, a powerful warlord named "Mullay Kasim" (Anthony Quinn) also has his eyes set on Princess Shalmar and he has no intention of allowing anybody to marry her. Now rather than reveal any more I will just say that this was a nice little comedy which complements the "Road Series" rather well. Even though they play different characters in each film I especially liked the continuing dynamics and the between the three main characters who seem to be having a good time in the process. In any case, although it is clearly dated and as a result may not be a top-of-the-line film these days, I still found it somewhat enjoyable and I have rated it accordingly. Slightly above average.

lugonian ROAD TO MOROCCO (Paramount, 1942), directed by David Butler, the third installment of the seven journeys made by the famous trio of Bing Crosby, Bob Hope and Dorothy Lamour, finds them in their wildest adventure of them all. Capitalizing on the current trend of "Arabian Nights" fantasies as Alexander Korda's THE THIEF OF BAGDAD (United Artists, 1940), featuring Sabu, and ARABIAN NIGHTS (Universal, 1942) that paved the way for a series of similar adventures teaming Maria Montez and Jon Hall, ROAD TO MOROCCO makes every attempt in spoofing every one of them, especially itself, and getting away with it in the process.The story gets right down to basics with the explosion of an ocean freighter which finds all passengers safely accounted for with the exception of two unidentified stowaways, Jeffrey Peters (Bing Crosby) and Orville "Turkey" Jackson (Bob Hope), seen floating together in the Mediterranean on a raft. They end up on shore where the carefree bachelors ride a camel that takes them to the city of Morocco. Unable to pay for their large meal they've eaten at a restaurant, Jeff meets up with a Arabian (Dan Seymour) who offers him six hundred "kolaks." Using that to pay off the meal, Orville wonders what Jeff did to acquire so much money. He soon discovers that he's been sold as he's suddenly being taken away by two strong armed men. Later that night, Jeff is awaken from his sleep by the ghost of Orville's Aunt Lucy (Bob Hope in drag) who orders him to get Orville back. Soon thereafter, Jeff searches about and locates his pal in the palace of Shalmar being "tortured" by a handful of beautiful maidens and in the arms of Princess Shalmar (Dorothy Lamour), royalty in an Arab kingdom. As Jeff attempts to break into Orville's territory by wooing the princess, he eventually learns as to why Orville was selected to become Shalmar's proposed husband. Complications ensue by the arrival Mullay Kasim (Anthony Quinn), a cruel desert chief out to claim Shalmar as his own, and having quite a time doing it.Other members of the harem consists of Dona Drake (Mirirmah); Vladimir Sokoloff (Hyder Khan, the astrologer who looks into the stars for Shalmar's future); George Givot (Ned Jolla); and Yvonne DeCarlo, uncredited as one of the handmaidens. Anthony Quinn, who co-starred in the initial film, ROAD TO SINGAPORE (1940), returns once more adding to some hilarity as the villainous sheik who falls victim to Crosby and Hope's antics. In tradition to the "Road" series with its selection of comedy routines, song interludes are worked well into the script, composed by Johnny Burke and Jimmy Van Heusen, including: "The Road to Morocco" (sung by Bing Crosby and Bob Hope); "Ain't Got a Dime to My Name (Ho Hum)" (sung by Bing Crosby); "Constantly" (sung by Dorothy Lamour); "Moonlight Becomes You" (sung by Bing Crosby and Dorothy Lamour); and "Moonlight Becomes You" (reprised). Hope and Crosby clown around as they each sing the title song, throwing some in-jokes in the process, one of them being, "I lay you eight to five that we'll meet Dorothy Lamour," while Crosby and Lamour take part in what's to become the film's best song, "Moonlight Becomes You," later to be spoofed by the three principal players singing in each other's voices in the soundtrack. If that isn't silly enough, this bona-fide "Road" comedy also consists of talking camels ("This is the screwiest picture I've ever been in" says one, while the other talking like Katharine Hepburn); the traditional Hope and Crosby "paddy cake" routine; as well as Hope's attempt in an Academy Award nomination with his hysterical "No food, no water" outbursts. With a handful from outrageous to awfully silly and outdated routines thrown in this escapist comedy adventure, ROAD TO MOROCCO, which improves over its predecessor of ROAD TO ZANZIBAR (1941), earned two Academy Award nominations, for Best Screenplay and Best Sound Recording, but none for Bob as hoped. Aside from this being the best known and most revived in the series, ROAD TO MOROCCO proved so popular that it's been listed as one of the top 100 best comedies by the American Film Institute. Distributed to home video in the 1990s through MCA Home Entertainment, and later DVD, Cable television revivals were plentiful when ROAD TO MOROCCO was presented on American Movie Classics (1992-2000), and finally on Turner Classic Movies (2004-present). Next adventure, ROAD TO UTOPIA (1945), which is, in many ways, even better and funnier than ROAD TO MOROCCO. Watch it and see why. (*** camels)

Robert J. Maxwell The Hope and Crosby Road pictures were very popular in the 1940s and "The Road to Morocco," the third in the series, shows them at about their best. Well, maybe "Zanzibar" was at the top, with "Utopia" not far behind. The climax in this one depends a little too much on minor gimmicks like dribbling glasses, exploding cigarettes, and whoopee cushions. A weakness easily overlooked.The plot takes them to a fairy tale Morocco, more Arabian Nights and Hollywood than French colony. The men wear white suits and fez caps or turbans. The women wear diaphanous veils and tiaras. Dorothy Lamour turns up as a princess who, her fortune tellers say, must marry a man she cares nothing about because he is fated to die a violent death within the week, freeing Lamour to marry the powerful sheik Anthony Quinn. That man she cares nothing about and chooses to marry is Bob Hope. Crosby muscles in on Hope, not knowing what the sooth sayers sayeth.It's all nonsensical and none of it is taken seriously by the actors, the writers, or the viewers. Even when Crosby is serenading Lamour with a pretty little ballad, "Moonlight Becomes You," he tries to pick a rose to bring her and pricks his finger instead. Some of the sight gags are pretty amusing -- Crosby and Hope imitating mechanical men, when a fly lands on Hope's nose. It's not the only joke involving Hope's notorious nose, and there's a reference to the size of Crosby's ears as well. I don't want to reveal too many of the amusing incidents, but I always laugh when a girl tries to wake up Hope. He shrugs her off, rolls over in bed, and mumbles, "Okay, Ma, I'll get a job tomorrow." And Crosby's line: "Junior, how can you do this to me? Why we went to school together. We were in the same class for years -- until I got promoted."The script has no hesitation in breaking the fourth wall or slinging anachronisms, self references, or in-jokes around. When Hope asks how they got out of the tight spot we last saw them in, Crosby looks at the camera suspiciously, then leans over and whispers his reply into Hope's ear in order to keep it a secret from us. Some of the gags may be lost on younger, less sophisticated viewers. "Aunt Lucy" shows up as a ghost, giving advice and scolding the two men from time to time. Crosby makes some comment about Aunt Lucy's being dead but you can't keep her down. "Not Aunt Lucy," Hope agrees, "She's a Republican." (Kids: This movie was made midway through the unprecedented, and now illegal, third term of Franklin Delano Roosevelt, a Democrat.) I've always enjoyed the relationship between Hope and Crosby in these movies. Both are greedy, libidinous cowards, ready to double cross one another at the first glimpse of a dollar bill or a woman's ankle. (In this one, Crosby sells Hope into slavery to pay for a restaurant meal.) But neither is superior to the other in any way, unlike other popular comedy teams such as Abbott and Costello or Martin and Lewis. These guys are both equally stupid and despicable.Lots of fun.