User reviews

Can you imagine The Road to Singapore with parts of Bing and Bob being played by Fred MacMurray and Jack Oakie? That was the original casting that Paramount originally had for this first of the Road pictures.

You can tell that they did not have a series in mind because the billing was Bing Crosby, Dorothy Lamour, and then Bob Hope. When MacMurray and then Oakie became unavailable, someone had the bright idea of putting Crosby and Hope together. By this time a certain rivalry had developed on radio. Both had been guests on each other's shows, forever trying to top each other with unscheduled ad-libs in the script. So the casting changes were made.

There's none of the surreal humor in this that characterized the later Road pictures because the formula wasn't there yet. But when you see Crosby and Hope trying to land a fish and later on singing the Captain Custard song, the chemistry is unmistakable.

The rest of the score by Jimmy Monaco and Johnny Burke consists of one of Crosby's nicest ballads, Too Romantic and a novelty song for all three of the leads, Sweet Potato Piper. The director Victor Schertzinger who was also a composer of note and Johnny Burke did a South Sea Island ballad for Dottie, The Moon and the Willow Tree.

So what would have been a routine film turned out to be a shakedown cruise for a lot of movie fun.

ROAD TO SINGAPORE (Paramount, 1940), directed by Victor Schertzinger, marked the initial pairing of crooner Bing Crosby. and funny man, Bob Hope, in what was to become the first in a series of "Road" adventures revolving around a guy, a pal and a gal. With no sequels originally intended, its popularity truly relies most not on the slight screenplay by Don Hartman and Frank Butler nor the few comedy routines, but the fine chemistry brought out by its leading players, Crosby, Hope and Dorothy Lamour.

The story revolves around Josh Mallon (Bing Crosby, in a role suited for a much younger actor), a free-spirited young man whose serious-minded father (Charles Coburn) wants him to carry in the family business of his multi-million dollar establishment, Mallon Steamship Company, as well as to settle down and marry an heiress, Gloria Wycott (Judith Barrett). Josh very much prefers spending time bumming around with his boyhood pal, "Ace" Lannigan (Bob Hope), who enjoys having him around for laughs. Following a social function where Josh and Ace entertain the snobbish guests, soon developing into a fist fight riot. The boys break away from civilization by boarding a ship bound for Singapore where they live as carefree bachelors in a bungalow near the port of Kaigoon. While in a cabaret, Josh and Ace witness the gaucho dance performed by Cesar (Anthony Quinn) and Mima (Dorothy Lamour). Due to Mima's attention towards the young Americans, a fight ensues between them and the jealous Cesar leading to another riot. As the boys leave, they take Mima with them. As Mima takes the position as their housemaid, the boys resent her changing their carefree style with orders and keeping the bungalow neat and tidy. Eventually, they find themselves falling for her and do whatever pranks possible to get her to themselves. More problems arise when Papa Mallon and Gloria track down Josh to take him back with them to the states, much to the dismay of his friends.

As Bob Osborne, host of Turner Classic Movies, mentioned in his profile on the the making of the film in its January 28, 2010 presentation, SINGAPORE was initially scripted for George Burns and Gracie Allen, and revised for Fred MacMurray and Jack Oakie before the screenplay finally went to Crosby and Hope. Worked into the script were songs by Johnny Burke and Victor Schertzinger, including: "Captain Custard" (sung and performed by Bing Crosby and Bob Hope); "The Moon and the Willow Tree" (sung by Dorothy Lamour); "Sweet Potato Piper" (sung by Crosby, Lamour and Hope); "Too Romantic" (sung by Crosby and Lamour); "Kaigoon" (by James Monaco and Johnny Burke, sung by natives); and "Too Romantic" (sung by Crosby). "Too Romantic" is the love song theme, slow in tempo, suited for the style of Crosby and Lamour, while the lively "Captain Custard" number demonstrates how grown men can still get by acting like mischievous little boys clowning around, and making eyes and chasing pretty ladies in the process. As much as these guys are full of fun, their on screen party guests think otherwise. Look fast for TV character actress Elvira Allman as a homely woman. Other members in the cast include Pierre Watkin (Morgan Wycott); Gaylord Pendleton (Gordon Wycott); Johnny Arthur (Timothy WIllow); and Benny Inocencio (The Native Boy),

As fate would have it, this simple and innocent story proved far more success as anticipated, paving the way for a series of "Road" comedies by re-teaming Crosby, Hope and Lamour in different character portrayals, different locales but similar situations involving two guys and a gal. Unlike their ventures that lead to ZANZIBAR (1941), MOROCCO (1942), UTOPIA (1945), RIO (1947), BALI (1952) and HONG KONG (1962), this initial entry contained nothing to the hilarity of in-jokes, constant ad-libs by its principals, un-billed guest stars, subtitles and/ or talking animals. There are two instances where the script allows for wild comedy, one where the trio enact a medicine show that turns disastrous, with Jerry Colonna (the one with the mustache, loud voice and big rolling eyes) and as its prime victim; and another during the native festival where Bob and Bing dress up as natives in order to get some free food. SINGAPORE has rare distinctions where it provides some background to its two characters: Crosby as a millionaire's son whose happiest being away from responsibility; an Lamour the native girl who teams up with a dancer (Quinn) following the death of her parent. There's not much background pertaining to Hope's character except for being a sidekick who fails in specializing in medicine shows. He shows the sentimental side to his nature in one somber moment between him and Lamour, quite unusual for a Hope comedy. The major ingredient SINGAPORE has that would be used in most subsequent films is Hope and Crosby's "paddy cake" routine, and of course Lamour enacting as their straight woman.

During its cable TV era, SINGAPORE was shown on American Movie Classics (1992-2000) before traveling over to Turner Classic Movies where it made its debut August 3, 2004. TCM also has in its library a 1931 Warners drama bearing the same title starring William Powell but that ROAD TO SINGAPORE bears no resemblance to this edition. Over the years MCA Home video distributed it to home video in the 1990s before shifting this and the series to DVD. Regardless of being the lesser item in the series, ROAD TO SINGAPORE, which will never have the distinction of becoming part of American Film Institutes "100 Greatest Comedies" as ROAD TO MOROCCO (1942) did, but is one relatively known as the movie that started it all with Crosby, Hope and Lamour and their journey to adventure into comedy, music and romance. (***)

Fleeing misadventures with girls once again, two playboys escape from women (in particular an arranged marriage for Josh Mallon by his shipping magnate father). However when they arrive in Singapore they meet Mima. A first the two use her for free labour, then they want their freedom from a woman but then they realise that they both want some time with her and compete for her affections.

The first of the successful Road movies is the foundation on which the others were build, basically meaning that this is straight to formula without the shine and added touches that we got with the middle movies (before they just got silly towards the end). The plot is stronger as a result but it does feel a little ordinary in comparison to some of their later hi-jinx. However the film is weakened by far too many musical numbers, I don't mind about 2 or even 3 but here it was pushing up to about 5+ in a 80 minute run time. While these do give the film a more general entertainment value I prefer the out and out comedy of Hope and Crosby and the songs took away from that.

This is not to say it isn't funny, but just that the duo seem to be finding their feet still. The jokes are good and the banter is sharp without being too knowing. Crosby plays the playboy very well and Hope is more controlled than usual – he is actually operating within the bounds of the film and not doing any knowing gags. This is a bit of a surprise for me as I'm used to hope being bigger than the film and interacting with the audience, but I still enjoyed it, he even worked better in the serious parts. Lamour is more understated than later films but it is strange to see a woman so clearly white portraying a woman supposed to be of ethnic origin – but I guess that's the period.

Overall this is an enjoyable film but not the Road series at it's best. Instead this is the birth of the series and the formula is in place with a solid plot and songs, personally I preferred the middle movies where they let rip with the comedy a bit more but not to the point of silliness.

"Road to Singapore" was the beginning of the "Road" pictures that teamed Bob Hope, Bing Crosby, and Dorothy Lamour together in a series of films. In this one, Bing is the heir to millions but escapes the rich life and a fiancé and winds up in Singapore with Hope. There they meet Lamour, who is escaping her obsessive dance partner (Anthony Quinn). Both guys fall for her.

There are some hysterical scenes in this film, the best being the feast that the three attend toward the end of the movie. Hope and Crosby have obvious chemistry, and in later films, this would lead to more hijinks. Have to add that the young Bob Hope was pretty darn cute. Crosby sings beautifully, as does the exotic-looking Lamour. According to Lamour's autobiography, they apparently had a blast making these films. It shows.

ROAD TO SINGAPORE owes more to the charisma of its three stars--BING CROSBY, BOB HOPE and DOROTHY LAMOUR, for its success than it does to the silly script that has the boys meeting singer Lamour in a nightclub and taking her away from the clutches of villainous ANTHONY QUINN.

The boys soon have Lamour keeping house for them and of course she falls in love with one of them--guess who? That's about it for the plot, with a few pleasant song interludes thrown in for the sake of singers Crosby and Lamour.

For fans of this series, Dorothy Lamour never looked more fetching and shows a good flair for comedy while playing straight for comic Hope and casual Bing. There's nothing special here to make it one of the more memorable "Road" films--indeed, it's rather slow in getting started and takes awhile to make the proceedings look as amiable as they become, thanks to the interplay between the three stars.

Better "Road" films were sure to follow, since this became one of Paramount's most popular films in 1940.

Bing Crosby, Bob Hope and Dorothy Lamour may never have been the Nelson Eddy and Jeanette MacDonald of the 1930s and 1940s Hollywood musicals, but anything they ever recorded during this period was better than any of the painful operetta stuff of the latter screen duo. Brilliant songs are featured once again, including `Too Romantic' and `The Willow and the Moon'.

ROAD TO SINGAPORE essentially is a romantic comedy with mass complications of playboys with serial patty-pan punching techniques, cheating people with soapsuds cleaner and both falling for Dottie. The slapstick gags featured are not as hilarious as the definitive film of the series, ROAD TO MOROCCO, but due to the enormous success of SINGAPORE, the trio's comedy skills allowed for a continuing series in which the progressing films became zanier.

Generally good direction, an agreeably funny script and a supporting cast headed by Charles Coburn only amounts to part of the fun.

However, once again Paramount, and in a more generalised context, Hollywood itself, displays its lack of understanding for foreign culture. Singapore, or the island in question, which isn't actually Singapore, looks like an extremely undeveloped Malaysia. The natives don't actually convince one of being native, nor do any of the ceremonial activities trick for one second.

Dorothy Lamour, although an exquisitely beautiful actress, does not resemble an islander native, although it isn't exactly her fault.

In the same manner, some people may find this film offensive, or any of the ROAD films because they are not a true representation for any culture. But most movies made during this period simply didn't have much regard to exact details of foreign lands. And in such a brilliant comedy, it doesn't really matter.

Rating: 10/10

I recently watched the first 4 Road to...movies and I found this one to be the least engaging. Don't get me wrong; Hope and Crosby are having a blast. The gags mostly land. The songs are humble. The film moves at a good pace. I can understand it launching the series. But the writing isn't as sharp or as meta as the series would come alone. Overall this was more of a lark than anything.

I was surprised by the fairly homosocial (if not homoerotic) subtext and it was funny squinting the story into a couple of old queens fleeing normalcy. I wish the film played up that angle a little more but you know it was 1940.

Avoiding arranged marriages, shipping heir Bing Crosby (as Joshua "Josh" Mallon) and carefree pal Bob Hope (as "Ace" Lannigan) run away to Singapore. They swear off work and women, and then find both in pretty native Dorothy Lamour (as Mima). Eventually, the men begin falling in love with Ms. Lamour, and she likes them both. They work out attractions while getting into local trouble. This was the first in an initially unplanned series of "Road to…" pictures starring Mr. Hope and Mr. Crosby, with Lamour adding the necessary sex appeal. Proving himself handy with a bull whip is handsome young Anthony Quinn (as Caesar). The pleasant soundtrack hit is Crosby's "I'm Too Romantic". An obvious screen chemistry multiplied the co-stars' individual appeal.

***** Road to Singapore (3/14/40) Victor Schertzinger ~ Bing Crosby, Bob Hope, Dorothy Lamour, Anthony Quinn

The first "Road" picture remains, in my opinion, about the best. While there's not quite as much zaniness as the rest of the films in the series, there is a solid story, and a surprisingly good bit of acting by Bob Hope in the film's more serious scenes. Plus the soundtrack has a lot of entertaining music to offer, especially "You're Too Romantic." Lots of fun from beginning to end!

Essentially, all of the Road films had the same principal actors and plot. The boys would just change locations for their adventuress. Dorothy Lamour was always thrown in as a romantic interest in the films as well. Each film would be in some exotic location, and there would be some rationale for the boys to be there and get into trouble. The films always had a happy ending and Bing Crosby usually came out on top. That was all there was to it. This simple formula made millions for the studio, Hope and Crosby. Enjoy the fun.

The first of the Bob Hope and Bing Crosby "Road" series, and not the best.

What's wrong with it? People have complained that it is plot heavy but that's a little hard to swallow because the plot could be used to stuff a portobello mushroom.

The problem, I think, is that it's too serious, if you can believe it. When one of the guys loses Dorothy Lamour he acts as if he's really hurt, which destroys the ethos of the film. Too many songs, although none of them is worse than any of the ones that were to follow.

No ipsative gags. How could there be? There can't be any reference to earlier movies like this because there were no earlier movies like this. Bob Hope acts as if he is trying to follow the plot, instead of improvising and winging it. He hasn't become quite the cowardly miles gloriosus of the later films. Crosby is saddled with a past from which he's trying to escape. And the gags -- though lingered over -- just aren't there.

Yet it's not a bad movie. Two guys go to Southeast Asia and meet a girl. Everybody's good humored. It's diverting.

You won't be depressed after you see it.

I love the "Road" series (I've seen all except "Zanzibar"), and I'm glad that someone saw the potential to become a great series that "Road to Singapore" had. I might not have seen this potential from the first film; the jokes were weaker and sparser than some of their later work. But many of the jokes were funny, and they even worked some drama in there, something missing from their later films; you can decide for yourself if this is a good thing or a bad thing. It's worth checking out, but see "Morocco" and "Utopia" first (and maybe "Zanzibar").

Bob Hope & Bing Crosby team up here for what was the start of a musical comedy franchise that would yield seven movies in total. Six of which would also feature Dorothy Lamour as the leading lady. This first outing finds the boys and Dorothy on the island of Kaigoon, where the lads are escaping from scandal and romantic entanglements and she tied to an abusive partner played by Anthony Quinn. With no money and trouble coming thick and fast, the three of them will do well to survive the week together, especially since love is once again in the air.

It's probably (in a good way) the simplicity of the plotting's that made it such a popular franchise. For the "Road" movies are in truth simple frameworks on which to hang the charming comedy contrasts of Hope & Crosby. Though Crosby is not the straight man as such, he's the more reserved part of the duo, his mannered delivery of the lines and his casual approach to the scrapes they get in blends delightfully with Hope's more crash bang characterisations. And of course they are aided by Lamour who acts as not just as a catalyst for some play off shenanigans, but also as the rose between two spiky hormonal thorns.

Road To Singapore is far from the best of the series and far from being the worst, but it holds up very well and harks back to a time when harmless innuendo, breezy pacing and a willingness to let the actors ad lib situations made for good wholesome comedy. Good songs dot themselves throughout the piece too, with the stand out being "Too Romantic" performed by Crosby & Lamour.

A lovely little piece that serves as a foundation for a much loved series. 6.5/10

Two years after arriving at Paramount, Bob Hope would make the first of his teaming-with-Bing Crosby-movies with Dorothy Lamour as the leading lady. Bing had been the studio's No. 1 star for years so he's the first billed while Ms. Lamour had also been pretty popular for awhile so she's second leaving Hope third-having just becoming established as both a radio star and the studio's most popular comedian after the phenomenal success of The Cat and the Canary. Anyway, since this wasn't originally written with them in mind, there isn't as much comedy as you'd expect if you've seen the subsequent Road movies but there are still some very amusing lines and scenes especially when Hope's radio stooge, Jerry Colonna, shows up. I was also amused when Johnny Arthur-best known to me as having played both Spanky's and Darla's father in a few Our Gang comedies-had a scene with Colonna. Overall, Road to Singapore is no great shakes but a nice start for the Road series. Next up, Road to Zanzibar.

I quite enjoyed the Bob Hope noir spoof My Favorite Brunette, which also starred Road to... straight woman Dorothy Lamour and featured Bing Crosby in a brief cameo in the last scene. What with the classic status of this particular series I assumed I would get even more of a kick out of this, the first entry, The Road to Singapore. Unfortunately the film just doesn't have much kick to give.

On the whole it's a rather dull affair that only attempts one or two comic set pieces and pads out the rest of the film with some pretty unimpressive dialog. The only bit that even brought a smile to my face was when Hope and Crosby, trying to con a native crowd into buying their sham cleaning products, recruited the hapless Jerry Colonna and proceeded to decimate his immaculate white suit. The writing is entirely by-the-numbers with very little flair for the comedic, wasting Charles Coburn as Crosby's father. Lamour is charismatic and lovable as the dancer that Hope and Crosby rescue from an abusive showman, but she doesn't get much to do besides look pretty and dispense maternal affection. I wish she'd been allowed to do a little comedy, but then the boys don't get to do much of it either, at that, so I suppose that's a bit of a moot point.

I'm a big fan of musicals from the 1930s, but the obligatory songs in The Road to Singapore are pretty flaccid and uninspired. Like those in a Marx Brothers picture you spend too much time just waiting for the singing to be over. Of course the Marx Brothers got back to their hilarious routines when the musical numbers ended, but nobody remembers to do that in this movie.

Most of the love for this series seems to be centered on one or two of the various sequels. I liked the cast of The Road to Singapore, but the problem was the material, so if future outings prepared them with a better script then I'm all for checking them out. In the meanwhile if while traveling you find this road to be the one less traveled, take the other one.

Unlike the later "Road" films, (especially the whacky "Road to Morocco", which has stayed as fresh as when it first came out of the can), this has very little to commend it to a modern audience. It lacks pace and a good plot, seeming very episodic and "flat" in places. The songs are instantly forgettable and the "exotic" settings and scenes, such as the 'native feast', must have seemed phoney and second-rate even at the time of production. Watching them today produces a cold chill of embarassment. About the only thing the film has going for it is the obvious chemistry between Hope and Crosby, (which only really begins to shine during the "cabaret" scene they put on at Crosby's intended "engagement party" and lets you realise what they could produce and would go on to do in the later films). It was presumably this which audiences responded to when the film had its first outing. We should thus be grateful for the film providing the launch pad for one of the best screen partnerships to emerge. Otherwise, try as hard as I could, I really could find little to like in it and gave it 4/10.