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Bob Hope plays the tanglefooted chorus boy who constantly fouls things
up for producer Fred Clark and stars Tony Martin and Arlene Dahl in
this film set in the gaslight era in New York. Clark, who had the best
slow burn in film next to Edgar Kennedy, finally has had enough. He
gives Hope the royal boot, but then a big problem happens. Arlene Dahl
has attracted the unwanted attentions of a psychopathic killer played
by Robert Strauss. He attacks and nearly kills her co-star and
boyfriend Tony Martin. What to do? Get some schnook, reasons Clark, to
be a new leading man just long enough for Strauss to make his move and
cop William Demarest to nab him. I think you figured out the schnook
they had in mind.
It's a pretty funny film with Hope getting into one situation after another with his only friend being chorus girl Rosemary Clooney truly on his side. You would think that with a couple of singers like Tony Martin and Rosemary Clooney in the film they would have been given at least one duet. But the Jay Livingston-Ray Evans score is serviceable, nothing more. No hit songs came out of it for anyone.
But its classic Bob Hope and it even has an appearance by a young kid playing Bang Crosby (I kid you not). Good enjoyable fun.
BOB HOPE's screen career was still at the crest of the wave when he did
HERE COME THE GIRLS, but was soon to descend with a bunch of largely
forgettable films, beginning with CASANOVA'S BIG NIGHT in 1954. From
then on, Hope's films were less enjoyable than during his heyday when
he hit his stride in '39's CAT AND THE CANARY and had a string of
memorable comedy hits.
Hope is improbably cast as a chorus boy with two left feet (he describes himself as "the world's oldest living chorus boy"), and ROSEMARY CLOONEY is the girl who sticks by him when the going gets rough and he loses his job when fired by stage manager, FRED CLARK.
The zany plot has him chosen by the theater manager to be the bait to attract a killer called The Slasher, who is anxious to get revenge on any man close to ARLENE DAHL when leading man TONY MARTIN is unable to go on. The plot depends heavily on this one note gimmick for laughs and it does manage to get them despite the lightweight script.
Clooney and Martin both get a couple of ballads to sing, none of them the least bit memorable, and the lavish musical numbers are staged with some flair. Hope gets the laughs as things go wrong whenever he sets foot on the stage. ROBERT STRAUSS is the killer on the loose and he does a good job of combining villainy with comic skill.
Strictly second-rate stuff, but pleasantly handled by the agreeable cast. Biggest drawback is that Hope is really woefully too old for the role of the chorus boy, constantly being referred to as "the boy" throughout.
*** This review may contain spoilers ***
Frequently in Bob Hope films he portrays inept stage artists. In MY
FAVORITE SPY he's a third rate burlesque comic, Peanuts White. In FANCY
PANTS he is Arthur Tyler, who has learned too much about cue lines in
plays (he keeps jumping slightly ahead of them - which is pretty bad
usually, but worse in a stage melodrama like the play we see him in).
He does play the great vaudevillian Eddie Foy Sr. in THE SEVEN LITTLE
FOYS, but to keep his kids near him all the time Eddie has to
incorporate them into an act that is so bad it is entertaining in an
In HERE COME THE GIRLS he remains his normal inept self. He is Stanley Snodgrass, a woefully bad chorus boy who has been working in a small New York theater for years, much to the annoyance of the theater owner-producer Harry Fraser (Fred Clark). Not only is Stanley a bad dancer (lousing up the choreography) but he is annoying the leading lady Irene Bailey (Arlene Dahl) with his attentions. This is also annoying to her boyfriend and co-star Allen Trent (Tony Martin), and also unsettling to the one person in the cast who likes Stanley, chorus girl Daisy Crockett (Rosemary Clooney). Daisy (level headed girl that she appears) actually loves Stanley. Although he appreciates her interest he's too tied up throwing himself (sometimes literally) before the fed up Irene to really consider it. I may add that while Stanley's mother is all for Stanley's artistic efforts, his father Albert (Millard Mitchell) wants Stanley to settle down and take over his coal transporting business (the film is set in 1900 - coal is used for heating homes and buildings). Stanley will have none of it.
One day Stanley louses up so badly that a happy Fraser fires him. Except for Clooney the cast and company are quite happy at this decision. Unfortunately for Fraser's peace of mind Irene has won a second unwanted conquest - a local psychopathic type known as "Jack the Slasher" (Robert Strauss). He has killed several men and women for various reasons, and he now sends a message that he will kill his rival for Irene. This is a threat directed at Trent, so Fraser is beside himself: not only is the performer's life in danger, but he may lose a good leading man (Clark's characters are always "quite sentimental"). The New York Detective on the case, Dennis Logan (William Demerest) suggests that they set a trap using another patsy for the bait. Biting back his bile, Fraser rehires Stanley, and promotes him to the lead (with Trent as his understudy).
The results are quite funny, with the still inept Stanley holding center stage now of what is supposed to be a hit musical comedy. But why are so many odd things happening to him - close calls and near calamities. Daisy is concerned about this, and tries to inquire, only to be put off by Fraser and Logan. As for Stanley, he is more concerned about following through with his approach to Irene, who is sick of fighting him off (at one point she manages to knock him out). Allen, of course is not thrilled about that, nor of getting lectured about acting and singing from the new lead.
There are some great moments in the film, including a brief telephone sequence where a hopeful Fred Clark asks if Strauss has killed Hope, only to learn no such luck. A disaster with a Chinese-owned business shows Mitchell the wisdom of his son being involved in the family business. The conclusion, with Hope running amok on stage to avoid an infuriated Strauss is one of the best conclusions in Hope's films, as is the epilogue pay-off that Clooney manages to set up for Hope's benefit. Definitely one of the best of Hope's films
A light piece of fluff, but enjoyable fluff! Watch out for the last scene with the great chase - some fantastic and hilarious acrobatics done there. Bob Hope fans, you can't miss this one. Non-fans, give it a go anyway, it's so silly that you'll laugh!
Here Come the Girls is directed by Claude Binyon and written by Edmund
L. Hartmann. It stars Bob Hope, Arlene Dahl, Tony Martin, Rosemary
Clooney, Millard Mitchell, William Demarest, Fred Clark and Robert
Strauss. Music is by Lyn Murray and cinematography by Lionel Lyndon.
Hope is inept "chorus boy" Stanley Snodgrass, who after getting fired from the revue of Here Comes the Girls, gets a second chance. Unbeknown to him, though, he is being used as bait to lure serial killer Jack the Slasher out into the open.
Hearty and frothy and lush with Technicolor pleasures, Here Come the Girls is everything a committed Bob Hope fan could want. He gets to bound about with his usual energy, sing, crack sharp one-liners and flirt with a sexy woman; or two! The turn of the century setting is most appealing, the costuming equally so, and while the musical numbers are average fare, they serve good framework for Hope's goofery.
How middle class!
Around Hope, though, it's a mixed bag of performances, where it's Clark who shines brightest as the show's grouchy impresario who is literally willing the Slasher (Strauss having a great time of it) to rid him of Snodgrass! Dahl is socko sexy (check out that hour glass figure in an eye scorching purple frock), and Clooney's legs are a sight for sore eyes.
His fling is flang.
Better songs and a better director would have lifted it to greater heights, but Hope on form was usually enough to keep a comedy in credit, which is the case here. With characters called Bang Crosby and Jack the Slasher you know where the picture is at, while we also get the world's scariest clown to keep things on the black comedy simmer. 7/10
While this isn't the best of Bob Hope's movie, to a great degree
because the forgettable songs just take time away from the laughs, it's
still generally fun. Hope plays his basic idiot character, in this case
a talentless chorus boy who, in what has to be one of the most
ludicrous plot devices of the year, is cast as the lead in a musical to
protect the true star from a killer. Hope is blissfully unaware of the
reason is a sudden star.
Hope is often a bit of a jerk in his films, but he's a bit more of a jerk in this one, especially to the girl who inexplicably loves him. That bothered me more than the absurdity of the plot; how could any girl keep affection for someone who treated her so badly and really had pretty much no redeeming qualities. But then, it's a Bob Hope movie.
In 1953's "Here Come the Girls," Bob Hope is a pathetic chorus boy in a
production around the turn of the century. The leads (Arlene Dahl, Tony
Martin) want him out of the show, and his only friend is his girlfriend
(Rosemary Clooney). Finally, the producer (Fred Clark) fires him, only
to bring him back immediately. A serial killer obsessed with Dahl goes
after Martin and injures him badly. So poor Bob is put back in the show
- this time as the lead - just until the serial killer (Robert Strauss)
can go after him and, as far as everyone is concerned, hopefully kill
him. Dahl pretends to be enamored of him, and Hope starts ignoring
This is very funny Hope, the energetic, cowardly, naive Hope that everyone loved in the '40s. Unfortunately, although it's a musical, we don't get to hear much from Martin and Clooney, neither of which have a tremendous amount to do. That's a shame.
Hope, of course, couldn't play that youthful character forever; eventually his films became stale with old jokes and a staid, wisecracking Bob. But here he still shines. The beautiful Arlene Dahl is his costar. She doesn't have much to do except look dazzling, never a problem for her.
Look out for the young boy named "Bang Crosby" whom Hope meets along the way. Enjoyable film.
Unlike the typical Bob Hope film, "Here Come the Girls" is a
musical--with only a bit of comedy here and there. So, for me the film
was a bit of a disappointment--mostly because I was expecting laughs,
not song and dance numbers.
Hope plays a not particularly talented member of the chorus. His prospects to move beyond that are nil--mostly because he's not all that good. However, when a homicidal maniac begins stalking the lead in the play (Arlene Dahl), the cops and theater owners get the bright idea of putting Hope in the lead--that way, if Hope is killed due to the psycho's jealousy, at least he's easy to replace! While a normal guy would soon suspect something, Hope's character is his typical fat-headed guy who soon begins believing it when everyone begins trying to convince him he's brilliant in the part--and he is truly terrible. Rosemary Clooney's character cares about Hope and tries her best to convince him of the truth--but he's just too self-absorbed to believe her.
Throughout this clever idea for a plot, there are LOTS of musical numbers--LOTS! None of the music is particularly memorable and I felt it all bogged down the film--making the comedy come to a grinding halt again and again. Not a terrible film...just not a particularly enjoyable one.
It looks like this was the last film that Claude Binyon directed, although he did WRITE for TV and movies for another ten years after this. Both he and Hope were already about 50, so they were getting on up there. At one point, Hope even says "Look at me - the world's oldest chorus boy!" But with that supporting cast (Fred Clark and William Demarest, Rosemary Clooney, Arlene Dahl, even Nancy Kulp in a nonspeaking role -- all big names now) the show must go on.... but it just wasn't the same without BING......in this one, there's a killer on the loose, and they need Stanley Snodgrass' help to catch the killer. Fred Clark plays the same stuffy, bellowing character he played in How to Marry a Millionaire and Burns & Allen Show; here he's the show director Harry Fraser, that needs Stanley's "help". Things move a little slow without Crosby, and also the fact that its in color didn't help; might have worked better if it were done in black & white...?
Inane Bob Hope farce where the Great Bob portrays Snodgrass, a jerk who
has only succeeded at failure in his life.
He gets the show business bug and of course he is completely inept. He is about to get the heave ho in 1900 New York, until a serial N.Y. killer is bitterly jealous of co-star Arlene Dahl and her lover Tony Martin. Unknowingly, Hope is put in as a decoy for Martin and there are some hilarious moments.
Rosemary Clooney is the girl who really loves him. Unfortunately, both Clooney and Martin have little to do here except sing some ditties, none of which ever became memorable.
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