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Bank teller and widower with seven kids, Bob Hope finds $10,000 in a parking lot. His luck quickly changes when it's discovered that his bank discovers a substantial money shortage in their books. Now Hope and his large family are forced to take it on the lam. His children's baby-sitter Phyllis Diller protects Hope from her dim-witted cop boyfriend Jonathan Winters while he hides out, hoping to get to the true cause of his dilemma. Past and future "Bond Girls" Shirley Eaton ("Goldfinger") and Jill St. John ("Diamonds Are Forever") play a schoolteacher and a gold-digger and Winters plays his own mother! Written by
In a plot borrowed somewhat from Double Dynamite, bank teller Bob Hope finds $10,000.00 in thousand dollar Grover Cleveland notes in a parking lot. He's real happy until it's discovered at his bank that they're short $50,000.00 in their books. Who seems to have come into some money? Nobody but old ski nose so he has to take it on the lam.
That's not easy considering he's a widower with seven kids. Hope's also got a babysitter played by Phyllis Diller. He leaves her behind, but she proves to be quite an asset behind enemy lines so to speak, especially with her cop boyfriend, Jonathan Winters.
Bob Hope gets only about a third of the laughs with Diller and Winters nicely splitting the rest. Winters does a repeat of his role as the dim bulb truck driver from It's A Mad Mad Mad Mad World only here he's a dim bulb of a cop. If it isn't Hope, it's Diller constantly getting the better of him. Winters does a cameo appearance also as is own mother in that little old lady masquerade he was known for.
Of course the mystery is solved, in this case almost by sheer dumb luck and Hope winds up with school teacher Shirley Eaton and Diller with Winters despite all her obstruction of justice. It's how it is done that you have to see the film for.
Look also for a nice performance by Jill St. John as the gold digging femme fatale who inspires embezzlement. Eight on the Lam is nicely directed by comedy veteran George Marshall who's put Hope through all his paces before. It's a bit better than most of Hope's later work in the sixties.
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