Peanuts White, a burlesque comic, is recruited by U.S. agents to impersonate international spy Eric Augustine (whom White resembles) in a mission to purchase a million-dollar microfilm in ... See full summary »
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.
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