Cheech and Chong fly to the marijuana capital of the world, Amsterdan, for a film festival where they take Dolly Parton and Burt Reynold's place in a limo, suite, press conference and performance. They throw in some sketches as well.
Hans Man in 't Veld
Cheech and Chong are hired to drive a limo from Chicago to Las Vegas by two shady Arabs - Mr. Slyman (Cheech) and Prince Habib (Chong). Unbeknownst to them, five million dollars of dirty money has been stuffed throughout the car.
Cheech and Chong meet up by chance on the highway somewhere in California. They go in search of some dope and are accidentally deported to Mexico where in their desperation to get home they agree to drive a van back to the States so they can get back in time for a gig they are due to play. Unaware of the properties from which the van is constructed they make their way back having aquired a couple of female hitch-hikers whilst all the time avoiding the cops whom they are not even aware are following them.Written by
Garry 'Gadget' Myles <firstname.lastname@example.org>
The payphone that Cheech Marin is talking into in Mexico was a prop. The fake phone was supposed to be stuck onto the wall with double sided tape, but it kept falling down. Because of this, Marin had to speak with his hand on the prop to keep it from falling. See more »
After getting pulled over by the stoned motorcycle cop, the scenes repeatedly switch back and forth between Chong in the driver's seat to Cheech in the back of the truck with the girls where there is only a curtain separating them. But from the back, the view beyond the curtain should be that of bright daylight but is instead total darkness indicating the back of the truck is a set. See more »
[Man has disguised himself as a woman while hitchhiking]
Hey, man; I'm glad you picked me up, man. I slept in a ditch last night, man, I was about to freeze my balls off, man.
Pedro de Pacas:
Man, I didn't even know you had any, I wouldn't of stopped.
See more »
The opening credits are in the style of spray-painted graffiti, super-imposed over Pedro's low-rider. See more »
You don't have to be a stoner to give this movie high praise
When this first came out in the theaters I passed on seeing it as it seemed like Cheech and Chong's time had come and went. I was a big fan of their comedy albums of the early and mid 70's but the movie version of their act would have been logical then but by 1978 it's time had past. Of those who did see this in the theater I couldn't get a proper read on a critical review since I could find no one who saw it in a theater that wasn't high when they went. A year or two after it came out it showed up on one of the cable movie channels and I was expecting a typical movie that takes a funny five minute skit and stretches it out to a painful non-funny 90 minutes. Director Lou Adler had never directed a movie before. He had produced the documentary rock film Monetery Pop and the cult classic Rocky Horror Picture Show and Robert Altman's quirky Brewster McCloud but he was Pop music entrepreneur as a music producer, publisher, manager and record company founder. He would only direct one other film which is too bad because with his industry connections and reputation and his natural feel for talent and getting the best out of talent being a director worked very well for him as with the help of Cheech and Chong he turned out a very very funny movie with Up in Smoke. The counter-culture stoner comedy duo take a simple theme for a story outline but the great comedic timing and sight gags and fast pacing and an their inventive approach at film making takes what should have been a low budget stoner comedy to the next level of lasting cinematic comedy. Like a Marx Brothers or WC Fields or Charlie Chaplin comedy this movie has lasting power to entertain generations. Cheech Marin and Tommy Chong star in the first of series of funny movies from the duo. A strong character cast includes Strother Martin, Stacy Keetch, Tom Skerritt and Edie Adams. Look for Gary Muledeer and Ellen Barkin too. This movie had such broad appeal that some of the most red neck, anti-counter-culture, anti-hippy/freak/doper people I have ever ever known loved it. I would give this a 9.0 out of 10.
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