Bing Crosby Movies

Anxious to remain active in the 1950s, director Frank Capra wanted to prove to Paramount Pictures that he could deliver an "A" picture on a modest budget. To that end, Capra bought the rights of his 1934 film Broadway Bill from Columbia, and remade it under the title Riding High. He then hired many of the supporting actors who'd appeared in Broadway Bill -- including Clarence Muse, Douglass Dumbrille, Ward Bond, Charles Lane and Frankie Darro -- so he could match up his newly shot scenes with stock footage from the earlier film. Capra even kept the musical costs down by having star Bing Crosby sing such public-domain favorites as "Camptown Races" (though there is one delightful original song, "We Ought to Bake a Sunshine Camera" performed without dubbing by Crosby, Muse, and leading-lady Colleen Gray). Crosby steps into the old Warner Baxter role as Dan Brooks, scion of a wealthy family who prefers hanging around racetracks to the responsibilities of his family business. Scheduled for a "proper" marriage to Margaret Higgins (Frances Gifford), the snooty daughter of millionaire J. L. Higgins (Charles Bickford), Dan infinitely prefers the company of Margaret's younger sister Alice (Coleen Gray), who loves horses as much as he. Hoping to declare his financial independence, he pins his future on a racehorse named Broadway Bill. Though not in the same league as Capra's earlier classics, Riding High is lots of fun. It is especially enjoyable for film buffs, thanks to Capra's decision to fill the picture with uncredited celebrity cameo appearances -- including Oliver Hardy, minus Stan Laurel, as an apoplectic horse player. ~ Hal Erickson, All Movie Guide

Originally released as half of the 1949 feature The Adventures of Ichabod and Mr. Toad, Bing Crosby narrates this Disney adaptation of Washington Irving's story of Ichabod Crane and the Headless Horseman. ~ Jason Ankeny, All Movie Guide

Though the Mark Twain original has been refashioned into a Bing Crosby vehicle, this 1949 musical adaptation of A Connecticut Yankee in King Arthur's Court is a lot more faithful to the Twain original than either of the two previous film versions. Crosby plays Hank Martin, a turn-of-the-century American mechanic who is conked on the noggin and awakens in sixth-century England. Captured by dull-witted Sir Sagramore (William Bendix), Hank is marched into the court of King Arthur (Cedric Hardwicke), where he uses his machine-age ingenuity to win the title of "Sir Boss." Even while incurring the wrath of the duplicitous wizard Merlin (Murvyn Vye), Hank woos and wins the lovely lady-in-waiting Alisande (Rhonda Fleming). Shocked by the appalling living conditions of the British peasants, Hank insists that King Arthur travel amongst the people in disguise so that he can experience their misery first-hand, and thereby bring about social reforms. Merlin schemes to use this opportunity to overthrow the king, but Hank foils the wizard's plans by pretending to demonstrate magical powers during a total eclipse. As a last-ditch effort to rid the kingdom of Hank, Merlin kidnaps Alisande and lures "Sir Boss" to certain doom. This scurrilous scheme segues into a much happier ending than one will find in the Twain novel. The expected "time displacement" routines are freshly handled by Crosby and company, while the songs are melodious and perfectly suited to the situations at hand. The film's Technicolor photography is another major asset. By present-day standards, the only drawback to A Connecticut Yankee in King Arthur's Court is that it goes on too long; even so, it is infinitely preferable to the recent remakes that have spewed forth from the Disney studio. Songs include: "Twixt Myself and Me," "Busy Doing Nothing," "Once and for Always", "When is Sometime," and "If You Stub Your Toe on the Moon."
~ Hal Erickson, All Movie Guide

Father Patrick Peyton, whose motto "The family that prays together stays together" was proffered weekly on his popular Family Theatre radio series, branched out into filmmaking with The Road to Peace. Originally designed for church showings, the film was given a brief theatrical release, then served as the vanguard for a series of seasonal TV specials. Helping Father Peyton to transmit his message are special guest stars Bing Crosby and Ann Blyth. The premise is that Mankind has travelled many roads in search of happiness, but only when prayer was a daily part of family life was happiness achieved. The film was lensed at 20th Century-Fox studios; later Family Theatre films would be produced through the facilities of TV syndicator Jerry Fairbanks. ~ Hal Erickson, All Movie Guide

This story of two young hopefuls who come to Hollywood is merely a thin device to feature almost every star working for Paramount Studios in 1947. Mary Hatcher plays Catherine Brown, a woman of humble origins who arrives in Hollywood, where she meets another wanna-be movie star, Amber La Vonne (Olga San Juan). They work their way through the Paramount studios, trying to impress every important person. Mostly, the film is a cavalcade of songs by various stars that take place at several studio and Hollywood locations, including the famous Brown Derby restaurant. Many of the film's songs were written by Frank Loesser. Dorothy Lamour and Alan Ladd sing "Tallahassee"; Bing Crosby and Bob Hope play golf and sing a duet, "Harmony"; the Original Dixieland Jazz Band plays "Tiger Rag"; and a host of other top performers of the era appear in brief cameos. ~ Michael Betzold, All Movie Guide

Just as Bob Hope's My Favorite Blonde (1942) was a takeoff on Alfred Hitchcock, Hope's My Favorite Brunette was a lampoon of the noirish "hard-boiled detective" school popularized by Raymond Chandler. Awaiting execution on death row, Hope tells the gathered reporters how he got into his present predicament. It seems that Hope was once a baby photographer, his office adjacent to the one leased by a private detective (played in an amusing unbilled cameo by Alan Ladd). While hanging around the p.i.'s office, Hope is mistaken for the detective by beautiful client Dorothy Lamour. She hires Hope to search for her missing uncle, and also entrusts him with a valuable map. Hope's diligent (if inept) sleuthing takes him to a shady rest sanitarium, where he runs afoul of lamebrained henchman Lon Chaney, Jr. and sinister, knife-throwing Peter Lorre. Both are in the employ of attorney Charles Dingle, who is responsible for the disappearance of Lamour's uncle. Escaping the sanitarium with Lamour in tow, Hope follows the trail of evidence to noted geologist Reginald Denny. The geologist is murdered, and Hope is accused of the crime. ~ Hal Erickson, All Movie Guide

Road to Rio was the first of three "Road" pictures jointly produced by stars Bing Crosby and Bob Hope. On the run from the law again, musicians Bob and Bing stow away on an ocean liner. They try to come to the rescue of heiress Dorothy Lamour, who is doomed to an arranged marriage to caddish George Meeker. All gratitude and effusions for their assistance, Dorothy surprises Bob and Bing on their next meeting by slapping them in their faces and declaring "I hate you! I loathe you! I despise you!" The explanation? Dorothy is being hypnotized by her scheming aunt Gale Sondergaard, who has set up the marriage for mysterious mercenary reasons of her own. When Dorothy is "herself" again, Bob and Bing smuggle her off the ship and into their Rio de Janeiro hotel room. The boys plan to save Dorothy from her unwanted marriage by passing her off as a nightclub singer, and themselves as band leaders. Trouble is, they have no band. Enter the Wiere Brothers, three Rio street entertainers. Bob and Bing hire the threesome on the spot, unmindful that they have booked themselves into Nestor Paiva's nightclub on the promise that they're delivering an American band. Since the Wieres speak only Portuguese, Bing teaches each brother an American phrase by rote: "You're in the groove, Jackson", "You're Telling Me," and "This is Murder." Naturally, it isn't long before the boys' ruse is discovered, and this coupled with the newly hypnotized Lamour's threats to have Bob and Bing arrested, leaves our heroes broke and stranded once more. Still, they pose a menace to Sondergaard, thus she contrives a method of disposing of them. Hypnotizing them both, Sondergaard orders Bob and Bing to kill each other. They snap out of the spell just in time, but still there's the problem of rescuing Dorothy. And now there's a new angle: mysterious stranger Frank Puglia informs the boys that the only way to stop the wedding is to retrieve (pause; a furtive glance left; a furtive glance right) "The Papers." Said papers are in the possession of Sondergaard, obliging Bob and Bing to show up at the pre-nuptial festival in disguise (with Bob in drag). Managing to hypnotize Sondergaard's henchmen Frank Faylen and Joseph Vitale, Bob and Bing uncover the precious Papers, and Dorothy is saved. But how can those papers stop a wedding? We won't give away the surprise, nor will we tell you whether Dorothy ends up with Bob or Bing, nor even what the heck Jerry Colonna is doing in the picture leading a cavalry charge. Not the best of the "Road" pictures, Road to Rio is nonetheless one of the most memorable--and quotable (how many of your high school pals used to confound the teacher by declaring "You're in the groove, Jackson"?) ~ Hal Erickson, All Movie Guide

The first "Road" picture in three years (the last was The Road to Morocco), Road to Utopia is set during the Alaskan gold rush. Bob Hope and Bing Crosby play a pair of third-rate San Francisco entertainers, Chester Hooton and Duke Johnson, who are obliged to skip town in a hurry. They book passage on a ship to Alaska, where they run afoul of escaped murderers Sperry (Robert H. Barrat) and McGurk (Nestor Paiva). Through a fluke, Chester and Duke overpower the killers, then get off the ship in Skagway disguised as Sperry and McGurk so that they themselves can evade the authorities. The boys can't understand why everyone is so afraid of them, nor why saloon owner Ace Larson (Douglas Dumbrille) and Larson's moll Kate (Hillary Brooke) are so chummy. It turns out that Sperry and McGurk had stolen a deed to a valuable gold mine before escaping to Alaska. Sal Van Hoyden (Dorothy Lamour) is the rightful owner of that deed, thus she too shows up in Skagway, hoping to extract the document from Chester and Duke. Whenever the plot threatens to become too difficult to follow, narrator Robert Benchley shows up to explain things -- which of course only adds to the confusion. At any rate, the whole affair ends up with Chester, Duke, and Sal running through the snowy wastes, with the villains in hot pursuit. Duke nobly stays behind to fight off the bad guys himself, handing the deed to Chester and Sal and wishing them Godspeed. Flash-forward to 1945: Chester and Sal, both old and wealthy, are reunited with their equally aged pal Duke, who wasn't killed after all. Sal tells Duke that Chester has been a wonderful husband and father. Yes, father...and wait till you see who plays their child ("We adopted him!"). ~ Hal Erickson, All Movie Guide

In this follow-up to director Leo McCarey's Going My Way (1944), Bing Crosby repeats his Oscar-winning characterization of happy-go-lucky priest Father O'Malley. The good father is sent to help out financially strapped St. Mary's Academy, a parochial school presided over by lovely nun Sister Benedict (Ingrid Bergman). The film is constructed in anecdotal fashion: Nun and priest gently quarrel over teaching methods; they help patch up the tottering marriage of William Gargan and Martha Sleeper; Sister Benedict plays baseball and teaches a student how to box; Father O'Malley softens the heart of the man who holds the mortgage (Henry Travers) by convincing the poor fellow that he's only got a few months to live; and the kids of St. Mary's put on a much-revised stage version of the Nativity, complete with a chorus of "Happy Birthday" on the occasion of the Virgin Birth. A huge hit at the box office, Bells of St. Mary's was nominated for nine Academy Awards. ~ Hal Erickson, All Movie Guide

Several of Paramount Pictures brightest stars make cameo appearances in this comedy set in "Duffy's Tavern," a favorite watering hole from old time radio shows. The trouble begins when the neighborhood bar is in danger of closing. The trouble begins when the proprietor, Archie, discovers that one of his regulars, Michael O'Malley, owner of a record company is going broke. This means that many veterans will soon be unemployed and therefore, unable to pay their tab at the tavern. Archie immediately begins recruiting famous stars to donate their services and help. They do, the record company is saved and so is the tavern. ~ Sandra Brennan, All Movie Guide

This peppy wartime musical stars Bing Crosby as radio crooner Johnny Cabot, the heartthrob of millions. To escape his frenzied fans, Johnny joins the Navy, where is he ordering to aid a WAVE recruiting drive. He is helped(?) in this endeavor by Betty Hutton, amusingly cast in a dual role as twin sisters Susie and Rosemary, one a shy retiring brunette, the other a bold and brassy blonde (Vera Marshe doubles for Hutton is some scenes). Part of Johnny's recruiting strategy is to stage a musical show, as good an excuse as any for a steady stream of bouncy musical numbers. This is the film in which Bing Crosby and Sonny Tufts, both in blackface, introduce the Johnny Mercer-Harold Arlen standard "Ac-Cent-Tchu-Ate the Positive." Sharp-eyed viewers will spot Yvonne de Carlo, Mona Freeman, Mae Clarke, and Noel "Lois Lane" Neill in small roles. Here Come the Waves was partially remade by Martin & Lewis as Sailor Beware. ~ Hal Erickson, All Movie Guide