The year prior to the American declaration of war saw preparation with a draft and even movie stars were not excluded from being forced to enlist. For romantic movie idol Bob Hope, military service is the last thing on his mind, and in order to avoid the draft, he tries all sorts of maneuvers to keep out. But when colonel's daughter Dorothy Lamour encounters him, romance brings on patriotism and the results would make Hirohito laugh!Insincerity as a recruit gets him into all sorts of funny antics as the American army becomes his worst enemy as they strive to make him into a soldier. Joining in on Hope's antics is rising funny man Eddie Bracken as Hope's agent. Veteran character actor Clarence Kolb offers droll straight man slow burns as Lamour's pop. One of the potential recruits reminded me of a heavy set version of Red Skeleton. This was one of several comedies about funny men in boot camp, the most popular being Abbott and Costello's "Buck Privates".I'm surprised by some of the comedy here which the Hays code seems to have missed. In one sequence where Hope sees Lamour for the first time in a bathing suit, he squeezes his hot dog so hard that the wiener actually shoots out of the bun! Most of Hope's comedy is of the cowardly and verbal kind but when the visual takes over, make sure you aren't drinking a beverage at that time. Ironically, in one scene where Hope goes through a batch of unseen pictures, he comes across one which he identifies as Lucille the vivacious redhead. This was two years before the famous red-headed Lucille had changed her hair color! Within a year, Hope would be preparing for his own stint in the service, traveling the world to entertain the real troops!

I saw this movie 30 years or more ago and recall it being quite funny, and while it's not as funny as I remember it being, it's still an enjoyable romp with typical Bob Hope comedy. It's also a movie that portrays a pretty accommodating military. This makes sense within the context of a wartime movie - they didn't want to scare anyone away from the army - but the way Hope casually wanders off base and does various shenanigans without ever getting locked up strains credulity. As I watched this, I found myself wondering why Hope made so many movies with Dorothy Lamour. They don't have any discernible chemistry, although to be fair, Hope was such a non leading man that I'm not sure he ever had on screen chemistry with any woman. I feel like checking out some more Hope movies just to try and figure that out.

Although very well written, I think the previous review of this relatively early Bob Hope picture is a little harsh. Perhaps it is written from a professional viewpoint.As an ordinary punter that happens to be a Bob Hope fan, there are more than enough good quips and comical situations here to keep me chuckling throughout.I would class this as a picture that is simply meant to be enjoyed, rather than dissected and analysed in intimate detail. In fact, good "old-fashioned" entertainment that will provide more than a fair share of laughs on a winter's afternoon.

Not even Bob Hope, escorted by a raft of fine character actors, can save this poorly written attempt at wartime comedy, as his patented timing has little which which to work. The plot involves a Hollywood film star named Don Bolton (Hope), and his attempt to evade military service at the beginning of World War II, followed by his enlistment by mistake in a confused attempt to court a colonel's daughter (Dorothy Lamour). Bolton's agent, played by Lynne Overman, and his assistant, portrayed by Eddie Bracken, enlist with him and the three are involved in various escapades regarding training exercises, filmed in the Malibu, California, hills. Paramount budgeted handsomely for this effort, employing some of its top specialists, but direction by the usually reliable David Butler was flaccid, and this must be attributed to a missing comedic element in the scenario. A shift toward the end of the film to create an opportunity for heroism by Bolton is still-born with poor stunt work and camera action in evidence. Oddly, Lynne Overman is given the best lines and this veteran master of the sneer does very well by them. Dorothy Lamour looks lovely and acts nicely, as well, and it is ever a delight to see and hear Clarence Kolb, as her father, whose voice is unique on screen or radio, but there is little they can do to save this film, cursed as it is with an error in script assignment.