Hollywood (1942)

IIZiratlHUfldMliJcl** Jy MURIEL STOI II It ROAD TO MOROCCO ***• Paramount H They're at it again — those irrepressible Paramount fun boys, Bob Hope and Bing Crosby. And that's our good luck, for Road to Morocco, the latest in the sidesplitting Road series, is the funniest yet. Need we say more? For the unconvinced, we will. This time the boys get shipwrecked and land on the African coast. Broke and hungry, Bing sells Bob into slavery which backfires by turning out to be the closest thing to heaven Bob has ever known. He is taken to the palace of Dorothy Lamour, and he is her chosen bridegroom. Bing becomes smitten of her as well, and from there on it's a potpourri of fun and action, occasionally relevant to what started out as the story. The boys run berserk in one of the funniest scenes on record when they pull all manner of gags on the tribesmen of the African desert. This is escapist fare par excellence. MY SISTER EILEEN ***1/6 Columbia ■ Everyone will enjoy this thoroughly delightful adaptation of the popular Broadway show. The story concerns the adventures of two young ambitious girls (Rosalind Russell and Janet Blair) who arrive in New York, fresh from Columbus, Ohio, to seek careers in writing and acting. They rent a basement apartment in Greenwich Village from a phony Greek artist (George Tobias) , and then their adventures begin. The laughs come thick and fast as weird characters and amusing situations follow each other through the startled girls' room. Rosalind is kept busy trying to make ends meet on the little money they have, peddling her stories to publishers and protecting her pretty blond sister, Eileen, from the advances of every man she encounters. Romance and success finally enter her life in the person of Brian Aherne, a magazine editor, but not before several hilarious mishaps occur, including a visit from the Portuguese Merchant Marine, a conga line that ends in a street riot and a night in jail. Wonderful entertainment. GEORGE WASHINGTON SLEPT HERE *** Warners ■ When a city slicker takes over a farmhouse in a back-to-the-land gesture, the results are bound to net some comical situations. This is Jack Benny's dilemma in George Washington Slept Here; and he and Ann Sheridan, who plays his wife, Janet Blair make an excellent team in an all-around entertaining film. Everything happens to the pair in their attempt to make livable an old ramshackle colonial house in which, they are told, George Washington once slept. An unwanted relative even moves in to add to their woes. Percy Kilbride plays the dour old caretaker who has his own ideas on how to run the place. He is a fine character comedian. This is fun for all. JOURNEY INTO FEAR *** R-K-O Radio H In Journey Into Fear, Orson Welles leaves the directing chores in the hands of Norman Foster and contents himself with enacting one of the leading characters. What might have been an absorbing melodrama turns out to be only a moderately good movie. The performances are all excellent — especially Welles as Colonel Haiti, head of the Turkish secret service, and Everett Sloane, a Turkish agent. However, the plot and the characters are confusing throughout. The audience is never sure who's playing on whose team. Joseph Cotten is the hero of the film, an American naval engineer who has just completed an important survey of the Turkish Navy. The Nazis are determined that he shall not return home with his valuable information. Colonel Haiti takes him in hand and re-routes him on a slow freighter. On the boat, Cotten encounters other weird and bewildering characters and gets several good scares, but eventually the enemy agents are polished off and he is happily reunited with his wife, Ruth Warrick. Dolores del Rio makes her screen comeback as an Eurasian dancer, and is still very lovely to look at. There are any number of superb photographic scenes, but the pace is much too slow to hold attention. EYES IN THE NIGHT *** Metro-Goldwyn-Mayer | A fast-action yarn involving murder, Nazi spies and sabotage. Donna Reed finds her fiance, John Emery, murdered and accuses her step-mother, Ann Harding, of doing the deed in order to prevent the marriage. Edward Arnold, a blind detective, is called in to solve the case and clear the stepmother. He stumbles on a nest of enemy agents and cleans them up in the bargain. Some of the action credit goes to Friday, Arnold's seeing-eye dog. This is Ann Harding's first film after five years' absence. 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