The Horse's Head

#449) Shaft (1971)

OR “Stop! Or This Mother Will Shoot”

Directed by Gordon Parks

Written by Ernest Tidyman and John D.F. Black. Based on the novel by Tidyman.

Class of 2000

The Plot: Richard Roundtree is John Shaft, the black private dick that’s a sex machine to all the chicks. Shaft is summoned to the office of Harlam’s organized crime boss Bumpy Jonas (Moses Gunn), who hires Shaft to track down his kidnapped daughter Marcy (Sherri Brewer). Shaft uses his connections with the police department as well as with other gangs to track down the kindappers, learning in the process about an all-out race war the local Mafiosi is planning. Luckily, Shaft is the cat that won’t cop out when there’s danger all about.

Why It Matters: The NFR praises the film’s “vibrant life”, highlighting Gordon Parks, Richard Roundtree, and composer Isaac Hayes.

But Does It Really?: It’s far from a perfect movie, and the blaxploitation genre is a tricky one to discuss through a modern lens, but if you’re willing to go along with it, “Shaft” manages to still be a fun ride 50 years later. In an era dominated by anti-heroes and racial oppression, Shaft tows the line as a strong African-American lead who talks back to the white establishment, solves the mystery, and gets the girl (several girls, actually). Everything about “Shaft” has remained iconic after all these years, from Richard Roundtree’s performance to Isaac Hayes’ unforgettable opening number. No argument here for the inclusion of “Shaft” on the NFR.

Shout Outs: One of Bumpy’s henchmen calls Shaft “Snow White”. Plus be on the lookout for “MASH” and “Patton” playing on a double bill.

Everybody Gets One: Richard Roundtree was one of the first members of New York’s Negro Ensemble Company, and “Shaft” was his first starring role in a movie, and only his second film! Although he will always be John Shaft, Roundtree has spent the last 50 years working in both film and television.

Wow, That’s Dated: “Shaft” is one of several NFR entries that highlight the gritty, dirty New York of the 1970s, to say nothing of the complex race relations of the immediate post-Civil Rights era.

Title Track: Isaac Hayes auditioned to write the score for “Shaft” by composing the opening sequence. The producers loved Hayes’ submission, and he got the job. The opening theme was originally an instrumental, and MGM requested that Hayes write some lyrics. Hayes jotted down the lyrics in 20 minutes, and the rest is history.

Seriously, Oscars?: “Shaft” was an unexpected hit, and saved MGM from bankruptcy (for the time being). Isaac Hayes received two Oscar nominations for the film; he lost Original Score to Michel Legrand for “Summer of ‘42” (seriously, Oscars?), but “Theme from Shaft” won Best Song, making Hayes the first African-American to win the award. Hayes’ performance of the song on the Oscar telecast is still considered one of the best musical numbers in Oscar history (low bar, but still…).

Other notes

• “Shaft” is a total 180 from Gordon Parks’ other NFR entry; the gentle coming-of-age drama “The Learning Tree“. Parks said he chose “Shaft” as his next film to prove to studio heads that he could direct a wide variety of films. Parks’ single greatest artistic choice was casting a black actor as Shaft (the character was white in the original novel). This was a conscious effort by Parks to “appeal to a black urban audience, along with contiguous white youths.”
• What can I say about that opening? Roundtree makes the simple act of walking look impossibly cool, and Hayes’ song amps everything up. Side Note: Look for a copy of Essence Magazine in the newspaper stand. The magazine was co-founded by…Gordon Parks! Man, he had a finger in every pie!

• Speaking of, Parks’ former life as a photographer comes through in the film’s distinctive but never distracting cinematography, courtesy of cinematographer Urs Furrer. Like Hayes’ score, Furrer’s camera always presents Shaft as a man on the move.
• Shoutout to Off-Broadway legend Moses Gunn, giving a nice noir touch to Bumpy Jonas.
• This movie does not shy away from the complexity of Shaft working within a predominantly white police force. Part of Shaft’s relatability is his outsider status to everyone in this movie: the black characters feel he’s sold out to the white characters, and the white characters refuse to see him as their equal. It’s a tricky line to walk, but Roundtree covers it without evoking false sympathy for the character.

• Stage actor Rex Robbins plays Rollie, one of the first openly gay characters in a mainstream movie. Sure, he’s a one note stereotype, but in the age of “The Boys in the Band” this is as good as it gets.
• The rescue mission finale may be a bit extreme, but it’s also a lot of fun. You’ve spent all this time with Shaft and seen what he’s up against, and this all culminates in a very satisfying ending.

Legacy

• While not the first blaxploitation movie (Hey there, “Sweet Sweetback”), “Shaft” was the first to have crossover success, and greatly influenced the genre. Many will look to the work of Pam Grier and Melvin Van Peebles, but I, as always, will single out “Blacula”. It’s the King of Cartoons, you guys!

• “Shaft” received two immediate follow-ups, both with Roundtree reprising his role. Like many a sequel to a classic movie, “Shaft’s Big Score!” and “Shaft in Africa” saw diminishing returns compared to the original.

• Richard Roundtree also returned to play Shaft in the 1973 TV series of the same name. The subject matter was toned down for primetime CBS, and the series was cancelled after seven episodes.

• “Shaft” has had not one, but two soft reboots. The 2000 update (also called “Shaft”) saw Samuel L. Jackson as the nephew of Richard Roundtree’s Shaft. The 2019 update (also called “Shaft”) saw Jesse T. Usher as the son of Samuel L. Jackson’s Shaft, and the grandson of Richard Roundtree’s Shaft (retconning their relation in the 2000 film). Neither of these reboots caught on with moviegoers.

• And of course, Isaac Hayes’ career skyrocketed following the success of “Shaft”, and while he had an over 30 year run as a composer and musician, he is probably best remembered as Chef from “South Park”.

Listen To This: Unsurprisingly, the original soundtrack of “Shaft” is on the National Recording Registry. The Registry’s write up calls the album “as innovative and exciting as the film”, and includes an essay by Blaxploitation expert Josiah Howard. Right on.

Further Viewing/Listen To This, Too!: Gordon Parks’ son, Gordon Parks Jr., also made a popular, influential blaxploitation film: 1972’s “Super Fly”. The film itself has yet to make the Registry, but its soundtrack made the National Recording Registry in 2018.

#448) The Shop Around the Corner (1940)

OR “Love at First Draft”

Directed by Ernst Lubitsch

Written by Samson Raphaelson. Based on the play “Parfumerie” by Miklós László.

Class of 1999

The Plot: The shop of the title is a leathergoods store in Budapest, Hungary run by Hugo Matuschek (Frank Morgan). New hire Klara Novak (Margaret Sullavan) impresses everyone except longtime employee Alfred Kralik (James Stewart), and the two constantly clash. What neither of them realizes is that they are each other’s anonymous pen pals, trading love letters that begin with a simple “Dear Friend”. As Matuschek gets ready for a busy holiday season, Alfred and Klara learn to respect each other at work, while continuing to fall for each other over their correspondence. It’s a classic rom-com setup that can only be improved by the Lubitsch touch.

Why It Matters: The NFR calls the film one of Lubitsch’s “most enduring work” and gives a rundown of plot and subsequent remakes. There’s also an essay by writer and film expert Kevin Bahr.

But Does It Really?: “Shop Around the Corner” is definitely a minor classic, but still a wonderfully enjoyable film. The film’s ‘90s remake is better known today, and while it comes close, it can’t top this film’s genuine warmth and wit. “Shop” isn’t an essential in film history, but its pleasant presentation, as well as its ongoing legacy, has ensured it a welcomed spot on the Registry.

Everybody Gets One: Stage actor Margaret Sullavan only agreed to sign with the film studios (“jails” as she called them) on the condition she could continue to pursue the theater as well. Despite much acclaim (and an Oscar nomination for 1938’s “Three Comrades”), Sullavan only made 17 films in her lifetime, four of them with James Stewart, whom Sullavan helped turn into a star. She could be temperamental (allegedly she was the only person Louis B. Mayer was afraid of), and her later tragedies have overshadowed her filmography, but thankfully “Shop Around the Corner” survives and helps preserve a brief yet important acting career.

Wow, That’s Dated: Well obviously the concept of being anonymous pen pals through snail mail, as well as the gender politics of the ‘40s. And this time on “We Suck at Inflation”: Albert’s monthly salary of $200 a month would be $3600 today!

Seriously, Oscars?: Despite the healthy Oscar turnout for Lubitsch’s previous film, “Ninotchka”, “The Shop Around the Corner” was completely ignored at the 1941 ceremony. My guess: the movie’s January release sunk its chances. MGM’s Best Picture contender that year was “The Philadelphia Story”, which would earn James Stewart his only competitive Oscar.

Other notes

• A sign of Margaret Sullavan’s star power at the time: she gets top billing over Jimmy Stewart, whose star-making turn in “Mr. Smith” was released during this film’s production.
• The cast is filled with the kind of rich supporting players you come to expect from the classic studio films. Frank Morgan is giving as flustered and touching a performance as he does in “The Wizard of Oz”, and Joseph Schildkraut’s brown-nosing Ferencz Vadas is a full 180 from his Oscar-winning turn in “The Life of Emile Zola”. And special mention to Lubitsch regular Felix Bressart, who looks like an older Groucho Marx.
• This movie does an excellent job of portraying the oft-frustrating world of customer service. From impossible customers to complex co-worker relationships and cryptic bosses, working retail has not changed too much in 80 years.
• This entire film takes place in Budapest’s famous “No Accent” district.
• Margaret Sullavan has an excellent grasp on this movie’s dialogue; she makes it come across as genuinely clever, rather than spouting a screenwriter’s honed wit. And if she can sell the movie’s musical cigar box, she could sell a pen to Leonardo DiCaprio!

• In one early scene, Jimmy Stewart and Frank Morgan do the perfect synchronized double take. Forget the Oscars, give them an Olympic medal.
• Best line in the movie: “Keep the change, send your boy to college.”
• Things take a dark turn as Mr. Matuschek learns of his wife’s infidelity and attempts suicide. Wasn’t there a love story in this movie? I guess I should have expected this darkness within a comedy from the man who would bring us “To Be or Not To Be”.
• The joy in the movie is watching Jimmy Stewart interact with Margaret Sullavan once he finds out she’s his pen pal. Each scene plays out with these two characters’ predicaments perfectly defined, making for a nuanced, fun viewing.

• Klara corrects Albert on his error that Emile Zola wrote “Madame Bovary”. Perhaps Vadas can recommend a few Zola titles.
• The best shot in the movie is the wonderfully cinematic shot of Klara finding an empty PO box, filmed from behind the PO box, focusing solely on Klara’s hand as she reaches in. It’s lovely.

• As expected, Jimmy Stewart’s natural sweetness helps smooth his character’s rough edges. Albert could have definitely been a bigger jerk if played by someone else.
• I didn’t realize Jimmy Stewart has another Christmas movie. And this one spends more time in the holiday season than just the last 10 minutes.
• “The Shop Around the Corner” ends the way all good movies should end, with Jimmy Stewart showing off those gams!

Legacy

• While the original play of “Parfumerie” seems to have disappeared, its musical adaptation lives on. Just before penning their career defining “Fiddler on the Roof”, Jerry Bock & Sheldon Harnick composed “She Loves Me”, which still enjoys revivals over 50 years later.

• MGM, always quick to remake a story they already owned, turned “Shop Around the Corner” into the 1949 Judy Garland musical “In the Good Old Summertime”. The story is transplanted to Chicago, and offers a brief uncredited film debut by three-year-old Liza Minnelli.

• But the film’s most memorable remake came in 1998, with Nora Ephron’s “You’ve Got Mail”, starring Meg Ryan and Tom Hanks (aka his generation’s Jimmy Stewart). The story became about two rival bookstore owners who bond anonymously over the internet. Ah, we were so innocent then.

Further Reading/Viewing: Margaret Sullavan’s daughter Brooke Hayward (a successful actor in her own right) wrote the 1977 memoir “Haywire” about her mother and their difficult family life. The book was a bestseller, and is considered far superior to the “Mommie Dearest”-style tell-alls of the time. “Haywire” was later turned into a TV movie starring Lee Remick and Jason Robards.

#447) The Immigrant (1917)

OR “Charles in Charge”

Directed by Charles Chaplin

Written by Chaplin, Vincent Bryan, and Maverick Terrell

Class of 1998

The Plot: An unnamed immigrant who looks a lot like the Tramp (Charles Chaplin) travels to America by boat. On the voyage over, he meets a beautiful woman (Edna Purviance) and attempts to win money for her and her mother from the ship’s gamblers. Some time later, the Tramp, alone and broke in America, happens to reunite with the woman at a restaurant, where he tries to hide his lack of money from their imposing waiter (Eric Campbell). There’s plenty of comedy, and a little pathos in Chaplin’s earliest NFR entry.

Why It Matters: The NFR gives a brief rundown, highlighting the film’s take on “the uniquely American immigrant experience”. As always, Chaplin expert Jeffrey Vance is on hand with an essay.

But Does It Really?: This is definitely what I call a “Stepping Stone” NFR movie: an early film from a prominent director that, while it pales in comparison to their later work, helped set the foundation for them to achieve said later work. While “The Immigrant” possesses Chaplin’s trademark blend of comedy and pathos, neither is at the level we know Chaplin is capable of. A pass for “The Immigrant”; an important stepping stone, if not essential Chaplin.

Everybody Gets One: While appearing in the Broadway musical “Pom-Pom”, Eric Campbell was approached by Chaplin to join his stock company of actors at Mutual. As in “The Immigrant”, Campbell often played the heavy, his large frame towering a full foot over Chaplin’s Tramp. Chaplin intended to take Campbell with him once he left Mutual, but Campbell suddenly died of a heart attack shortly after Chaplin signed with First National.

Wow, That’s Dated: Mainly the idea that America is welcoming to immigrants. We as a nation have definitely dropped the ball on that one.

Other notes

• Chaplin developed his Tramp persona during his time at Keystone Studios (the Tramp’s first appearance was in a Mabel Normand vehicle). After Mack Sennett refused to give him a raise, Chaplin jumped ship to Essanay Film, where he honed his directing skills and became a nationwide success. In 1916, Chaplin’s Essanay contract expired, and while several studios made him offers, he ultimately went with the Mutual Film Corporation, who gave him his own studio and an annual salary of $670,000 (almost $16 million today).
• As he would do with his later features, Chaplin improvised the plot of “The Immigrant” as he went along. The second half in the restaurant was filmed first, with Chaplin realizing later that he needed a backstory for how the Tramp and Purviance’s character ended up penniless. Chaplin based the first half of the film on his own experience immigrating to America.
• To achieve the effect of a ship at sea, Chaplin had the boat sets placed on rockers, and had a special camera mounted on a pendulum. The result is one of the film’s few bits that show the promise of Chaplin’s future career.
• As with many of Chaplin’s shorts, the leading lady is his real-life partner Edna Purviance. Their relationship dissolved shortly after “The Immigrant”, but she continued to work his Chaplin, even playing the mother in “The Kid”.
• Practically every man in this movie is sporting the “Jerry Colona” style moustache.
• I laughed out loud at the Tramp maintaining his gunpoint on his fellow passenger, even while turning around to pick something up.
• If you didn’t know Campbell was a stage actor, his makeup job is your first clue. Those eyebrows are playing to the back of the house.
• The sequence of the Tramp trying to pick a coin off the floor is another germ of a great Chaplin bit.
• I was fine with this movie until the ending. The Tramp forces the woman to get married? That’s not a happy ending at all! She doesn’t even have a name!

Legacy

• Of his early shorts, Chaplin always cited “The Immigrant” as his favorite. He also considered his time at Mutual the happiest of his career.
• “The Immigrant” was the 11^th of Chaplin’s 12 shorts for Mutual. Following “The Adventurer”, Chaplin left Mutual to form his own production company, with the leap to features not too far away.
• “The Immigrant” is one of many films whose production is touched upon in Richard Attenborough’s “Chaplin”.

• Unfortunately the most lasting impact “The Immigrant” had was on the downfall of Chaplin’s American career. During the Red Scare of the early ’50, the powers at HUAC were looking for any evidence to single out Chaplin’s supposed un-American behavior, and a scene from “The Immigrant” of the Tramp kicking an immigration officer was all it took. In 1952, Chaplin was denied re-entry in the United States, and while he could have fought it, Chaplin instead vowed never to return to “that unhappy country”, a promise he kept for 20 years.

#446) Harold and Maude (1971)

OR “My Old Lady”

Directed by Hal Ashby

Written by Colin Higgins

Class of 1997

The Plot: Harold Chasen (Bud Cort) feels isolated living in a large manor with his superficial mother (Vivian Pickles), and has developed a morbid outlook on life, staging suicide fake-outs and attending funerals. At one funeral he meets Maude Chardin (Ruth Gordon), a free-spirited woman pushing 80. Despite the vast age difference, Harold and Maude connect with each other, and spend time together every day. Through his time with Maude, Harold learns how to truly live and love, all with an incessant Cat Stevens soundtrack.

Why It Matters: The NFR cites the film’s “warm humor and big heart that lies beneath the darkness” and traces the film’s cult following.

But Does It Really?: “Harold and Maude” can be a bit divisive, but thankfully I was charmed by it, thanks to the work of Cort and Gordon, who find a convincing balance between the film’s dark comedy and lighter sweetness. Time has been kind to “Harold and Maude”, aided by the onslaught of quirky indie rom-coms inspired by it. “Harold and Maude” isn’t an untouchable classic, but it is an influential movie with a devoted cult following, and that’s good enough for a place in the Registry.

Everybody Gets One: Colin Higgins became interested in making movies after seeing a film exhibit at Montreal’s Expo ’67. His master thesis at UCLA would serve as the inspiration for “Harold and Maude”. Higgins wanted to direct “Harold” once it was optioned by Paramount, and shot a “screen test” to get the job, but Paramount opted for Hal Ashby, fresh off his directorial debut “The Landlord”. Ashby hired Higgins as a co-producer so that Higgins could be on set and learn how to direct.

Wow, That’s Dated: “Songs composed and performed by Cat Stevens”. Other than that, be alert for references to the sexual revolution, wife-swapping, and then-President Nixon.

Seriously, Oscars?: “Harold and Maude” wasn’t successful with critics or audiences (with a few exceptions, see “Legacy”), and was completely ignored by the Oscars. Cort and Gordon did, however, manage Golden Globe nominations for their work, losing respectively to Topol for “Fiddler on the Roof” and Twiggy for “The Boy Friend”.

Other notes

• Bay Area residents like myself should enjoy spotting all the local spots used for filming “Harold and Maude”. Look out for San Francisco’s Sutro Baths, Colma’s Holy Cross Cemetery, San Bruno’s Golden Gate National Cemetery, and the Santa Cruz Beach Boardwalk.
• Bud Cort somehow looks both 12 and 40 years old at the same time. For the record, he was 22 during production.
• Shoutout to Vivian Pickles as Harold’s appropriately distant mother. A veteran of English cinema, this was Vivian’s only American-based film.
• In yet another case of Hollywood casting a younger woman, 73-year-old Ruth Gordon played 79-year-old Maude. Very disappointing. That being said, it’s fun watching Ruth Gordon’s natural feistiness being put to use for something other than helping sire the spawn of Satan.
• Technically there’s a 51-year difference on the Michael Douglas scale, but there’s definitely a double standard at play.

• Cat Stevens’ soundtrack will forever be associated with this movie, but for me, “Tea for the Tillerman” belongs to “Extras”.
• This film may include the first instance of computer dating. Even back then it was the worst.

• The chase between Harold & Maude and the motorcycle cop is certainly one of filmdom’s most unique car chases. Fun Fact: The cop is played by Tom Skerritt, credited as “M. Borman”, a riff on ex-Nazi Martin Bormann.

• Extra Fun Fact: Ruth Gordon couldn’t drive in real life.
• “L-I-V-E, Live!” Maude is a walking Facebook post.

• Unsurprisingly, this film is well edited. Ashby got his start as the editor for such films as “In the Heat of the Night” and “The Thomas Crown Affair”. This film’s editing team was William A. Sawyer and Edward Warschilka, Ashby’s associates from “The Landlord”.
• My favorite shot in the movie is Harold’s reaction to the question, “What’s hari-kari?” Bud Cort takes a comic pause that would make Jack Benny proud.

• Director Hal Ashby makes a cameo as the long-haired bearded fellow mesmerized by the train set on the boardwalk.
• Cort and Gordon are lovely together, but the implication of their last night together is more than enough. Any more visuals and I would have sided with the priest on this one.

• And Ashby leaves us with an ambiguous ending that still leaves them guessing 50 years later. I say it’s no different than having your lead walking on water.

Legacy

• “Harold and Maude” turned most people off on its initial release (Vincent Canby called it “creepy and off-putting”), but it was a surprise hit in Detroit and Minneapolis, playing for several years and developing a cult following. Screenings continued throughout the ‘70s, and by 1983 the film had turned a profit.
• Post-“Harold”, director Hal Ashby helmed a string of successful ‘70s character studies including “Shampoo”, “Bound for Glory”, “Coming Home”, and future NFR entry “Being There”.

• Colin Higgins spent the ‘70s and early ‘80s as a successful screenwriter, and eventually director. His filmography includes “9 to 5”, “Silver Streak”, “Foul Play”, and “The Best Little Whorehouse in Texas”.

• Higgins had plans for a sequel called “Harold’s Story” (which would have ruined this movie’s ambiguous ending), as well as a prequel in which Maude teams up with Grover Muldoon, Richard Pryor’s character from “Silver Streak”. What could have been if the Higgins Cinematic Universe had gotten the green light.
• A 1973 stage adaptation by Jean-Claude Carrière became an unexpected hit in Paris for ‘30s film star Madeleine Renaud, who later toured the U.S. as Maude. An American adaptation starring Janet Gaynor opened and closed on Broadway in February 1980 after four performances.
• Among the filmmakers influenced by “Harold and Maude”: Wes Anderson, Cameron Crowe, and Judd Apatow, who named his daughter after Maude.
• As for Harold and Maude themselves; Ruth Gordon spent her remaining years playing variations of Maude on film and TV; and while a car accident in 1979 threatened to derail Bud Cort’s career, he has continued to work steadily. He even had his own courtroom show around 2006!

Listen to This: There’s no Cat Stevens/Yusuf Islam on the National Recording Registry? That seems like an obvious oversight.

#445) Road to Morocco (1942)

OR “Bad Harem Day”

Directed by David Butler

Written by Frank Butler and Don Hartman (with assists from Bob and Bing’s writers)

Class of 1996

The Plot: After a freighter explodes out at sea, the ship’s stowaways Jeff & Orville (Bing Crosby & Bob Hope) wash ashore on the generic Middle Eastern set piece Paramount calls Morocco. In an attempt to get money, Jeff sells Orville to a mysterious buyer, who turns out to be the beautiful Princess Shalmar (Dorothy Lamour). Orville becomes engaged to the Princess, but her jilted betrothed Sheik Kasim (Anthony Quinn) has other plans. And that’s about it plot wise; the rest is Hope & Crosby’s trademark banter, a couple of songs, and lots of low-key racism.

Why It Matters: The NFR gives a brief rundown with no superlatives, but there is a much more appreciative essay by Bob Hope expert Richard Zoglin.

But Does It Really?: I wanted to like “Road to Morocco”, and while Hope and Crosby’s natural chemistry led to some laugh-out-loud moments, ultimately the film’s massive appropriation of Middle Eastern culture spoils any modern viewing. The “Road” movies were popular enough and have a long enough legacy to warrant NFR inclusion, but at this point the film is being held up on its reputation.

Shout Outs: Quick asides from Bob Hope referencing both “Wuthering Heights” and “Uncle Tom’s Cabin”.

Everybody Gets One: Director David Butler’s career spanned 40 years, helming two Shirley Temple vehicles (“Bright Eyes” and “The Little Colonel”) as well as previous solo vehicles for Bob Hope and Bing Crosby. Despite their past experience, “…Morocco” was Butler’s only “Road” movie. This is also the only NFR appearance for Dorothy Lamour, who, despite her European heritage and New Orleans upbringing, was often cast as the exotic “Sarong Queen” character, a typecast her work in the “Road” movies is spoofing.

Wow, That’s Dated: Where to begin? First of all, my apologies to the country of Morocco, its citizens, people of Moroccan descent, and anyone who has ever been to Morocco. This movie is 90% brownface and white washing. Massive cultural appropriations aside, the movie references such ‘40s culture as the movie “Here Comes Mr. Jordan”, the radio series “Hobby Lobby” (not the chain), organized crime syndicate Murder, Inc., and a “Ball of Fire” level of ‘40s slang.

Title Track: We have a title song! Like the rest of this movie “(We’re Off on the) Road to Morocco” is fun, but bogged down by its datedness.

Seriously, Oscars?: “…Morocco” was one of the biggest hits of 1942 (and the most successful of the “Road” movies). The film received two Oscar nominations and lost both to other NFR fare: Best Sound Recording to “Yankee Doodle Dandy” and Best Original Screenplay to “Woman of the Year”.  Neither the title number nor “Moonlight Becomes You” were up for Best Song.

Other notes

• “Morocco” was the third of Bob & Bing’s “Road” movies, following 1940’s “…Singapore” and 1941’s “…Zanzibar”. Dorothy Lamour always played the woman the boys fought over, hence her shoutout in this movie before she has appeared on screen.
• The previous two Road pictures were based on pre-existing stories, “Morocco” being the first tailored specifically to Bob Hope and Bing Crosby. Much of their dialogue was punched up on set by the writers of their respective radio programs. Despite the pair’s breezy repartee, none of the “Road” movies were improvised.

• My first LOL moment: “When they’re dead, they’re dead.” “Not Aunt Lucy; she’s a Republican.”
• And then the movie officially loses me. In an attempt to get free food in the Moroccan marketplace, Crosby suggests that Hope pretend to be “an idiot”, complete with stereotypical developmental disability and speech. I am still speechless at this level of insensitivity. There are still some enjoyable moments in this movie, but it never fully won me back. On the plus side, if Hope mocked the developmentally disabled today, he could be our president.
• Dorothy Lamour is about as Moroccan as Morocco Mole from “Secret Squirrel”. Meanwhile, Warner Bros. is making “Casablanca” across town…
• This movie confirms my suspicion that both Bob Hope and Bing Crosby work best in short spurts (“Going My Way” being the exception). The two of them together are fun, but this movie runs out of momentum sooner than it should.
• As always, I’m surprised when a classic song was written for a specific scene in a specific movie, in this case “Moonlight Becomes You”.

• Tonight on “What Nationality Are They Making Anthony Quinn Play This Week?”: Mexican-born Quinn is playing an Arab sheik, and it won’t be the last time.
• As previously stated, this was the third “Road” movie, which explains why there are so many jokes about all of this happening again. The one thing that doesn’t come across is the boys’ “patty-cake” routine, in which they would play patty-cake to distract the bad guy and then sucker punch them. “Morocco” changes up the bit, which doesn’t play if you’ve only seen this movie.

• Best fourth-wall break in the film: Crosby, upon learning that some moviegoers showed up late to their movie: “You mean they missed my song?”
• Things get real weird at the end. A wishing ring turns Hope into a monkey, there’s a lot of slapstick in the finale, and to top it all off; talking camels. This movie’s trying too hard to win me back.

Legacy

• “Morocco” was a hit, and while both Bob Hope and Bing Crosby saw their stars continue to rise, there wouldn’t be another Road movie until 1946. “…Utopia” was followed by “…Rio”, and eventually “…Bali” and “…Hong Kong”. An attempt to revive the series in the ‘70s (the aptly named “Road to the Fountain of Youth”) was cancelled following Crosby’s death in 1977.

• “Moonlight Becomes You” has become a Great American Songbook standard, but it’s Bing’s recording that is still the best known.

• Many later comedies have attempted to emulate the laid-back fun of the Road movies. Sometimes you’d get “Spies Like Us”, and sometimes “Ishtar”.

• “Family Guy” has done several “Road” episodes centering around Brian and Stewie. The first one even has a parody of the “Road to Morocco” song. As of 2016 the show has done more “Road” episodes than there were “Road” movies.