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They called Bob Hope America's court jester. | 0:00:14 | 0:00:18 | |
He was the funnyman who became an institution, | 0:00:18 | 0:00:22 | |
friends with every President from Eisenhower to Bill Clinton | 0:00:22 | 0:00:26 | |
and with everyone who was anyone in Hollywood. | 0:00:26 | 0:00:30 | |
He hosted the Oscars more times than anyone else | 0:00:30 | 0:00:33 | |
and was once the world's highest paid TV star. | 0:00:33 | 0:00:37 | |
But this icon of America was actually born in England, | 0:00:37 | 0:00:41 | |
in Eltham, south London, | 0:00:41 | 0:00:43 | |
which makes him one of Britain's greatest gifts to American comedy. | 0:00:43 | 0:00:47 | |
And, as we'll see, his English roots were something | 0:00:47 | 0:00:51 | |
he'd frequently refer to during his many visits here. | 0:00:51 | 0:00:55 | |
I want to say right here that I was born in England. | 0:00:55 | 0:00:57 | |
I say that in the hope that those of you | 0:00:57 | 0:00:59 | |
who don't have a sense of humour will at least be patriotic. | 0:00:59 | 0:01:02 | |
LAUGHTER | 0:01:02 | 0:01:04 | |
No, it's true. It's true, I was born here in England. | 0:01:07 | 0:01:10 | |
Of course, I was marked for export, but it's a great thing... LAUGHTER | 0:01:10 | 0:01:14 | |
A lot of people don't believe it, | 0:01:14 | 0:01:16 | |
but I first saw the light of day right here in England. | 0:01:16 | 0:01:19 | |
I think I was nine at the time. LAUGHTER | 0:01:19 | 0:01:21 | |
Fog, you know. LAUGHTER | 0:01:25 | 0:01:27 | |
We don't have fog in Los Angeles, we have smog. | 0:01:27 | 0:01:31 | |
That's fog with the vitamins removed. LAUGHTER | 0:01:31 | 0:01:34 | |
But this London fog can really be terrific. | 0:01:34 | 0:01:37 | |
Last year I was here and a fella pulled up alongside of me | 0:01:37 | 0:01:40 | |
at the Savoy Hotel in his car and asked me for directions. | 0:01:40 | 0:01:43 | |
I didn't mind that so much, but I was in the bathtub at the time. | 0:01:43 | 0:01:46 | |
LAUGHTER | 0:01:46 | 0:01:48 | |
APPLAUSE | 0:01:48 | 0:01:49 | |
And on the sixth floor. But, in spite of the fog... | 0:01:53 | 0:01:56 | |
In spite of the fog, I like it here. And I know that I'm in England... | 0:01:56 | 0:01:59 | |
I know I'm in England, because this morning | 0:01:59 | 0:02:01 | |
my stomach got up two hours before I did and had a cup of tea. | 0:02:01 | 0:02:04 | |
LAUGHTER | 0:02:04 | 0:02:06 | |
Oh, yes. I love the tea here. | 0:02:06 | 0:02:08 | |
I've had so much tea, I slosh when I walk. | 0:02:08 | 0:02:10 | |
LAUGHTER | 0:02:10 | 0:02:12 | |
You have to drink tea, I've tasted the coffee. | 0:02:12 | 0:02:15 | |
LAUGHTER | 0:02:15 | 0:02:17 | |
APPLAUSE | 0:02:17 | 0:02:18 | |
CHEERING | 0:02:18 | 0:02:20 | |
No, they have coffee here, only they call it petrol. | 0:02:24 | 0:02:26 | |
LAUGHTER | 0:02:26 | 0:02:28 | |
But I've been here many times and I want to tell you it's a thrill | 0:02:28 | 0:02:32 | |
getting back to England, with the crowds cheering me at the airport | 0:02:32 | 0:02:35 | |
people lining the sidewalks, | 0:02:35 | 0:02:37 | |
and Bonnie Prince Charles in the Palace window | 0:02:37 | 0:02:39 | |
waving a little pennant that says, "Go home Yank." | 0:02:39 | 0:02:42 | |
LAUGHTER | 0:02:42 | 0:02:44 | |
CHEERING AND APPLAUSE | 0:02:44 | 0:02:46 | |
Of course, I was kind of anxious to get back to London, | 0:02:46 | 0:02:49 | |
because last time I was here I posed for a statue | 0:02:49 | 0:02:52 | |
at Madame Tussauds Wax Museum and I was anxious to see it. | 0:02:52 | 0:02:56 | |
And it puzzled me a little bit the figure, | 0:02:56 | 0:02:58 | |
I just want to know one thing, | 0:02:58 | 0:03:00 | |
do all the wax figures have a wick sticking out of their head? | 0:03:00 | 0:03:04 | |
LAUGHTER | 0:03:04 | 0:03:05 | |
APPLAUSE And I noticed... | 0:03:07 | 0:03:10 | |
And I noticed my clothes were kind of ragged on the figure, | 0:03:10 | 0:03:14 | |
so I said to the guard, I said, "Why is that?" | 0:03:14 | 0:03:17 | |
He says, "There's nothing we can do about it, | 0:03:17 | 0:03:19 | |
"people keep pushing you side to get a look at Jack the Ripper." LAUGHTER | 0:03:19 | 0:03:22 | |
And, by the way, I have some regards for you people | 0:03:22 | 0:03:25 | |
from some of the British stars working in Hollywood, | 0:03:25 | 0:03:27 | |
Ronald Colman and James Mason. | 0:03:27 | 0:03:29 | |
Of course, Mason is very British, he hasn't forgotten he's British. | 0:03:29 | 0:03:32 | |
In fact, I think that James Mason overdoes the British bit. | 0:03:32 | 0:03:36 | |
When I go to his house, I don't mind the doorbell playing Pomp And Circumstance, | 0:03:36 | 0:03:40 | |
but when the butler makes you face Buckingham Palace and bow three times, that's going too far. | 0:03:40 | 0:03:44 | |
LAUGHTER | 0:03:44 | 0:03:46 | |
Then, of course, Stewart Granger's doing very well there, | 0:03:46 | 0:03:49 | |
especially in those costume pictures. | 0:03:49 | 0:03:51 | |
And what a swordsman he is, he can really duel I want to tell you. | 0:03:51 | 0:03:54 | |
You can tell he really loves his work, the other day on the set, | 0:03:54 | 0:03:57 | |
he ran ten men through and five of 'em aren't even in the picture. | 0:03:57 | 0:04:00 | |
LAUGHTER | 0:04:00 | 0:04:02 | |
He really went wild that day, the only way they could stop him | 0:04:02 | 0:04:05 | |
was by threatening to send for Errol Flynn. | 0:04:05 | 0:04:07 | |
LAUGHTER | 0:04:07 | 0:04:08 | |
The jokes about fog were ones Bob would return to whenever he was back in England. | 0:04:11 | 0:04:16 | |
The wisecracks about fellow Hollywood stars | 0:04:16 | 0:04:19 | |
were also typical of his material. | 0:04:19 | 0:04:21 | |
He could get away with it | 0:04:21 | 0:04:23 | |
because he was as big or bigger than all of them, | 0:04:23 | 0:04:26 | |
thanks in part to the huge success | 0:04:26 | 0:04:28 | |
of The Road To... films he made with Bing Crosby. | 0:04:28 | 0:04:32 | |
The last of these was 1962's The Road To Hong Kong, | 0:04:32 | 0:04:36 | |
which was filmed here in England | 0:04:36 | 0:04:38 | |
and which led to this appearance on the BBC programme Picture Parade. | 0:04:38 | 0:04:43 | |
APPLAUSE | 0:04:45 | 0:04:47 | |
PIANO MUSIC | 0:04:47 | 0:04:49 | |
Snorkel-head, I'm a little surprised you missed my introduction, | 0:04:53 | 0:04:57 | |
I can scarcely believe my ears. | 0:04:57 | 0:05:00 | |
Quit fooling, you must be used to those side plates of yours by now. | 0:05:00 | 0:05:03 | |
Well, they're very useful, you know, for smoking in bed. | 0:05:03 | 0:05:06 | |
Listen, we're supposed to be doing this shindig together, | 0:05:06 | 0:05:09 | |
-what's the delay here? What happened? -Well, naturally, | 0:05:09 | 0:05:11 | |
I assumed that BBC stands for Ban Bing Crosby. I guess... | 0:05:11 | 0:05:14 | |
LAUGHTER | 0:05:14 | 0:05:17 | |
Or Bing Buys Canada, or something like that. | 0:05:17 | 0:05:20 | |
Besides, I hadn't finished talking about my supporting cast. | 0:05:20 | 0:05:24 | |
-Your supporting cast? -Uh-huh. -Oh, you mean that wide rubber thing you grip around your waist. -Yeah. | 0:05:24 | 0:05:28 | |
-A two-way stretcher or whatever it is. -Don't blow your top, Dad, | 0:05:28 | 0:05:31 | |
it wouldn't be the first time that that thatch went into orbit. | 0:05:31 | 0:05:34 | |
No, I have it securely anchored, it's really tied on. | 0:05:34 | 0:05:37 | |
-So you listen to me, Jellyroll, you're being very flip tonight. -Jellyroll? | 0:05:37 | 0:05:40 | |
-Jellyroll?! Now wait a minute. -What's come over you? | 0:05:40 | 0:05:43 | |
I've been waiting for ten minutes. Just remember, I give a very superior performance. | 0:05:43 | 0:05:48 | |
I really think if pressed, if it's demanded of me, | 0:05:48 | 0:05:51 | |
I could sing till the cows come home. | 0:05:51 | 0:05:52 | |
Yeah, and from the noise you make, it sounds like they've arrived. LAUGHTER | 0:05:52 | 0:05:56 | |
Listen, tell me something, what's so special about your performance in On The Road To Hong Kong? | 0:05:56 | 0:06:00 | |
Well, I happen to be an actor and I can handle any role. | 0:06:00 | 0:06:04 | |
Uh-huh. I'm sure you can as long as there is plenty of ham in it. | 0:06:04 | 0:06:07 | |
-LAUGHTER -Hey, why don't you tell the folks here | 0:06:07 | 0:06:09 | |
about some of the acting you do in the picture. | 0:06:09 | 0:06:12 | |
Well, you see, I play the part of an unsuccessful variety comedian with a stupid, cowardly disposition. | 0:06:12 | 0:06:17 | |
Uh-huh. Yeah, and now tell the folks about the acting you do in the picture. | 0:06:17 | 0:06:21 | |
LAUGHTER | 0:06:21 | 0:06:23 | |
Listen, you crumbling comb-over, I'm a great actor. | 0:06:23 | 0:06:27 | |
-What's this? -I'm a great actor. | 0:06:27 | 0:06:28 | |
I could be another Marlon Brando if I had all my teeth removed. | 0:06:28 | 0:06:32 | |
-You could mumble. -LAUGHTER | 0:06:32 | 0:06:34 | |
Anyhow, let's save this brawl for later. | 0:06:34 | 0:06:36 | |
In reality, brawling was something Bob and Bing never did. | 0:06:38 | 0:06:41 | |
They had one of Hollywood's closest and most enduring partnerships, | 0:06:41 | 0:06:46 | |
as demonstrated again here | 0:06:46 | 0:06:48 | |
when Bob paid a visit to the Parkinson show in 1975. | 0:06:48 | 0:06:53 | |
How do you find that your humour goes down | 0:06:55 | 0:06:57 | |
with the new generation of Americans, | 0:06:57 | 0:06:59 | |
-the young kids? -Oh, well, you know, | 0:06:59 | 0:07:02 | |
you wouldn't be on television as long as I've been on it | 0:07:02 | 0:07:05 | |
if you didn't go down. You know, the kids in our country, | 0:07:05 | 0:07:09 | |
they own the knob on the television sets. | 0:07:09 | 0:07:13 | |
-Really? -Do you know, the kids nine, ten, and 11 | 0:07:13 | 0:07:15 | |
are in charge of the knob. LAUGHTER | 0:07:15 | 0:07:17 | |
I'm serious. | 0:07:17 | 0:07:19 | |
They're the ones that turn it on | 0:07:19 | 0:07:21 | |
and the folks say, "Oh, yeah, that's it, huh?" | 0:07:21 | 0:07:23 | |
LAUGHTER | 0:07:23 | 0:07:25 | |
They turn it on most of the places and they go with that. | 0:07:25 | 0:07:28 | |
-That's extraordinary. -And I saw a little kid the other day, | 0:07:28 | 0:07:32 | |
I was walking through some airport | 0:07:32 | 0:07:33 | |
and a little kid about this high said, "Do-do-do!" | 0:07:33 | 0:07:37 | |
Looked at me. "Do-do-do!" | 0:07:37 | 0:07:39 | |
LAUGHTER | 0:07:39 | 0:07:41 | |
I was Bob Doom! LAUGHTER | 0:07:44 | 0:07:47 | |
It worried the hell out of him who I was. | 0:07:47 | 0:07:49 | |
LAUGHTER | 0:07:49 | 0:07:50 | |
Then I had a woman walk up to me in Dallas...last year, | 0:07:50 | 0:07:55 | |
she was about 80 years old, | 0:07:55 | 0:07:57 | |
she said, "Mr Hope, I've been watching you for ever!" | 0:07:57 | 0:08:00 | |
LAUGHTER | 0:08:00 | 0:08:02 | |
APPLAUSE | 0:08:02 | 0:08:04 | |
APPLAUSE DROWNS OUT DIALOGUE | 0:08:06 | 0:08:09 | |
Bing told you what happened? | 0:08:09 | 0:08:11 | |
-He must've told you what happened to him over here. -What was that? | 0:08:11 | 0:08:13 | |
When the woman walked up and said, "Didn't you used to be Bing Crosby? | 0:08:13 | 0:08:16 | |
LAUGHTER | 0:08:16 | 0:08:18 | |
-Did he use that line? -Yeah. | 0:08:18 | 0:08:20 | |
I love that. It happens all the time. | 0:08:20 | 0:08:23 | |
We've got a message, in fact, from one of your younger fans. | 0:08:23 | 0:08:27 | |
Coming up...on the screen in a moment. | 0:08:27 | 0:08:30 | |
Too young to be let out to come to the show, but on tape. | 0:08:30 | 0:08:33 | |
Hiya, Michael. I wanted to tell you how delighted I am | 0:08:33 | 0:08:37 | |
that you found something for Bob Hope to do while he's hanging around London. | 0:08:37 | 0:08:41 | |
But I want to sing a little song for you now. | 0:08:41 | 0:08:44 | |
# My dear, Michael | 0:08:44 | 0:08:46 | |
# Now that you've got Hope on your show | 0:08:46 | 0:08:49 | |
# There's a few things I must tell you he can do | 0:08:49 | 0:08:54 | |
# His singing's slight | 0:08:55 | 0:08:57 | |
# His dancing very non-descript | 0:08:57 | 0:09:01 | |
# But he'll go out front and entertain the queue... # | 0:09:01 | 0:09:04 | |
LAUGHTER | 0:09:04 | 0:09:06 | |
# ..Old pal, old bean | 0:09:06 | 0:09:08 | |
# By which I mean | 0:09:08 | 0:09:09 | |
# He'll find an ear on which to lean | 0:09:09 | 0:09:12 | |
# Describing with relentless zeal | 0:09:12 | 0:09:15 | |
# His sex appeal which ain't quite real... # | 0:09:15 | 0:09:19 | |
LAUGHTER | 0:09:19 | 0:09:20 | |
# ..But if he does well in this illustrious company | 0:09:20 | 0:09:25 | |
# When he comes back | 0:09:25 | 0:09:28 | |
# I'll let him work for me. # | 0:09:28 | 0:09:32 | |
APPLAUSE | 0:09:32 | 0:09:33 | |
-Cute. Thank you. -Lovely. | 0:09:35 | 0:09:38 | |
That's something. Isn't it nice that he would stand up for that long? | 0:09:40 | 0:09:45 | |
LAUGHTER | 0:09:45 | 0:09:46 | |
APPLAUSE Isn't that nice? | 0:09:48 | 0:09:49 | |
-His orange juice commercials don't come over here, do they? -No. | 0:09:53 | 0:09:56 | |
You know, he's been selling Minute Maid orange juice | 0:09:56 | 0:09:59 | |
and he right now, | 0:09:59 | 0:10:01 | |
he's probably just left the factory where he squeezes oranges. | 0:10:01 | 0:10:05 | |
LAUGHTER | 0:10:05 | 0:10:06 | |
Which at his age is an emotional experience. | 0:10:06 | 0:10:09 | |
LAUGHTER | 0:10:09 | 0:10:10 | |
Are you going to tell us the truth now? How, when, did you first meet? | 0:10:17 | 0:10:21 | |
-Bing? -Hm. | 0:10:21 | 0:10:23 | |
I...I was a Boy Scout. | 0:10:23 | 0:10:25 | |
LAUGHTER | 0:10:25 | 0:10:27 | |
And I saw this old lady waiting for the traffic light. | 0:10:27 | 0:10:30 | |
And I walked over and helped her to cross | 0:10:30 | 0:10:33 | |
and it turned out to be Bing. | 0:10:33 | 0:10:34 | |
LAUGHTER | 0:10:34 | 0:10:36 | |
PARKY LAUGHS | 0:10:36 | 0:10:37 | |
-But seriously? -No, I met Bing, | 0:10:37 | 0:10:41 | |
I think, around...1932. | 0:10:41 | 0:10:44 | |
And we played the Capitol Theatre in New York. | 0:10:44 | 0:10:47 | |
And, luckily for me, | 0:10:47 | 0:10:50 | |
we did an act together. Like...two farmers meeting on the street. | 0:10:50 | 0:10:56 | |
The president of the Coca-Cola company | 0:10:56 | 0:10:58 | |
meeting the president of the Pepsi-Cola Company on the street, | 0:10:58 | 0:11:00 | |
which I did at the Palladium with Jerry Desmond. | 0:11:00 | 0:11:03 | |
You know, where they say, "Good to see you." BOB BELCHES | 0:11:03 | 0:11:06 | |
You know. LAUGHTER | 0:11:06 | 0:11:08 | |
"A larger bottle." You know, all that stuff. | 0:11:11 | 0:11:13 | |
And the two farmers where you milk the thing, you know. | 0:11:13 | 0:11:16 | |
Bop, bop, bop, bop. bop. And the two politicians, | 0:11:16 | 0:11:19 | |
where you go in each other's pockets and all that kind of thing. | 0:11:19 | 0:11:22 | |
And they loved that kind of stuff, you know. | 0:11:22 | 0:11:24 | |
And when we... When I went out to Hollywood, | 0:11:24 | 0:11:27 | |
before the Road pictures, | 0:11:27 | 0:11:29 | |
I went down to the Del Mar Turf Club ball, | 0:11:29 | 0:11:32 | |
which Bing owned part of, a big part of it anyway, | 0:11:32 | 0:11:34 | |
and...we did our act together. | 0:11:34 | 0:11:36 | |
And the boys from Paramount saw us and said, | 0:11:36 | 0:11:38 | |
"These guys really work good together, let's put 'em in something." | 0:11:38 | 0:11:41 | |
-And they put us this in this picture called Road To Singapore. -Yeah. -And that's how the whole thing started. | 0:11:41 | 0:11:45 | |
How did the feud developed though? | 0:11:45 | 0:11:47 | |
-The... -Well, that was a gag for radio, | 0:11:47 | 0:11:49 | |
where you could have some fun with each other, you know? | 0:11:49 | 0:11:51 | |
And if I went on his show, they would... | 0:11:51 | 0:11:54 | |
His writers would say, "He's going to tell a joke down on page nine, | 0:11:54 | 0:12:00 | |
"about the chicken that moults too early in the year." | 0:12:00 | 0:12:04 | |
I'm just giving you an example. So on page seven, I would tell it. | 0:12:04 | 0:12:08 | |
LAUGHTER | 0:12:08 | 0:12:10 | |
And he'd give me that startled... LAUGHTER | 0:12:15 | 0:12:18 | |
He'd give me that look. And then he'd double back on me, you know? | 0:12:18 | 0:12:21 | |
So it kept us kind of awake, you know? | 0:12:21 | 0:12:23 | |
-And we did that in pictures after a while. -Hmm. | 0:12:23 | 0:12:25 | |
We used to steal jokes from each other. | 0:12:25 | 0:12:27 | |
-Marvellous, we just had more fun. -It looks a marvellous relationship. | 0:12:27 | 0:12:30 | |
-Have you ever had a cross word? Have you ever had a row? -No. -Not at all? | 0:12:30 | 0:12:35 | |
-Never? -You can't have a row with him, because he just walks away. | 0:12:35 | 0:12:38 | |
-He doesn't row with anybody. -No. | 0:12:38 | 0:12:41 | |
I was the loudmouth. If anything happened, | 0:12:41 | 0:12:43 | |
I'd say, "Well, I'll go up and tell 'em." | 0:12:43 | 0:12:45 | |
And Bing would say, "Yeah, find out about it. LAUGHTER | 0:12:45 | 0:12:48 | |
And he'd go to the golf course and wait. | 0:12:48 | 0:12:50 | |
LAUGHTER | 0:12:50 | 0:12:51 | |
No, he's... He wouldn't fight with you anyway. | 0:12:51 | 0:12:55 | |
There's a contrast in the two of you, | 0:12:55 | 0:12:57 | |
because he does take life very easily, doesn't he? | 0:12:57 | 0:13:01 | |
-He sort of relaxes all the time. -He sure does, but he loves to be on, | 0:13:01 | 0:13:04 | |
he's as hammy as anybody. | 0:13:04 | 0:13:06 | |
-That's true. -It's true. -Yes, it is true. | 0:13:06 | 0:13:08 | |
-I admire him for it, because you have to be in our business, you know? -Yes. | 0:13:08 | 0:13:11 | |
I sleep on a hook at night, but he's got... | 0:13:11 | 0:13:14 | |
He's got a clove right there. LAUGHTER | 0:13:14 | 0:13:17 | |
And he's...he's a delightful ham. | 0:13:17 | 0:13:19 | |
Looking into the research, there's an extraordinary amount of jobs | 0:13:19 | 0:13:23 | |
that you did before eventually you went onstage. | 0:13:23 | 0:13:26 | |
I'll just quote some of them. | 0:13:26 | 0:13:27 | |
You were a butcher's mate, a shoe salesman, a pool hustler, | 0:13:27 | 0:13:31 | |
-stock boy in a meat market. -Right. Pool hustler I like. | 0:13:31 | 0:13:34 | |
A golf caddie and you once sold newspapers to John D Rockefeller. | 0:13:34 | 0:13:38 | |
-That's right, when I was a paperboy. -Really? -Uh-huh. | 0:13:38 | 0:13:41 | |
-Did any of that rub off on you, John D Rockefeller? -A little. | 0:13:41 | 0:13:44 | |
Just a little. A little oil. | 0:13:44 | 0:13:47 | |
-How much of a hustler were you in those days? -Oh, I wasn't. | 0:13:47 | 0:13:50 | |
You know, we just used to hang around the pool room | 0:13:50 | 0:13:53 | |
and clown around, you know, hustle each other. | 0:13:53 | 0:13:56 | |
-Hm. -Nothing serious. | 0:13:56 | 0:13:58 | |
And I did that while I was going to dancing school, | 0:13:58 | 0:14:00 | |
-because the guys I used to hang around with used to play pool. -Yeah. | 0:14:00 | 0:14:04 | |
You were also once a boxer too, weren't you? | 0:14:04 | 0:14:07 | |
Yeah, you're getting into the nasty stuff, aren't you? | 0:14:07 | 0:14:09 | |
Well, that fascinated me because you don't really look like a boxer. | 0:14:09 | 0:14:12 | |
You saw my nose from that angle and you... | 0:14:12 | 0:14:15 | |
I did, I fought under the name of Rembrandt Hope, | 0:14:15 | 0:14:17 | |
I was on the canvas so much. | 0:14:17 | 0:14:20 | |
LAUGHTER | 0:14:20 | 0:14:21 | |
APPLAUSE | 0:14:21 | 0:14:23 | |
APPLAUSE DROWNS OUT DIALOGUE | 0:14:23 | 0:14:26 | |
I love... I love boxing, I really do. | 0:14:26 | 0:14:30 | |
And I used to love to climb into the ring. | 0:14:30 | 0:14:32 | |
I don't remember ever leaving it. | 0:14:32 | 0:14:34 | |
LAUGHTER | 0:14:34 | 0:14:36 | |
But I was an amateur, I didn't... | 0:14:36 | 0:14:38 | |
After a while I could get a little money, | 0:14:38 | 0:14:40 | |
they used to lay it on the stretcher alongside me as I left. | 0:14:40 | 0:14:43 | |
We've got a clip of you in action, actually, | 0:14:43 | 0:14:46 | |
making your comeback. In Madison Square Garden, wasn't it? | 0:14:46 | 0:14:48 | |
Right, the opening of Madison Square Garden. | 0:14:48 | 0:14:50 | |
And, in fact, your opponent is Rocky Marciano. | 0:14:50 | 0:14:53 | |
Here we are. Let's have a look. | 0:14:53 | 0:14:54 | |
-So you're the champ, huh? -Yeah! | 0:14:54 | 0:14:57 | |
BOB GROWLS | 0:14:57 | 0:14:58 | |
ROCKY GROWLS | 0:14:58 | 0:15:00 | |
BOB PURRS | 0:15:00 | 0:15:02 | |
BOTH GROWL | 0:15:02 | 0:15:05 | |
Thank you, Sonny & Cher. | 0:15:05 | 0:15:07 | |
LAUGHTER | 0:15:07 | 0:15:09 | |
Now listen, boys, I want a good, clean fight. Break clean, no biting. | 0:15:09 | 0:15:12 | |
Remember now, no hitting below the belt. | 0:15:12 | 0:15:14 | |
-Watch it. -Oh, the old rules, huh? -Yeah. -Well, OK. | 0:15:14 | 0:15:17 | |
LAUGHTER | 0:15:17 | 0:15:19 | |
BOTH: # Pat-a-cake, pat-a-cake | 0:15:39 | 0:15:42 | |
# Bake a cake as fast as you can! # | 0:15:42 | 0:15:45 | |
LAUGHTER | 0:15:45 | 0:15:47 | |
APPLAUSE | 0:15:47 | 0:15:49 | |
Boy, I've been waiting 30 years for that! | 0:15:50 | 0:15:53 | |
APPLAUSE | 0:15:53 | 0:15:55 | |
Although he was the world's most successful comedian, | 0:16:00 | 0:16:02 | |
Bob was always open about the fact that his jokes | 0:16:02 | 0:16:06 | |
were written by teams of writers he'd employed from the beginning of his career. | 0:16:06 | 0:16:11 | |
He was also comfortable with people knowing | 0:16:11 | 0:16:14 | |
that during performances he'd read his lines off cue cards, | 0:16:14 | 0:16:18 | |
as can be seen in this fascinating recording from New Year's Eve, 1969. | 0:16:18 | 0:16:24 | |
No, I was born in England, I really was. | 0:16:26 | 0:16:28 | |
It was a typically British birth, I was three at the time. | 0:16:28 | 0:16:31 | |
You know, they had a strike in the maternity ward | 0:16:31 | 0:16:34 | |
and I came out in sympathy. LAUGHTER | 0:16:34 | 0:16:38 | |
I was in London just a few weeks ago for the opening of my new movie, | 0:16:38 | 0:16:41 | |
How To Commit Marriage, | 0:16:41 | 0:16:43 | |
and people came to the West End from miles around for the occasion. | 0:16:43 | 0:16:46 | |
My relatives always show up when it's free. LAUGHTER | 0:16:46 | 0:16:50 | |
But I hope you get to see How To Commit Marriage, because this movie is different, | 0:16:50 | 0:16:54 | |
my co-star Jackie Gleason couldn't make the opening... | 0:16:54 | 0:16:57 | |
You goofed it there. | 0:16:57 | 0:16:59 | |
That's after. You got that card in the wrong place, Barne. | 0:17:01 | 0:17:04 | |
Take the card out of the middle. That's right. Now put it back. | 0:17:04 | 0:17:07 | |
LAUGHTER | 0:17:07 | 0:17:09 | |
Now, what are we going to do about that? Shall we start over or what? | 0:17:09 | 0:17:12 | |
-ALL: -Yeah! | 0:17:12 | 0:17:15 | |
Cut. Cut it, Mort. | 0:17:15 | 0:17:16 | |
Cut it. Are they going to be able to cut this thing? Cut it. | 0:17:16 | 0:17:19 | |
-You want to slate it again, Woody? -Yeah. | 0:17:19 | 0:17:22 | |
But I do hope you get to see How To Commit Marriage, | 0:17:22 | 0:17:24 | |
because this movie is different, | 0:17:24 | 0:17:26 | |
the actors wear clothes and the ushers are nude. | 0:17:26 | 0:17:29 | |
LAUGHTER | 0:17:29 | 0:17:31 | |
My co-star, Jackie Gleason, couldn't make the opening, | 0:17:31 | 0:17:34 | |
they told him at the airport that he was overweight, | 0:17:34 | 0:17:36 | |
and that's tough when you haven't got any luggage. | 0:17:36 | 0:17:38 | |
LAUGHTER | 0:17:38 | 0:17:40 | |
The picture played to enormous audiences in New York, | 0:17:40 | 0:17:43 | |
they even enjoyed the movie that was on with it, Hello, Dolly! | 0:17:43 | 0:17:46 | |
LAUGHTER And I was hoping the Royal Family would attend, | 0:17:46 | 0:17:50 | |
but they had a prior commitment, Princess Anne was hosting a sale of hats at Buckingham Palace. | 0:17:50 | 0:17:54 | |
LAUGHTER | 0:17:54 | 0:17:56 | |
No, I know all the Royal family personally, | 0:17:56 | 0:17:58 | |
the Queen, Prince Philip and their financial adviser, Jack Benny. | 0:17:58 | 0:18:02 | |
LAUGHTER But I'm kidding, | 0:18:02 | 0:18:05 | |
all those reports about Her Majesty's money problems are just rumours. | 0:18:05 | 0:18:08 | |
And Richard Burton is furious, | 0:18:08 | 0:18:10 | |
he wanted first refusal on the Crown Jewels. | 0:18:10 | 0:18:13 | |
LAUGHTER No, all the stars were in London, | 0:18:13 | 0:18:16 | |
I saw Liberace in Park Lane walking hand in hand with himself. | 0:18:16 | 0:18:19 | |
LAUGHTER | 0:18:19 | 0:18:21 | |
HUBBUB | 0:18:21 | 0:18:23 | |
And I... And I bumped into Douglas Fairbanks Jr, | 0:18:24 | 0:18:28 | |
he was on his way to The London Clinic for a monocle transplant. LAUGHTER | 0:18:28 | 0:18:31 | |
And, you know, there's a new flag flying over the British Embassy, | 0:18:31 | 0:18:35 | |
it shows the Duke of Edinburgh | 0:18:35 | 0:18:36 | |
playing polo on a field of travellers cheques. LAUGHTER | 0:18:36 | 0:18:40 | |
And I had a beautiful suite at the Savoy. | 0:18:40 | 0:18:42 | |
I love it, they are so polite there, | 0:18:42 | 0:18:44 | |
one morning the water in my bathtub gurgled and a pageboy walked in and said, "Pardon?" | 0:18:44 | 0:18:49 | |
LAUGHTER | 0:18:49 | 0:18:50 | |
No, the Savoy Hotel is really steeped in tradition. | 0:18:50 | 0:18:53 | |
In fact, the towels don't say His & Hers, they're marked Mine & Thine. | 0:18:53 | 0:18:57 | |
But I love the British. | 0:18:57 | 0:18:59 | |
I asked a Londoner how he felt about the Apollo moon landings | 0:18:59 | 0:19:03 | |
and he said, "Splendid, but we hate show-offs." | 0:19:03 | 0:19:06 | |
The moon landing references were, of course, very 1969, | 0:19:09 | 0:19:13 | |
and that's one reason for the incredible longevity of Bob Hope's career, | 0:19:13 | 0:19:17 | |
the ease with which he blended tried and trusted jokes with more up-to-the-minute material. | 0:19:17 | 0:19:23 | |
There are examples of each type of humour | 0:19:23 | 0:19:26 | |
in this appearance on Parkinson. | 0:19:26 | 0:19:29 | |
Let's start with him discussing | 0:19:29 | 0:19:31 | |
the and then highly topical Hollywood actors strike of 1980. | 0:19:31 | 0:19:35 | |
It's good actually to have you here, | 0:19:36 | 0:19:38 | |
because you've got lots of industrial problems | 0:19:38 | 0:19:41 | |
over in your profession at present with the actors strike. | 0:19:41 | 0:19:44 | |
-It's all fixed, isn't it? Isn't the strike over? -Is it? -I think so. | 0:19:44 | 0:19:47 | |
-Is it? -It was quite a thing, though. | 0:19:47 | 0:19:49 | |
Everybody was picketing out there from their good side. | 0:19:49 | 0:19:51 | |
LAUGHTER | 0:19:51 | 0:19:53 | |
APPLAUSE | 0:19:53 | 0:19:55 | |
Actually, Michael, they were picketing, you know, | 0:19:59 | 0:20:02 | |
the stars, who make plenty of money, | 0:20:02 | 0:20:05 | |
they were picketing and it's the first time | 0:20:05 | 0:20:07 | |
I've ever seen a picket line with a maitre d'. | 0:20:07 | 0:20:10 | |
But they were really picketing for the bit people, you know, | 0:20:10 | 0:20:14 | |
because there's 63,000 actors that lay around waiting for work. | 0:20:14 | 0:20:18 | |
So the stars were really trying to get it for them, | 0:20:18 | 0:20:21 | |
trying to get all these residuals. And it's a funny kind of a strike | 0:20:21 | 0:20:24 | |
when a fellow can walk off a job and get into his Rolls-Royce | 0:20:24 | 0:20:27 | |
and walk out and get into his swimming pool | 0:20:27 | 0:20:30 | |
and refuse to come out unless they improve working conditions. | 0:20:30 | 0:20:33 | |
LAUGHTER | 0:20:33 | 0:20:34 | |
That's America, I want to tell you that. | 0:20:34 | 0:20:36 | |
And after laughs about the latest events, | 0:20:36 | 0:20:39 | |
here's one of his golden-oldie gags | 0:20:39 | 0:20:42 | |
about his favourite leisure pastime, golf. | 0:20:42 | 0:20:45 | |
-Which was the best golfing story? -The best golfing story? | 0:20:45 | 0:20:48 | |
Let me see. How about the fella playing | 0:20:48 | 0:20:50 | |
and he came to this hole in one. | 0:20:50 | 0:20:52 | |
He said, "I've never had a hole in one. If I could get a hole-in-one, I'd give anything in the world. | 0:20:52 | 0:20:56 | |
This little genie jumped up on his shoulder and said, "Anything?" | 0:20:56 | 0:20:59 | |
The genie said, "Would you give five years of your sex life?" He said, "Yeah, I think I would." | 0:20:59 | 0:21:03 | |
And he knocked his ball, it wasn't too good, but it hit a rock, | 0:21:03 | 0:21:06 | |
went up and fell in the hole. He said, "A hole in one!" | 0:21:06 | 0:21:08 | |
He walked to the next hole, a par 5, | 0:21:08 | 0:21:10 | |
he said, "I've never had a birdie on this hole. If I could get a birdie, I'd give anything in the world." | 0:21:10 | 0:21:14 | |
And this little genie jumped up and said, "Anything? Would you give ten years of your sex life?" | 0:21:14 | 0:21:18 | |
He said, "Ten years?! But, yes, I would." He said, "Well, play." | 0:21:18 | 0:21:21 | |
And he hit three pretty good shots and his fourth shot wasn't too good, | 0:21:21 | 0:21:24 | |
but it hit a bench and rolled in the cup. He said, "How do you like that, | 0:21:24 | 0:21:27 | |
"a hole in one and a birdie the same day. This is the greatest day of my golfing career." | 0:21:27 | 0:21:31 | |
And the genie jumped on his shoulder and said, "I didn't get your name." And he said, "Father O'Toole." | 0:21:31 | 0:21:35 | |
LAUGHTER | 0:21:35 | 0:21:37 | |
APPLAUSE | 0:21:37 | 0:21:38 | |
How many American Presidents have you played golf with? | 0:21:40 | 0:21:42 | |
Oh, I don't know. Let me see, Ford... I play with Ford all the time. | 0:21:42 | 0:21:46 | |
I love to play with him, it's nice to get some money back from the government. | 0:21:46 | 0:21:50 | |
LAUGHTER | 0:21:50 | 0:21:52 | |
Ford and Nixon and Kennedy and...Lyndon Johnson. | 0:21:52 | 0:21:56 | |
-About four of 'em. -Which was the best golfer? | 0:21:56 | 0:21:58 | |
I think... Oh, Eisenhower a lot. | 0:21:58 | 0:22:01 | |
We all played with Ike, cos he just loved the game. | 0:22:01 | 0:22:04 | |
-What was it like playing with Eisenhower? -Well, you had to play, | 0:22:04 | 0:22:08 | |
because... The first time I played with him was about 1951. | 0:22:08 | 0:22:14 | |
He'd just been assigned the presidency | 0:22:14 | 0:22:17 | |
and I played with him and I played as his partner. | 0:22:17 | 0:22:20 | |
And we played for a dollar, dollar, dollar at Burning Tree | 0:22:20 | 0:22:22 | |
against Symington and Prescott Bush, who were too fine golfers. | 0:22:22 | 0:22:26 | |
And I played lousy. | 0:22:26 | 0:22:28 | |
At that time I was a six and I hit an 84 and we had to pay off. | 0:22:28 | 0:22:31 | |
The next day, I played against the President, | 0:22:31 | 0:22:33 | |
I wasn't playing with him, but we all had lunch and made bets, you know, | 0:22:33 | 0:22:36 | |
and I shot a 75 and I beat him for four dollars. | 0:22:36 | 0:22:40 | |
And he looked me in the eye as I was paying him off, he said, | 0:22:40 | 0:22:44 | |
"Why didn't you play this way yesterday?" LAUGHTER | 0:22:44 | 0:22:47 | |
And it's hard to ad lib with a president about things like that. | 0:22:47 | 0:22:49 | |
Yes, absolutely. Who was the one | 0:22:49 | 0:22:51 | |
who had the best sense of humour, do you think? | 0:22:51 | 0:22:54 | |
I think maybe...maybe Kennedy. | 0:22:54 | 0:22:56 | |
-Yeah, Kennedy liked to tell jokes. -Hm. | 0:22:56 | 0:22:59 | |
On politics, I mean, did you have any political ambition yourself? | 0:22:59 | 0:23:03 | |
No, no. I've been asked to a couple of times, but the money is not right. | 0:23:03 | 0:23:06 | |
LAUGHTER | 0:23:06 | 0:23:08 | |
No, it's not. And I'd hate to move to a smaller house. | 0:23:11 | 0:23:14 | |
LAUGHTER | 0:23:14 | 0:23:16 | |
APPLAUSE | 0:23:16 | 0:23:17 | |
You've just come back from Moscow, haven't you? | 0:23:20 | 0:23:21 | |
-Yeah, I was in Moscow. -What were you doing there? | 0:23:21 | 0:23:24 | |
I was doing a show for the US Ambassador and I did a show for all the people in the embassy. | 0:23:24 | 0:23:29 | |
-And I also did one for the British Embassy, by the way. -Uh-huh. | 0:23:29 | 0:23:32 | |
And we had a little trouble over there, | 0:23:32 | 0:23:34 | |
-I was thrown, out of the Kremlin. -Why? | 0:23:34 | 0:23:37 | |
Well, I was walking around and I saw a star on the door and thought it was my dressing room. | 0:23:37 | 0:23:40 | |
LAUGHTER | 0:23:40 | 0:23:42 | |
APPLAUSE | 0:23:42 | 0:23:44 | |
You are of course... It's amazing the amount of work you still do. | 0:23:49 | 0:23:53 | |
-You're a rich man, a very rich man. -Not too rich after today. LAUGHTER | 0:23:53 | 0:23:57 | |
-Not after today, no. -No. But you could retire if you wanted to? | 0:23:57 | 0:24:00 | |
Dickie has all my money. LAUGHTER | 0:24:00 | 0:24:03 | |
Marlon Brando once said that if they were opening a phone booth that you'd turn up. | 0:24:03 | 0:24:07 | |
-Erm... -LAUGHTER | 0:24:07 | 0:24:09 | |
-Brando?! -That's what he said. | 0:24:11 | 0:24:13 | |
Brando never said a funny line in his life. LAUGHTER | 0:24:13 | 0:24:17 | |
That was Crosby. He said when they open the icebox and the light goes on, I do 20 minutes. | 0:24:17 | 0:24:22 | |
LAUGHTER | 0:24:22 | 0:24:24 | |
I do get around, I'll tell you that. | 0:24:26 | 0:24:28 | |
You've done everything in your life, you won more than 1,000 awards, | 0:24:28 | 0:24:32 | |
never got an Academy Award, have you? | 0:24:32 | 0:24:34 | |
You had to bring that up, didn't you? LAUGHTER | 0:24:34 | 0:24:37 | |
-I'm sorry. -You sure know how to wound a star. LAUGHTER | 0:24:37 | 0:24:40 | |
No, I've been... Let me tell you something, you can make great, great pictures, | 0:24:40 | 0:24:44 | |
I made 60 pictures, and you can come out with a picture | 0:24:44 | 0:24:48 | |
that you think should be nominated for something | 0:24:48 | 0:24:51 | |
and you find out you're with Gone With The Wind and Boom Town, you know. | 0:24:51 | 0:24:55 | |
I haven't given up, I still have my speech ready. LAUGHTER | 0:24:55 | 0:24:59 | |
I don't know how long I've had it, but it's in Latin. | 0:24:59 | 0:25:01 | |
LAUGHTER | 0:25:01 | 0:25:03 | |
An Oscar would certainly have been nice, | 0:25:08 | 0:25:11 | |
but Bob Hope didn't need it to prove anything. | 0:25:11 | 0:25:14 | |
By any standards, his 70-year career was extraordinary. | 0:25:14 | 0:25:18 | |
The king of one-liners finally signed out aged 100 in 2003. | 0:25:18 | 0:25:25 | |
His passing made headlines across the world | 0:25:25 | 0:25:28 | |
and many of the eulogies were accompanied by this, his signature song | 0:25:28 | 0:25:33 | |
called, appropriately, Thanks For The Memory. | 0:25:33 | 0:25:36 | |
APPLAUSE | 0:25:36 | 0:25:38 | |
# Thanks for the memory | 0:25:40 | 0:25:45 | |
# Of being on your show | 0:25:45 | 0:25:48 | |
# You take things nice and slow | 0:25:48 | 0:25:51 | |
# It's lovely being here with you | 0:25:51 | 0:25:53 | |
# But where did Christmas go? | 0:25:53 | 0:25:55 | |
# Oh, thank you so much | 0:25:56 | 0:25:59 | |
# Thanks for the memory | 0:26:01 | 0:26:05 | |
# Of what England means to me | 0:26:05 | 0:26:08 | |
# A tea bag in my tea | 0:26:08 | 0:26:11 | |
# The country's run by Chrysler | 0:26:11 | 0:26:13 | |
# And there's Kojak on TV... # | 0:26:13 | 0:26:16 | |
LAUGHTER | 0:26:16 | 0:26:17 | |
# ..Oh, thank you so much | 0:26:17 | 0:26:19 | |
# I was going to give you a present | 0:26:21 | 0:26:25 | |
# For making my stay here so pleasant | 0:26:25 | 0:26:30 | |
# A turkey perhaps or a pheasant | 0:26:30 | 0:26:34 | |
# But here I am | 0:26:36 | 0:26:38 | |
# A well-boiled ham | 0:26:38 | 0:26:40 | |
# So thanks for the memory | 0:26:40 | 0:26:45 | |
# Of tonight with Michael P | 0:26:45 | 0:26:47 | |
# Who's been so nice to me | 0:26:47 | 0:26:50 | |
# His kindness was enormous in contrast to the fee... # | 0:26:50 | 0:26:55 | |
LAUGHTER | 0:26:55 | 0:26:56 | |
# ..Transportation's not important | 0:26:56 | 0:26:58 | |
# I'll walk back across the sea | 0:26:58 | 0:27:01 | |
# So thank you so much. # | 0:27:01 | 0:27:06 | |
Thank you. APPLAUSE | 0:27:06 | 0:27:08 | |
-Thank you. -APPLAUSE | 0:27:12 | 0:27:15 | |
Subtitles by Red Bee Media Ltd | 0:27:23 | 0:27:26 |