BY LEE PFEIFFER
Despite changing social tastes and values, America's love affair with Bob Hope ensured he continued his successful movie career throughout the 1960s, albeit with diminishing results. Perhaps the nadir of Hope's work on the big screen during this period is the 1965 production "I'll Take Sweden", yet another sex-themed comedy of the era that can only be described as flaccid. Hope plays Bob Holcomb, a successful business executive and widower who is trying to provide a moral upbringing for his teenage daughter Jojo (Tuesday Weld.) However, Bob's viewpoints on the sexual revolution border on Puritanical. The most important mission in his life is preserving his daughter's virginity until she marries. When the film opens, Jojo and her ne're do well boyfriend Kenny Klinger (Frankie Avalon) announce to him that the intend to wed very soon, a prospect that sends Bob into a state of panic. Jojo isn't employed and Kenny's "occupation" is as an occasional rock 'n roll singer. The couple intends to live off the grand sum of a $1200 inheritance that Kenny was bequeathed by a relative. Unable to convince Jojo to change her mind, he makes the drastic decision to accept a company transfer to Sweden to ensure she and Kenny can no longer maintain a relationship, a reminder of what life was in the pre-internet era. Upon arriving in Stockholm, Bob finds his own love life improving, as he begins dating co-worker Karin Granstedt (Dina Merrill). However, another employee, Erik Carlson (Jeremy Slate), a handsome young man, is immediately smitten by Jojo- and his intentions aren't pure. Things heat up when Bob plans a short vacation with Karin and tells Jojo he is going away on a business trip. Jojo uses the opportunity to give in to Erik's request that they plan a romantic getaway. As you might imagine, both father and daughter and their respective dates end up at the same resort. Adding to the absurdities is the arrival of Kenny, who just happened to be working a gig- in Sweden! This all leads to one of those bedroom farce-style finales in which everyone runs from room to room either trying to catch or hide from each other.
"I'll Take Sweden" plays out like an extended episode of a sitcom from the era. It has cheesy production values and uses poor stock footage and rear screen projection techniques to represent "Sweden". The film is yet another example of how Hollywood studios tried to capitalize on the blossoming youth movement in popular culture. However, as usual, the task was assigned to older people who didn't have a clue as to what was actually going on with the demographic they hoped to sell the film to, although they are sensible enough to include the requisite beach party scenes in order to show off the latest bikini styles. The representations of a wild youth party are so tame, you almost expect June Cleaver to walk in with a tray of milk and cookies. Even more ridiculous is Hope's paranoia about any aspect of premarital sex involving his daughter, who looks a bit mature to be doted over in such a manner. (Perhaps that's because Tuesday Weld was already 22 years-old when the film was made.) Directed by sitcom veteran Frederic De Cordova and scripted in part by Arthur Marx (Groucho's son), the film must have been embarrassing to experience even in 1965. Frankie Avalon gets to croon one of the worst title songs in the history of cinema and the only saving grace is Hope's ability to toss off one of his trademark wisecracks. Occasionally they land on target and provide a few seconds of respite from this dud that is a comedy in name only.
Bob Hope fans and masochists can view the film on Amazon Prime (free, if you are a subscriber.)
The film can also be ordered on Blu-ray from Amazon by clicking here.