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{{cleanup|Pages need to be made for each of the individual movies (except ''...Morocco),'' and the movie-specific tropes moved to those pages.}} |
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{{quote|''There had been comedy teams in movies before, of course, and fast-paced dialogue, but the Road pictures introduced something new. The interplay between [[The Marx Brothers|Groucho and Chico Marx]], say, or [[George Burns]] and [[Gracie Allen]], had an abstract, almost surreal quality. The witty repartee of 1930s screwball comedies like ''[[My Man Godfrey]]'' or ''[[Bringing Up Baby]]'' was too polished and stylized to be mistaken for anything but movie dialogue. [[Bob Hope|Hope]] and [[Bing Crosby|Crosby]] seemed like ordinary guys — like Hope and Crosby, in fact — perfectly attuned to each other's thoughts, moods, obsessions and vulnerabilities.''|Richard Zoglin, in his essay on ''[[Road to Morocco]]'' for the [[National Film Registry]]}} |
{{quote|''There had been comedy teams in movies before, of course, and fast-paced dialogue, but the Road pictures introduced something new. The interplay between [[The Marx Brothers|Groucho and Chico Marx]], say, or [[George Burns]] and [[Gracie Allen]], had an abstract, almost surreal quality. The witty repartee of 1930s screwball comedies like ''[[My Man Godfrey]]'' or ''[[Bringing Up Baby]]'' was too polished and stylized to be mistaken for anything but movie dialogue. [[Bob Hope|Hope]] and [[Bing Crosby|Crosby]] seemed like ordinary guys — like Hope and Crosby, in fact — perfectly attuned to each other's thoughts, moods, obsessions and vulnerabilities.''|Richard Zoglin, in his essay on ''[[Road to Morocco]]'' for the [[National Film Registry]]}} |