Nancy Goes to Rio

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source: Nancy Goes to Rio

Trailer—Nancy Goes to Rio

Nancy Goes to Rio

Story and the style is just not of this time period. The writing is terrible. I don't know how Carmen Miranda ever became popular. This is just silly fluff and I wouldn't waste my time.

Amusing performances from all. And who cares if they didn't shoot the film on location? In 1950, how many studios went and shot musicals on location? It's not "Mutiny on the Bounty"! And accusations of racism with the "Latin" comment? Yeah, I lived in Rio, too. And people there know how to enjoy a good Carmen Miranda musical without pulling a conniption fit over the term "Latin." Laugh out loud story. And Louis Calhern as the casual father and grandfather is outrageous and endearing. The brushing up on his boxing with the butler was great.

Can't help liking a musical that features silly lyrics like: "Nancy goes to Rio - Me-oh, my-oh, me-oh" and "Keep the Latins guessing!". How crude - sometimes enjoyably crude - Hollywood's image of foreign lands and sounds! I lived in Sao Paulo for a year (1962), and I don't remember seeing any Latins. Instead, there were a lot of fellow human beings. The best song in the movie was written by a "Latin": Mexican genius Maria Grever, so sadly forgotten. She wrote American standards like "What a Difference a Day Makes". Jane Powell is great, as usual, and so is Scotty Beckett. His life was one of the saddest Hollywood tragedies, probably a case of undiagnosed depression. Yet he looks so happy and confident on screen, more so than most major stars. This silly musical is not as good as "A DATE WITH JUDY", but it will do just fine. Enchantment guaranteed.

A so-so musical comedy, chipper and competently shot on the studio back lot far, far away from Rio. If there's any reason to watch this corny confection, it would be for the show-stopping number by Carmen Miranda in the nightclub. The hues alone are incredible! Everything is dripping in rich, over-saturated color - the costumes, the set - it's like an explosion at the Technicolor factory. The production designer and director were surely using the process to "wow" the audience used to common, flatter black and white films for so long, similar to the 3D process that would come along later. Inside this gem of a scene is Miranda's dance performance, which is really energetic and quite imaginative. If you ever wanted to test your TV screen color and balance, this scene from this piece of 50s flash might be the one to do that with. The rest of the film? Meh... hokum, but quaint.

Frances Elliott (Ann Sothern) is an established stage star and her daughter, Nancy (Jane Powell) is an aspiring actress. However, some potential hurt feelings might be in store for them, as Frances assumes that the lead in an upcoming play will be hers...but the producer and author see someone much younger....and want Nancy instead. Could this get any worse? Well, later it appears that they are vying for the same man (Barry Sullivan)! Despite the plot sounding a bit scandalous, it really isn't. In fact, it's just a nice old fashioned musical and makes for decent viewing. Far from a must see but enjoyable. My only reservation is for someone who has a fear of clowns...they should NOT watch the picture as some mega-creepy clowns do a song and dance number with Carmen Miranda near the end...and it will most likely unnerve you.

Every actor contributes significantly to this picture. Ann Sothern and Jane Powell deliver in ways they are expected to; and even Louis Calhern performs a number in a rare musical role. Barry Sullivan adds charm as the leading man, and Hans Conried, in a bit part, is letter-perfect as ever. But Carmen Miranda is the one that walks off with the movie, in two show-stopping numbers. Sidney Sheldon's script has a lot of humor in it. Filmed in glorious Technicolor with some good on-location footage of Rio, including the carnival and parade at night. This was a remake of Universal's earlier film It's a Date, where the young ingénue was Deanna Durbin, and the mother was played by Kay Francis (who did not sing).