In Caliente

Pat O'Brien, part time critic and full time boozer, gets pulled away to Caliente in Mexico by his friend Edward Everett Horton to avoid getting married to gold digger Glenda Farrell. But it's out of the frying pan into the fire.

Dolores Del Rio has a Spanish dancing act that O'Brien savagely panned one night after attending her performance stewed to the gills. That hurt her career and when she sees him on her home turf, she's going to get a little vengeance. She and father/manager Leo Carrillo.

Of course if you can't figure out where this plot is going by now, you haven't seen too many old films. But the plot is just an excuse to string together four Busby Berkeley numbers, including the big hit that came out of the film, The Lady in Red.

Dolores Del Rio, what a beauty she was. Hard to believe anyone could have panned her dancing. She sang beautifully as well. When she got her first big break in American cinema in the silent version of Ramona, she recorded the title song and even though the screen was silent, her record sold quite a bit, such was the allure she conveyed.

Of course Pat O'Brien was his usual fast talking promoter, though slowed down a bit due to hangover. He didn't contribute anything musical here, but he's always a pleasure to watch.

Phil Regan did some vocalizing including the elaborate Muchacha finale number. The DeMarcos danced, Wini Shaw sang, and Judy Canova in her screen debut reprised a hillbilly version of The Lady In Red to a flustered Edward Everett Horton. It was quite a funny moment.

In Caliente is not the best of the Busby Berkeley Warner Brothers musicals, but it's still good entertainment.

What a nice little surprise this was, and great showcase for Dolores del Río. The premise of a magazine critic (Pat O'Brien) being taken to Mexico while drunk by his business partner (Edward Everett Horton) to avoid being married (to Glenda Farrell) is a little silly, not unlike other screwball comedies. It's made interesting by Horton trying to set O'Brien up with del Río in order that he forget Farrell, not remembering that O'Brien once panned del Río in a review and she'd like to get even with him. The little cat and mouse game she plays, assisted by her shrewd manager (Leo Carrillo) who regularly takes advantage of foreigners, is entertaining, and director Michael Curtiz moves things along well.

We also get the incomparable Busby Berkeley and a couple of entertaining musical numbers in the second half of the film. The first of these, 'The Lady in Red' includes wonderful vocals from Wini Shaw, sexy shimmying from the chorus, and an extended ballroom dance routine by Tony De Marco and Sally Craven (later his third wife), who were nearly as good as Fred Astaire and Ginger Rogers, if not on a par with them. It's definitely one to watch. The second, "Muchacha' is also pretty wild, with horses prancing up a staircase in addition to del Río singing and dancing.

del Río is charming throughout the film, and it's refreshing that her character is intelligent, erudite, and elegant. She's a beauty in her evening gowns and the two-piece bathing suit that she helped pioneer, which we see plenty of in a long scene at the pool. She was on her way out of Hollywood a few years later which is a shame, though it really makes me want to check out her Mexican films from the 1940's. I may be rounding up a bit because of her and Berkeley, but they made the film for me.

Several characters in this film make it difficult to like. The worst of these is the leading man (Pat O'Brien). He is very abrasive, rather mean-spirited, fast-talking and an alcoholic! In fact, there's really little to recommend this guy. Additionally, Leo Carillo plays a guy who is a cheat and a thief. With characters like these, it's hard to understand what was going through the writer's mind when they created this bizarro film.

"In Caliente" begins in New York. Larry McArthur (O'Brien) is awakening from a bender and this friend and business partner Harold (Edward Everett Horton) marvels that the drunk writes his theater reviews without even going to see the performances! You assume it's because he's an alcoholic jerk and soon he's drunk again--dead to the world after drinking a bottle of whiskey. Harold is concerned about Larry's self-destructive life as well as his upcoming wedding to a gold-digger (Glenda Farrell) he barely knows, so he whisks the unconscious Larry to a resort town in Mexico, Caliente, to dry him out and get him away from this girl. Unfortunately, Rita Gomez (Delores Del Rio) is there performing--and Larry savaged her some time ago in one of his reviews. Naturally, he also never saw her in person and he truly deserves her to destroy him--which she plans on doing. However, over time they start to fall in love with each other--though I have no idea why. Why would he love her--she's not a whiskey bottle! And, he is just nasty and a drunk--and what sane woman would want that?! For comic relief, we have Horton, though he isn't really used well here. His role is more serious than usual. Also, Leo Carillo plays Rita's uncle. As I mentioned above, he's pretty much a thief and this alone is supposed to make him funny--it didn't.

In addition to the romance and comedy, there is a lot of music and dancing--particularly later in the film. These production numbers are the typical Busby Berkeley sort of thing--where the dance numbers are too large for a stadium, let alone a nightclub! One number in particular is notable. "The Lady in Red" is a shockingly risqué number--with very sexily clad ladies who look much more Pre-Code than what you'd expect in 1935 when things were SUPPOSED to be much more sanitized. Oddly, however, the sexiness and beauty of this routine is pretty much ruined when Judy Canova inexplicably enters and begins singing like a slow-witted hillbilly....in Mexico! Huh?! Interestingly, the song morphed into a HUGE and very long production number that lasted a whopping 20 minutes--too long, much too long for my taste.

So, we have unlikable characters, alcoholism, musical numbers that are too long and comedy that isn't very funny. Overall, a complete misfire and waste of talent. See it if you must, I think pretty much everyone in the film did better films than this.

OK, if you haven't seen "42nd Street" or "Footlight Parade" or the first few Gold Diggers movies, this is probably not where to start. OTOH, if you have those virtually memorized (and many do), there is much here to enjoy.

The moguls of Old Hollywood were gambling men not only in their work, but at play as well. They had an abiding interest in horse racing, which accounts for the preposterous number of pictures set at the track which seldom made money but made the "suits" happy.

The horrified WASP establishment froze out any participation by movie folk in Los Angeles area race tracks, so the high rolling execs founded a track of their own across the border in Agua Caliente. So there's some documentary interest here in seeing where the Hollywood elite went to play and, more importantly, bet.

It's tough to put together a musical where She can barely sing or dance and He not at all, but this movie manages it. Plenty of crackling Julius Epstein dialog is kept moving briskly by Lloyd Bacon, one of the better straw bosses on the Warners prison farm.

Edward Everett Horton, more assertive here than with Fred Astaire, Glenda Farrell, Leo Carillo and Luis Alberni keep the proceedings airborne, and Hermann Bing hits a lifetime peak of sublimity trying to spell "rhododendron" through his gargling Austrian accent. How Judy Canova got into all this I don't know, but her cameo leaves quite an impression. I also brood about Dolores del Rio jumping off the high diving board in platform wedgies. Aren't you supposed to be barefoot for that?

There's only one musical hit, "The Lady In Red," and if you've ever seen Bugs Bunny in drag, you already know it. For those who OD'd on platinum blondes in other Busby Berkeley production numbers, they're all brunettes here. George Barnes and Sol Polito turn in some gorgeous camera work, and Orry-Kelly outdoes himself with some of the costumes.

This is a fun, feel-good picture that was made in a hurry and turned out a lot better than it had to be. It's good for smiles, and maybe a lot more.

Caliente was a stylish resort destination for the film community in the 1930's, and this film attempted to capitalize on that exotic fact for movie audiences. Very little of the film takes advantage of its sultry locale, however. The film is mainly concerned with Rita, a beautiful Mexican dancer, who is infuriated after Larry, a theater critic, savagely pans her dancing after failing to catch her act! She sets out to show him, and of course they fall in love. There is a good supporting cast, especially Edward Everett Horton as his usual nervous fussbudget. The two musical numbers were staged by Busby Berkeley. "The Lady in Red" is sung by a chorus of studio cuties and by the wonderful Wini Shaw (and a novelty chorus or two is sung by the delightful Judy Canova, doing her "country hayseed" character). The "Muchacha" number is one of Berkeley's typical sprawling numbers and makes good use of Dolores Del Rio's beauty and horses riding up a staircase! Pay attention to Del Rio in the scene at the pool. She wears what's believed to be the screen's first two-piece bathing suit. Just one look at her stunning beauty will make you long for the days when Hollywood was known for goddesses like Del Rio, Dietrich, Lamarr, Garbo, etc.