Rio Rita

Like a river in the parched desert, so the lovely señorita known as RIO RITA brings joy to all who know her. But with her brother being chased as a bandit, unwelcome attentions from a brutal Russian general & a new lover who refuses to divulge his true identity, pretty Rita has plenty of problems to distract her.

Florenz Ziegfeld's smash Broadway hit was brought to the screen in this very early movie musical. At times it wheezes quite badly and shows its age. The transitions into the songs look very stagy & artificial. Many of the lyrics, especially sung by the female cast, are completely indecipherable.

But it should be remembered that movie musicals were still in their cradle and the studios only had stage traditions to draw upon at first. So the few innovations showcased here are welcome. Some of the dance numbers are pleasingly elaborate, even including a primitive overhead shot. Occasional outdoor photography helps open up the screenplay, and the early Technicolor featured in the last half hour is a big bonus.

Bebe Daniels & John Boles play the romantic leads. She is saddled with a thick accent & ludicrous script. He appears somewhat awkward & ill at ease. Much better film roles would await them both in years to come.

The real highlight of RIO RITA is the film debut of the wonderful comedy team of Wheeler & Woolsey, who had appeared in the Broadway version. Here, although somewhat gynandroid, they cement what will be their screen personas through 26 films together. Bert Wheeler (1895-1968) plays a young, naive romantic. Robert Woolsey (1888-1938) portrays a shiftless, cigar-puffing conniver. Together, they would make a hilarious comedy team, their partnership only being sundered by Woolsey's untimely death. Today they are all but forgotten.

It is only fitting that pert little Dorothy Lee (1911-1999), Wheeler's perennial love interest, should make the first of her 14 film appearances with the Boys here. This Kewpie-doll-cute actress would become an integral part of the Boys' cinematic success, as well as a constant delight for viewers.

I think many of us make the mistake of reviewing films of the transition to sound era from the viewpoint of highlighting the inadequacies of the technology of the period as seen from today, I have recently seen an unrestored Video print of Rio Rita, the quality of which was excellent, the sound was excellent, the two strip colour finale as most will agree was stunning. I found Bebe Daniels characterisation to be endearing and entertaining, her accent didn't grate at all far from it, it fitted her role and she was in fine voice in her first talkie musical, John Boles performance was set very much in the stage style of presentation, he had a fine voice very easy on the ear. Rio Rita is a gem from the late 20's and deserves to be restored 100% to it's former glory when released,filmed head on for most of it's duration, rather like watching a stage show, I see it as a wonderful filmed record of what it was like to actually sit in the Ziegfeld Theatre perhaps and be a member of the first night performance of the show on stage, the nearest we will ever get to actually seeing a Ziegfeld show of the period, and partly in stunning two strip colour. The technical restrictions of the period, static camera's, etc work in the films favour for me, we have an opportunity to see a filmed stage show featuring some of the greatest stars of the period. I would like to suggest when watching film musicals of the late 20's, very early 30's, playing the soundtrack through an equaliser, then play it through your amplifier to good quality speakers, the results can be amazing, tinny soundtracks can suddenly take on a sound quality you had no idea was there! I recommend Rio Rita 8 out of 10 only because my copy though excellent isn't restored,a fully restored Rio Rita would be a wonderful to see and hear.

Bebe Daniels, with a ridiculous accent and a trilling voice to rival Jeanette MacDonald, is Rita, being romanced by mysterious gringo John Boles. Their operetta duets are fairly pretty and Bebe gets to wear some good costumes.

In another storyline interwoved with that of Rita are Bert Wheeler and Robert Woolsey (with little Dorothy Lee) in a comic divorce-based plot. Woolsey is the wise-cracking cigar-chomper with the glasses, Wheeler the little guy with the high voice and a nice line in song 'n dance.

Rio Rita is a fun early musical with primitive Technicolor bits and one Berkeley-esque overhead shot with the frilly girlies doing their thing round Wheeler. Dorothy Lee's voice reminded me of Helen Kane (the lady who introduced I Wanna Be Loved By You before Marilyn got her hands on it).

My favourite bit music-wise is the catchy 'Sweetheart, We Need Each Other'; otherwise the invisible girl only seen by the boys after quaffing some seriously strong plonk is a really funny bit.

And I did like the fact that for 1929 this wasn't as primitive as other early talkies I've seen. Good stuff (and an invaluable record of a Ziegfeld show of course).

Though Rio Rita has a big reputation among aficionados, I think it's probably due more to its success as a stage vehicle than as a film.

Nevertheless, for those who are interested in historical films, I feel Rio Rita serves as a good example of the kinds of obstacles that faced early film makers and actors. As the sound and music was recorded live, there are a number of mistakes, slips and awkward moments. But rather than detract, I think it's interesting to see how the actors and staff negotiated these difficulties. Particularly in the reprise of "Sweetheart We Need Each Other" you can see Dorothy Lee struggling to follow the conductor while Bert Wheeler keeps on distracting her, while Helen Kaiser is clearly trying to follow Lee but both Woolsey and Wheeler keep on getting in her way.

Then there are moments that, because the recording was done live, are just over the top. The most hysterical moment has got to be when, after 5 minutes of singing and tap-dancing in a single take, and then after a series of double summersaults, Bert Wheeler literally jumps on Dorothy Lee's back and rides piggy-back while she resumes singing. Wow!

And of course, with so few surviving films with two-strip Technicolor, it's always interesting to see how early film makers took advantage of it.

What a lot of movie buffs may not be aware of is the surprise and delight that the movie audiences of 1929 felt when they first heard Bebe Daniels's singing voice on the silver screen. By the time sound pictures began to appear, Daniels had already been a major silent film star for years, most notably headlining in romantic comedies for Paramount. She was quite popular with audiences, and she was considered a real beauty, too. Yet before the advent of sound, screen audiences (for the most part) didn't know what her voice sounded like... They could only imagine. So at a time when the arrival of sound sometimes killed the careers of heretofore popular movie stars, many so-called "hot" personalities found their personas diminished on the talking screen. Not so with Daniels. No matter what people might have been expecting before the lights went down and the sound came on, as it turned out, in "Rio Rita", her singing voice was nothing short of a sensation. Teaming her with the incredibly handsome John Boles was a nice bit of casting, too, because he too was blessed with a wonderful singing voice. Their "duet in counterpoint" at the beginning of the film (he sings the title tune while she sings "River of My Dreams") must have been a revelation, and one can almost imagine the theatre audiences swooning when it was first heard in 1929. So no matter what others may tell you about this "Rita", the thing to keep in mind is that with almost all of these early talkies, the viewers today who will appreciate them the most are those who can project themselves back in time when they watch them.