A La Habana me voy

I really enjoyed this musical. Carmen Miranda and Ceasr Romero are especially charming and at the top of their game. The songs and dancing routines are first class, a little "Hermes Pan" influence. I am also a fan of John Payne. His understated and often over looked skills as an actor are on display as be brings a light touch to this enjoyable romp. I thought Alice Faye was wonderful but would like to have seen her do a couple of more musical numbers like she has done in her other projects. No one can introduce a song during the era of the 30s and 40s like Alice. The colors are big, bright and beautiful and makes for a wonderful watch. I may be old fashioned but this is a film i could watch with the grand children and laugh out loud with them.

The film begins with a cruise ship getting stuck on a reef. The cruise line sends one of its execs (John Payne) to meet the passengers in order to placate them and get each one to sign a release. However, one (Alice Faye) is not so easily satisfied and refuses to sign. After all, she cannot afford to take another trip a couple weeks later and she insists that the cruise line owes her a vacation and NOW! So, to avoid a lawsuit, he arranges for the woman to be flown to Havana to be wined and dined in style. She is happy but won't sign the release until AFTER the trip is over--as it COULD still be a lousy vacation. So, to be sure the vacation is great, he arranges for a local ne'er-do-well (Cesar Romero) to romance her. The problem is that he already has a girlfriend (Carmen Miranda)--and she's one jealous lady! What's next? Well, it's pretty predictable but quite entertaining.

This picture is pretty much what you'd expect from a film from this studio--some very nice Technicolor, a few songs and a lot of fun. While none of "Week-End in Havana" is certainly NOT a great film, it is a decent little time-passer and is worth seeing. It's also one of Miranda's best films, as she's used more effectively than in many of her Fox movies.

By the way, at the 73 minute mark, you can catch a brief glimpse of Hugh Beaumont--but look fast or you'll miss him.

Despite the super-lovely Alice Faye's top billing, exotic Carmen Miranda manages to steal the show. She not only has the pick of the songs, the liveliest dances and the most colorful costumes, but shares the movie's funniest moments with Cesar Romero. Mind you, Alice is most attractively photographed, does wear some beautiful clothes, and does get to sing the haunting "Tropical Magic", one of Harry Warren's loveliest tunes. (Harry, incidentally, hated the picture. He loved Alice, but was somewhat ambivalent about Carmen Miranda and John Payne with "his limited and rather ordinary singing voice." Harry also complained that Fox treated him badly, forcing him to work night and day for four weeks because Carmen had scheduled the movie between other engagements. "I turned out a lot of music, some of which was dropped from the picture. I fell ill and was hospitalized for three months with pneumonia. When I returned to the studio, I found I'd been taken off salary for the whole time, whereas Mack Gordon had been kept on. Waving my walking stick, I stormed into Zanuck's office but his yes-men wouldn't let me see him. Maybe Zanuck knew nothing about it, but his lieutenants did. They were horrible people." In Fox's defense, it should be pointed out that Mack Gordon did write lyrics for "Romance and Rhumba" during Harry Warren's absence).

To my surprise, John Payne's role is more of a character part than that of a romantic lead. It's the lively, personable Cesar Romero who not only shares most of the comedy with both Alice and Carmen, has some delightful run-ins with the heavy (Sheldon Leonard), but supplies romance as well.

The comedy is also helped out by George Barbier as the peppery president and Billy Gilbert as a self-important innkeeper. In the scenes with both these expert comics, Payne plays the fall-guy. And he makes an amusing job of it too.

Walter Lang has directed with his customary expertise and no-one will feel short-changed by the lavish Miranda dance numbers choreographed by Hermes Pan.

Although none of the principal players set foot in Havana, Cuba for the production of Weekend in Havana, Darryl F. Zanuck sent a second unit crew down there to get enough background shots and longshots with doubles of the players to make one feel they were having a Weekend in Havana. Usually the studios just relied on newsreel footage so 20th Century Fox was spending more than most studios would at this time.

There are certain plot similarities to Paramount's Waikiki Wedding that starred Bing Crosby and Shirley Ross four years earlier. In fact George Barbier has the same kind of part in both, a business executive who wants to make sure a young woman has the time of her life on vacation be it Hawaii or Cuba.

In this case it's Alice Faye, a shopgirl who saved her money for a cruise and in this case the cruise ship ran aground on a reef on the Cuban coast. She just doesn't want to sign a waiver to get the company off the hook for a lawsuit. So John Payne who is about to become Barbier's son-in-law is sent to get that waiver by hook or crook.

What he ends up doing is trying to make sure Faye has a good time in Havana under his personal management. He even calls in a broke Cesar Romero in for a bit of romance when Faye doesn't take to him. Payne offers to pay Romero's debts to casino owner Sheldon Leonard and that doesn't sit too well with Carmen Miranda, Romero's girlfriend. And the whole business ain't sitting too well with Cobina Wright who is Payne's fiancé.

I'm sure you can figure out where this is going plot wise. In addition to those mentioned look for nice performances from Billy Gilbert as a club owner and Leonid Kinskey as an ever helpful bellhop.

Seeing Payne and Faye sing together once again confirms my thesis in that 20th Century Fox hired him to take the musical leads opposite their stars like Faye, Betty Grable, etc. He shows himself once again to be a singing Tyrone Power. Alice and he make lovely music, but of course the hit of the film is Carmen Miranda. As it was in any film she was in.

Another Latin American good will film. Interesting how we got our ideas about Latin America from films like these. Nice entertainment, but bad sociopolitics.

This movie doesn't lack talent; it's got the adorable Alice Faye, handsome Cesar Romero and John Payne, and fabulous Carmen Miranda. What it lacks is great songs. Made at a time when Cuba was still a glamorous destination for wealthy and famous Americans, the film cashes in on the contract between old New York in winter and the warmth of the Caribbean. It all seems like a bit fat cliché now, but in its time this kind of fun got people dancing and singing and appreciating the rhythms of Latin America. You'll hear all sorts of references in Miranda's rendering of the title song. Who cares if she was from Brazil? It's interesting to note that one of the themes of the film hinges on a cruise ship going aground-sound familiar? The scenes filmed in Havana are a delight. Note that some "Marquee 20th Century Box Musicals" DVDs of this film contain audio commentary by film historian Jeanine Basinger, which helps to explain the conventions, styles, and techniques of this movie. --from Musicals on the Silver Screen, American Library Association, 2013