Pasión carioca

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.

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.

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.

As a fan of musicals and who gets great enjoyment out of seeing Jane Powell and Carmen Miranda, 'Nancy Goes to Rio' didn't disappoint at all, actually getting more or less what was expected.

Only the story in 'Nancy Goes to Rio' isn't so good. It does go overboard on the silliness and is both thin and too busy at times, with narrative surprises next to none. The ending is also rather abrupt and strange and the romance is bland somewhat and feels like an afterthought.

However, as to be expected, 'Nancy Goes to Rio' is a glorious-looking film. The sets and costumes are suitably opulent and complemented beautifully by the radiant cinematography and the big, bold and rich colours.

The music is always a pleasant listen and infectiously upbeat. "Magic is the Moonlight" and especially "Shine on Harvest Moon" stand out, as does Carmen Miranda's colourful and to-be-seen-to-be-believed second production number. Nice use of "Quando M'En Vo" too from Puccini's 'La Boheme'. The choreography is cleverly done, especially in Miranda's second production number.

Furthermore the script is filled with snappy lines that crackle in energy and wit, the whole film is breezily directed and the whole film is just full of fun and charm, just perfect for 100 minutes escapist entertainment.

Jane Powell is her usual pert and charming self and is in wonderful voice. Ann Southern more than matches her as her mother. Meanwhile Carmen Miranda is a riot in material that shows off her talent splendidly, Louis Culhern is sparkling comedic support and Barry Sullivan is effectively subdued without being bland.

On the whole, a Technicolor and musical treat, as long as you don't demand too much. 8/10 Bethany Cox

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).