Sérénade américaine

As a music presenter and a Latin-music radio host of 20 years, I was compelled to correct a couple of misstatements in previous postings about the musical artists featured in this film. While "Pan-Americana" is not exactly "An American in Paris" (...or even Manhattan), viewers should be more cognizant of what they're actually seeing and hearing.

In the post titled "Just Doesn't Cut It", the writer commented: "The contrived plot is a boy-meets-girl story, interrupted by musical performances of Latin American artists, some of which were Carmen Miranda wannabees, and none of which were memorable or even particularly good." Um... amazingly inaccurate! If only for his presence alone, Miguelito Valdes is one of the LEGENDARY vocalists and band leaders of the Latin-American popular/tropical music genre. You could think of him as a combination of two notable U.S. artists: r&b legend Jackie Wilson (from a stylistic standpoint), and crooner Tony Bennett (as far as his 'stature' within the Latin pop music genre). So... to It was actually Mr. Valdes who popularized the song "Babalu" throughout Latin-America and the U.S. in the late 1930's. Likely because of Mr. Valdes obvious African blood, he was denied the opportunity to perform it in the Broadway show "Too Many Girls." The role ultimately was given to white-Cuban actor Desi Arnaz, a more 'traditionally handsome' man (to 1940's North American eyes) who parlayed the Broadway success into an MGM contract. While Desi Arnaz was himself a charismatic performer (a decent actor and visionary television producer), he had nowhere near the vocal presence of Miguelito Valdes (Arnaz himself would have laughed at the mere notion of a comparison...).

Sprinkled throughout the film are also rare appearances by folks like the legendary Brazilian composer and band leader Nestor Amaral - the musician who accompanied Carmen Miranda to the U.S. in 1940(!). Antonio and Rosario performed to great acclaim internationally, and performed in a number of Hollywood musicals. After their breakup, their careers continued with success. Antonio would eventually become the Director of the Nacional Ballet de Espana! Chuy Reyes, who led the 'house' Latin band at Hollywood's glamorous Mocambo for years.

The point is, while they may not be major "cross-over" names like Xavier Cugat, this film is an important document of some very influential Hispanic performers. To 'dismiss' them as cut-rate is simply wrong.

I would have to wholeheartedly agree with the previous writer. This movie is a refreshing musical from the 40's - even Robert Benchley, one of my least favorite actors, subdues his normal corny performance here. There is a nice cast of Latin American singers and dancers included. Eve Arden is excellent in her role. Phillip Terry brings in a creditable performance playing his part well, and Audrey Long is absolutely outstanding (and gorgeous) as usual.

Again, a very well directed and acted 40's musical! Must be - I have it on DVD and play it a least once a month.

In summary, if you get a chance to catch this movie on one of the movie channels do so, you won't regret it.

The song Babalu was published in 1939 and the Broadway show was in 1940. Desi Arnez had a big name in the U.S. already and I don't think anyone else was up for the role. The movie was just a propaganda Latin American goodwill film one of many. RKO did not put any of there big stars because it was not a big film. The love stories in musicals was a normal type of story. The film is likable and I would watch it again. The stars don't seem to have the chemistry as love interest. It is interesting that all studios were making films that take place south of the American border but were filmed in there Hollywood studios except for a couple of examples.

Director John H. Auer also produced and gets a story credit for this lame Good Neighbor Policy musical with a superfluous plot--about the search for the prettiest girl from every nation by the editors of an American magazine--used merely as the pretext for another boy-meets-girl reluctant romance. Phillip Terry is a photographer (a womanizing "coyote") and Audrey Long is a gal-reporter with no-no on her lips and sí-sí in her eyes. As the secondary couple, politely squabbling Robert Benchley and Eve Arden liven things up, but the dire, padded screenplay isn't clever enough to hold interest. The song interludes (but not the Mexican stereotypes) may be of interest to historians of Latin-Americans depicted in the cinema, but this low-budget travelogue is strictly stock shots, rear projection and studio interiors. *1/2 from ****

Audrey Long seemed to have everything - blonde elegance and style. She originally studied acting with the same woman that had coached Olivia DeHavilland and Joan Fontaine. She was also in two top film noirs - "Born to Kill" and "Desperate" where she proved she could act but because she played the "good girl" she was not remembered. "Pan Americana", was, I definitely suspect, a part of the South American good neighbour policy that Hollywood instigated in the 1940s, where everything south of the border was suddenly very "cool". Even though Phillip Terry and Audrey Long are the "unknown" leads - you can't go wrong with Eve Arden. Jane Greer also had a small part as Eve Arden's secretary. Even though she is in the background her beauty shines through and she also looks as though she is going to play a bigger part but unfortunately....

Dan Jordan (Phillip Terry) is given a special assignment - filming the most beautiful girls in South America - also with him is Jo Anne Benson (Audrey Long) as his assistant. Dan thinks she is just another conquest but she is really just stringing him along so she can get to Rio and see her real fiancé.

The story is just an excuse to string together some Latin acts ranging from Carmen Miranda "wannabees", guitarists (both male and female) and a pair of dancers performing a pasa doble. There is a rendition of "Baba Lu" (the song that became Desi Arnez's signature tune) - the singer here performs with great drama and an excellent "insect" dance is included (it would have been very dramatic in colour).

Robert Benchley does a comic turn as he explains the mysteries of the Samba. My mother thought Robert Benchley was the funniest man ever but in my opinion he is definitely an acquired taste.