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IMDbPro

Rio Rita

  • 1929
  • Passed
  • 2 h 20 min
AVALIAÇÃO DA IMDb
6,0/10
784
SUA AVALIAÇÃO
Bebe Daniels in Rio Rita (1929)
ComédiaMusicalOcidente

Adicionar um enredo no seu idiomaCapt. James Stewart pursues the bandit "The Kinkajou" over the Mexican border and falls in love with Rita. He suspects, that her brother is the bandit.Capt. James Stewart pursues the bandit "The Kinkajou" over the Mexican border and falls in love with Rita. He suspects, that her brother is the bandit.Capt. James Stewart pursues the bandit "The Kinkajou" over the Mexican border and falls in love with Rita. He suspects, that her brother is the bandit.

  • Direção
    • Luther Reed
  • Roteiristas
    • Luther Reed
    • Guy Bolton
    • Fred Thompson
  • Artistas
    • Bebe Daniels
    • John Boles
    • Bert Wheeler
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    6,0/10
    784
    SUA AVALIAÇÃO
    • Direção
      • Luther Reed
    • Roteiristas
      • Luther Reed
      • Guy Bolton
      • Fred Thompson
    • Artistas
      • Bebe Daniels
      • John Boles
      • Bert Wheeler
    • 24Avaliações de usuários
    • 11Avaliações da crítica
  • Veja as informações de produção no IMDbPro
  • Veja as informações de produção no IMDbPro
    • Prêmios
      • 3 vitórias no total

    Fotos22

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    Elenco principal38

    Editar
    Bebe Daniels
    Bebe Daniels
    • Rita Ferguson
    John Boles
    John Boles
    • Captain Jim Stewart
    Bert Wheeler
    Bert Wheeler
    • Chick Bean
    Robert Woolsey
    Robert Woolsey
    • Ned Lovett
    Dorothy Lee
    Dorothy Lee
    • Dolly Bean
    Don Alvarado
    Don Alvarado
    • Roberto Ferguson
    Georges Renavent
    Georges Renavent
    • General Ravinoff
    Helen Kaiser
    • Mrs. Katie Bean
    Tom Smith
    Tom Smith
    • Texas Ranger
    • (as Thomas C. Smith)
    Richard Alexander
    Richard Alexander
    • Gonzales
    • (não creditado)
    Hank Bell
    Hank Bell
    • Texas Ranger
    • (não creditado)
    Sammy Blum
    Sammy Blum
    • Mexican Cafe Owner
    • (não creditado)
    Fred Burns
    Fred Burns
    • Wilkins
    • (não creditado)
    Lita Chevret
    Lita Chevret
    • Louie's Wife
    • (não creditado)
    Cimini Male Chorus
    • Vocal Ensemble
    • (não creditado)
    Andy Clark
    Andy Clark
    • Dancer
    • (não creditado)
    Ben Corbett
    Ben Corbett
    • Texas Ranger
    • (não creditado)
    Nick De Ruiz
    • Padrone
    • (não creditado)
    • Direção
      • Luther Reed
    • Roteiristas
      • Luther Reed
      • Guy Bolton
      • Fred Thompson
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários24

    6,0784
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    Avaliações em destaque

    7bkoganbing

    The Ranger's Get Their Man

    When movies began to talk a whole new vista of motion pictures opened up with the musical. Not that musical properties hadn't been done before, most famously Rudolf Friml's Rose Marie was done as a silent film with Joan Crawford in the lead. The Student Prince was also done with Norma Shearer. But singing and dancing was something new and it's no accident that the first talking film, The Jazz Singer was a musical.

    The guy who made the best musicals back in those days was Florenz Ziegfeld. One of his best was the operetta Rio Rita which ran for 494 performances in 1927-1928. Since the setting was the west, to be exact the Texas-Mexican border, we essentially get the screen's first musical western.

    Rio Rita was the newly formed RKO Studios big budget film for 1929 and it starred John Boles and Bebe Daniels and Rio Rita was her talking picture debut. She surprised the world with a really nice soprano voice doing those Harry Tierney-Joseph McCarthy songs. Boles was one film's earliest singers and he does the famous Ranger song with gusto in the best Nelson Eddy manner. The other big song from the score was the title song that is sung as a duet with Boles and Daniels. Bebe's best solo number is an item that Tierney and McCarthy wrote specifically for the screen, You're Always In My Arms.

    Repeating their roles from the stage show are the comedy team of Wheeler and Woolsey who also make their screen debut as well. The team itself was a creation of Florenz Ziegfeld and he used them in one of his Ziegfeld Follies editions. They're involved in a subplot about playboy Wheeler getting a Mexican divorce and getting into the clutches of a shyster attorney in Woolsey.

    I could see that both of them were individual performers because Bert Wheeler gets himself a fine song and dance number in Out On The Loose. He was quite the dancer, something we rarely saw in his comedy films with Robert Woolsey. Still it was as a team that they have come down to us.

    The main plot involved Texas Ranger captain John Boles going across the border to ferret out and apprehend a bandit called El Kinkajou and finding romance with Bebe Daniels. Like the first version of Rose Marie though his main suspect is her brother and Texas Rangers like Canadian Mounties put duty first.

    The film is a photographed stage musical essentially, just like the first two Marx Brothers films, The Cocoanuts and Animal Crackers. But the opulence of a Ziegfeld Show is preserved and that is the main reason to see Rio Rita. The last half hour is in color and we can thank the Deity that was preserved.

    So for film historians and those who want a glimpse at the showmanship of Florenz Ziegfeld, don't miss Rio Rita when broadcast.
    kos-3

    An interesting film for aficionados of film history

    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.
    nknerr

    "Rita" as a Talkie Test?

    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.
    didi-5

    nothing sweeter than Rita

    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).
    millerman1939

    Rio Rita (1929) is a gem!

    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.

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    Ocidente

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    • Curiosidades
      While the longer roadshow version of RIO RITA is still considered lost, two musical numbers that do not appear in the surviving 105 minute version showed up on YouTube. "The Kinkajou" and a Technicolor pirate ship dance number are both available online, but have not been restored back into the film.
    • Erros de gravação
      When we see people dancing at the Fremont Cafe at the start of the movie while the Fremont Bank is being robbed next door, gunshots and shouts are heard on the soundtrack. The dancers however do not react at all to the shots until the next scene when they are seen panicking.
    • Citações

      Ned Lovett: How would you like it if I told you your Mexican divorce is no good.

      Chick Bean: Yesterday you told me it was good.

      Ned Lovett: Yeh, but that was yesterday. Today's Friday. Here's a wire that I just received from your first wife's lawyer in New York. Scan it, my boy, scan it.

      Chick Bean: Please arrest the bigamist. Oh, now, wait, look. Now, you know that isn't right. Now, she calls me a bigamist.

      Ned Lovett: Yes now and that's what you are a bigamist. You married twice didn't you?

      Chick Bean: Yeh.

      Ned Lovett: Well, that proves it. For of all the fools, you are the bigamist.

    • Versões alternativas
      The print of the film that is shown occasionally on Turner Classic Movies is only 104 minutes, indicating a reduction of about 35 minutes from the film's original running time.
    • Conexões
      Featured in Hollywood Singing and Dancing: A Musical History - The 1920s: The Dawn of the Hollywood Musical (2008)
    • Trilhas sonoras
      Jumping Bean
      (1927) (uncredited)

      Music by Harry Tierney

      Lyrics by Joseph McCarthy

      Performed by Dorothy Lee and chorus

    Principais escolhas

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    Detalhes

    Editar
    • Data de lançamento
      • 15 de setembro de 1929 (Estados Unidos da América)
    • País de origem
      • Estados Unidos da América
    • Idiomas
      • Espanhol
      • Inglês
    • Também conhecido como
      • Рио Рита
    • Locações de filme
      • RKO Studios - 780 N. Gower Street, Hollywood, Los Angeles, Califórnia, EUA(Studio)
    • Empresa de produção
      • RKO Radio Pictures
    • Consulte mais créditos da empresa na IMDbPro

    Especificações técnicas

    Editar
    • Tempo de duração
      • 2 h 20 min(140 min)
    • Cor
      • Black and White
    • Proporção
      • 1.20 : 1

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