Quando os Deuses Amam

It would seem only natural that the greatest of screen goddesses would be cast as one of the residents of Olympus, but Rita Hayworth more than fills the part. Something tells me that if she and Terpsichore were talking now, Terpsichore would be real happy with Rita.

I don't think she would be all that happy with the film as a whole, but the Greek Deities are a hard subject for the theater. Rodgers&Hart did well by them in By Jupiter, their last original collaboration. But Cole Porter had a misfire with them in Out Of This World. And the team of Doris Fisher and Allan Roberts aren't quite of the caliber of Porter and Rodgers&Hart. No great songs come out of the score here and that certainly would have helped the film a lot.

In Down To Earth, Terpsichore does just that when up in her celestial viewing spot she sees that performer/producer Larry Parks planning a musical comedy that is a satire of the Greek Gods. She's not happy that liberties are being taken with her relations so she comes down and of course gets the dancing lead and the leading man, sort of.

Rita Hayworth was dubbed by Anita Ellis who did her songs in a few of her Forties films. But why people were expecting the voice of Larry Parks in his one duet with Hayworth to be Al Jolson's, those Greek Gods only know. Parks was dubbed by a singer named Hal Derwin and I took a look at Mr. Derwin's credits and he dubbed at various times, Lee Bowman, Gene Nelson, and Bob Cummings in various films. It wasn't Jolson by why would anyone expect that.

Helping out in Down to Earth are three roles from Here Comes Mr. Jordan, one of Columbia's earlier comedy/fantasy hits. Stepping in for Claude Rains as the all knowing Mr. Jordan is Roland Culver. And repeating their roles from Here Comes Mr. Jordan are Edward Everett Horton as the snippy heavenly messenger and James Gleason as the good hearted, but slightly confused Max Corkle who has quit managing fighters and is now an actor's agent. I suppose the job calls for the same skills.

But this film is really Rita Hayworth's show. She's at the height of her screen fame when this was made and one look at her by young fans who might not have been alive when she was will tell you why that woman was the greatest screen sex symbol ever.

So in overcoming a mediocre musical score Rita makes this film as personally her own as Gilda in the previous year. Not as good as Gilda, but all Rita.

There is a lot wrong with this movie, but none of it is Rita Hayworth. She plays the part of a goddess briefly visiting earth and not exactly fitting in, which indeed she was. In this movie she comes from a heaven which strangely is managed as both the place of the human afterlife and the abode of the Greek gods. Trailing after her is Edward Everett Horton, providing comic relief, but at a certain point he drops out as the movie becomes more serious and unsettling. There are songs, and they sound all right but nothing is catchy about them. There are dances, and people complaining about the dances, and you can't quite tell whether you're being ribbed for enjoying the dances or ribbed for not enjoying them. Rita Hayworth never gets a romantic dance with a partner, although Marc Platt-- as the friend becoming alienated from the male lead-- gets a few moments to show off his own energetic moves as he and Hayworth, being part of a threesome, dance to a song about how happy they are that is set in a gloomily deserted twilight playground. And how could they be happy? Everyone in the story is angry, jealous, fearful, or violent, and there is no place on earth for love. The movie is dated 1947 and for no obvious reason, men are shown more than once in military uniform. Perhaps the confusion, the uncomfortable jostling of the earthly and the otherworldly, and the threat to the solidarity of the male buddies have something to do with the atmosphere of war's end.

Rita Hayworth shows why she was dubbed "The Love Goddess" in this technicolored musical fantasy incorporating some of the supporting players of "Here Comes Mr. Jordan" to flesh out its plot about Terpsichore returning to earth to help producer (Larry Parks) put on a correct version of his mythological musical. Unfortunately, the script doesn't provide Larry Parks with a role up to his Jolson impersonations and the chemistry between them isn't quite enough to make this more than a routine musical.

Rita is perfectly cast as a goddess and is at her most ravishing. She has several good dance routines which she performs with her customary grace and skill. Larry Parks, then riding the crest of his popularity after "The Jolson Story", does a workmanlike job in a lackluster role. But she steals as the spotlight as the Greek muse of the theater, unhappy about the way the nine Muses are being portrayed. Along with an angel (Edward Everett Horton), she is allowed to go down to earth in an attempt to give the show some class. It's a pleasant enough fantasy and gives Rita the chance to do some fancy footwork in dance routines staged by Jack Cole. The good cast includes Roland Culver, James Gleason and Marc Platt.

For more about Rita, watch for my upcoming career article slated for publication in FILMS OF THE GOLDEN AGE sometime soon.

Wow, Columbia Pictures really shocked me with how this film began. Believe it or not, it is a sequel, of sorts, to "Here Comes Mr. Jordan". While the main character (Robert Montgomery) is not in the film, many of the other characters are--such as his friend and agent (James Gleason) and the angel (Edward Everett Horton). However, this time they are not dealing with an accidental death and how to rectify it but with the angry Terpsichore (Rita Hayworth). Apparently, this Muse got wind of a Broadway musical down on Earth in which she and the other gods are portrayed incorrectly! She asks Mr. Jordan is she can have permission to go to New York and fix this problem. Jordan agrees and sends his befuddled angel (Horton) along as her assistant and to be sure she doesn't break any rules in fixing the play.

While the producer does immediately fall under Terpsichore's spell and lets her re-write the play as well as star in it, there is a serious problem. The final product is just awful--sort of like a Wagnerian opera and Busby Berkeley hybrid that dumbfounded the audience--and effectively killed the show. While it was SUPPOSED to be bad, I can't see why the Columbia folks also insisted on showing so much of this bad play that was supposed to be bad! In other words, why torment the audience when they can just show tiny snippets and let us know the audience hated it--instead of making the movie audience wonder why the heck they went to see this when there was a perfectly good Clark Gable film playing down the street!! Too, too much...that's for sure! Well, despite the problems, this is only about midway through the film--so it's obvious that something will happen next. What this is and how the whole production is salvaged (if it is) is for you to see for yourself. However, it's not one of the better musicals of the era and is no where nearly as good as "Here Comes Mr. Jordan"--so you'll have to decide if it's worth it!

Oddly, practically everyone in this movie cannot sing--a serious problem as it's a musical!! Many of the characters were dubbed and while Rita Hayworth was gorgeous, it was silly to pick a lead who could sing (though she was a fantastic dancer). I think the reason she was used is because she was the studio chief's (Roy Cohn) pet actress--and he featured her in practically all of the studio's A-pictures during this era. I guess, in an odd way, I can understand this--but why use Larry Parks and a couple others who also couldn't sing?!

Aside from its very dubious views on the afterlife and theology, this is an enjoyable bit of fluff and no more--and certainly not a must-see. However, the main story idea was never good enough to have encouraged some idiots to remake it decades later as the god-awful "Xanadu". Aside from some good music, "Xanadu" should rank as one of the dumbest major studio films of the last 40 years!

Alexander Hall, the director of "Here Comes Mr. Jordan", tried to give his old movie a new look by changing it into a musical. It must have sounded like a good idea at the times. The only problem was that this is not as charming as the model in which "Down to Earth" is based on. While the model picture seemed light and inspired, this one doesn't fare as well.

In theory, Larry Parks and Rita Hayworth, would have been a match made in heaven. Both were at the top of their fame. Larry Parks was a good actor who could act and sing as well and Rita Hayworth was a joy to watch, no matter in what vehicle. Somehow, the sparks both actors should have given their fans don't materialize, perhaps because of the way it unfolds on the screen.

There are some unexpected pleasures in the film, although not the unremarkable music. On the other hand, Rita Hayworth is quite good as the Muse who decides to take matters on her own and comes back to show Danny Miller how to stage his musical for the theater. Ms. Hayworth is at her most ravishing self dressed by Jean Louis and looking like the goddess she was! Larry Parks tries to be the suave musical theater man that falls in love with his Terpsichore.

The supporting cast is excellent. James Gleason, who played in the original film, here is seen as a theatrical agent. Roland Culver is the Mr. Jordan, who arranges the trip down to earth. The incomparable Edward Everett Horton is seen as the guardian angel, or Messenger 7013, who is made to follow Terpsichore/Kitty provoking some funny situations. William Frawley plays a small part.

This is a film to watch to see the gorgeous Rita Hayworth as the top of her profession.