Sérénade américaine

this movie is a romantic romp. eve Arden, Audrey long, Robert benchley and Phillip terry (joan Crawford's 4th husband) star in this romance set in various tropical settings. the best part is discovering b movie actress Audrey long. Audrey married Leslie charteris (author of the Simon templar "the saint" novels) in the early 1950's and evidently retired after a successful, approximately 10 year, career as a lead in mostly b movies. Audrey really shines in this movie and it really gives pause as to why she did not prosper in the film industry. like most actors and actresses, never getting the one great breakout role prevents them from stardom. she was a total babe. the rest of the cast is doing a very good job and the movie has a nice and varied Latin setting to complement the stars of the film. also look for Jane Greer in her first film role, in a small part.

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 ****

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.

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.

There's few reasons to sit through this unfortunate example of Hollywood film-making. The first - and the only reason I began to watch it - was the uncredited debut of Jane Greer, one of my favorite actors of all time. She appears about 5 minutes into the film as Eve Arden's secretary, doesn't say much, swings her leg over the arm of a chair, is scolded by Eve Arden, finally speaks her insignificant lines in her unmistakable voice and departs never to be seen again. More the pity. Normally that would have been enough for me but for some reason I soldiered on, curious about the long list of Hispanic performers. Some were pretty good although the acts tended to be repetitious. After some research I found that this film launched the career of two others: Lita Baron (Lupita) would make 24 more, the last in 1979, and Alma Beltran, who appears briefly as Miss Guatemala. Her career spanned 87 films, the last in 2002. So there you have it. If one looks hard enough one can always find a reason to watch a lousy film. In retrospect I have to wonder why Hollywood would make this turkey. Released shortly after the allied victory over Germany it's difficult to imagine what possible propaganda value it could possibly have. Was it supposed to show some kind of solidarity with our neighbors to our south? I have no clue. In any case don't bother with this one other than as a somewhat ludicrous curiosity.