Voyage à Rio

For practically the whole of Ann Southern's career she was predestined to be considered a competent, reasonably popular actress. In fact, she was considerably more than that and this film, until much later in her career, is the proof. The plot about an actress Mother (Southern) and her singing daughter (Powell) is two steps above hokey but the realization gives it status and sturdy performances in support carry the day. A subplot that has everything thinking the daughter might be with child was semi-shocking for the time but, today, might make one wonder what the fuss was about. The completely artificial looking sets-Rio as painted on a scrim-leave no doubt that this was filmed on the back lot.(And that illusion isn't helped by some included footage actually shot in Rio during Carnival.) But the singing and dancing are fun to watch, Jane Powell is in particularly good voice, and the thin plot just carries the day. But only just. Need I mention the happy ending? Did you think otherwise? So join Ann and the cast for a spurious adventure in Rio and remind yourself what good actors can do with very modest material.

Great production values highlight this musical comedy that revolves around a pair of misunderstandings that blossom to full effect.

With her Debbie Reynolds looks and her operatic voice, Jane Powell is wonderful as 17-year-old Nancy Barklay, a budding actress. Her mother, Frances--also an actress--is played by Ann Sothern. The two of them are wonderful together. In fact the entire cast fits together nicely in this light-hearted story that deals with music more than romance. Barry Sullivan plays Paul Berten, the man who sort of comes between them. Louis Calhern is Frances' father, an old song and dance man himself. Carmen Miranda goes full fruit basket with a couple of catchy tunes. Hans Conreid is underused as the family butler.

Technicolor brightens the screen and shows off some great sets, especially the family home in Rio. The wardrobe is striking.

Jane Powell gets to display her classical credentials with a solo from La Boheme.

"Nancy Goes to Rio" is an enjoyable excursion designed to put a smile on the face of viewers. And it does just that.

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.

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

Pleasant is a good word for this film. While not one of the top-five musicals, it is well made and enjoyable. Ann Sothern and Jane Powell play mother and daughter who fall for the same man while in South America (No location shoots here. The furthest south anybody working on this movie traveled was probably Long Beach). There are some interesting numbers here, in great part because some of the songs and styles included were rare by the time this movie was made. "Shine On Harvest Moon," an old song, is sung and danced by Sothern, Powell, and amazingly enough, Louis Calhern. "Time and Time Again" is a Nelson Eddy-Jeanette McDonald type number which features Sothern and is probably one of the last of that style to be filmed. The bulk of the musical numbers feature Jane Powell who sings well, as always. Yet, for me, the high point of the film is the number featuring Carmen Miranda. I think it's one of her best. This was Carmen Miranda's next-to-last film and also the last musical for Ann Sothern.