jakob13 We're in December 2015 in the US, a country beset by a terrorist attack in San Bernadino, California, by racial outbursts, and by a political system that seems tired and about to expire, and by never ending wars. So in this moment of darkness bordering on despair, what better respite there is than seeing a film 75 years old, from a US a year away from world war, exhibiting a joy of life that today seems as far away as the dawn of time. And what a spectacular opening: Carmen Miranda burst onto to the screen sing 'Down Argentine Way', with the hypnotic curves of a supple body, a bare midriff, and green flashing eyes, in her first film in a Hollywood production. With the advances of Nazi troops in Europe and North Africa, America looked to its backyard, with worry. Although Washington ruled its neighbors to the South firmly invoking the Monroe Doctrine, the appeal of Hitler's Germany had found admirers in Argentina, Brazil and Chile and other capitals. So FDR launched the 'Good Neighbor Policy', to blunt any stray from America's embrace. In consequent,Hollywood obliged. It was a time when songs in Spanish, with lyrics in English became the rage as did the rumba and bolero and the Congra found great popularity. 'Down Argentine Way's story is silly, but, oh, lifted by the tap dancing of the Nicholas Brothers, the raffish Don Ameche with his bedroom eyes, speaking in a false Spanish accent, and his pleasing baritone voice, the vivacious Betty Grable singing and dancing in a costume that has the cut of the Brazilian bombshell Miranda without the tutti frutti headpiece, bracelets and other silliness of dress. And then there's the wry humor and long legs of Charlotte Greenwood. The film's a typical boy meets girl set up, with love conquering all in the end. And yet, in spite of the talent of Ameche and Grable, it is the magical perfume and spirit of Miranda that wafts throughout the film. And the blithe spirit of song and dance makes you not wince painfully at the stereotypical mugging of J. Carroll Nash and the condescension of Henry Stephenson or the buffoonery of Leonid Kinsky. It is in trying times as these, a sprinkling of fluff is very welcome as a reminder that reality is not as dire as it seems.

mark.waltz As America headed towards the traumas of World War II, Hollywood entertainment (as well as Broadway) became obsessed with all things Spanish. Here, there's only a little bit of Carmen Miranda (basically a specialty act playing herself), and a lot of Don Ameche and Betty Grable as the lovers who meet and fall in love as a result of a sale of a racehorse. Grable rose to "A" status to eclipse Alice Faye as 20th Century Fox's leading musical star, and her likability is exceeded only by her enormous talents as a singer and dancer. In the 1940's, only Rita Hayworth would surpass her as looking so good in Technicolor. Charlotte Greenwood is around to give her traditional high kicks (which she would continue to do into the mid 1950's as "Oklahoma's" Aunt Eller) and J. Carrol Naish provides some memorable comic relief.The color photography is sumptuous and every detail of this film is exquisite, from the sets and costumes, to the choreography and pacing. Miranda repeats the song "South America Way" which she had introduced earlier on Broadway, and later gets to perform "Mamãe Yo Quero" which has been burlesqued by many, from Mickey Rooney in "Babes on Broadway" to Jerry Lewis in "Scared Stiff" (Miranda's last film). Even Woody Allen got into the spoofing of this song, utilizing Miranda's popular recording to add some period detail to the wonderful "Radio Days". Grable is a definite dream in the wonderful title song and gets a sweet duet with Ameche. When Greenwood finally gets to show what she's made of with "Sing to Your Senorita", the price of admission has been paid, and the pleasure is doubled. Director Irving Cummings takes great detail in taking a typical romantic story to higher levels and the obvious box- office appeal is truly apparent.

writers_reign ... when it could just as soon have been called Down Upper Sandusky Way in terms of plot. What it was, of course, was at once a morale booster and a nod to its South American neighbours from the movie capital of North America if not the world. This was Carmen Miranda's first appearance outside the Latin American market and as such she has absolutely nothing to do with anything even faintly resembling a plot. C.Aubrey Smith lookalike Henry Stephenson is about as convincing as a South American horse-breeder as Michael Jackson would be as a gaucho but if things like this bother you then you're missing the point. Charlotte Greenwood weighs in with her trademark high kicks and there are more of the same from the Nicholas Brothers; leads Don Ameche and Betty Grable exhibit as much chemistry as an empty petri dish but score individually whilst Mack Gordon and Harry Warren turned in a score that was just about up to snuff. All in all a pleasant enough crowd-pleaser.

Chip-24 The plot is slight- but it doesn't really matter. Don Ameche is charming, the songs, for the most part, are fun, and Carmen Miranda steals the film from Betty Grable. Certainly a lesser musical- but fun for fans of the genre.