Develiker terrible... so disappointed.

Infamousta brilliant actors, brilliant editing

Huievest Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.

Dynamixor The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

weezeralfalfa The 2nd of 3 films, all by Fox, of the same basic story, over a 16 year period. Originally conceived as 2 distinct films: one an impersonation farce, based on the play "The Red Cat", and the other a musical romance, it was ingeniously decided to combine them. The screen plays were more or less similar for the 3 films, but the musical numbers were completely different. Given the top lead personalities in the 3 films, probably all 3 are worth seeing, although I've only seen a compendium of the musical numbers in the 1st version, starring Maurice Chevalier. Some definitely prefer the 3rd version because of the talents of Danny Kaye and choreographer Jack Cole. Both are among my favorite musicals. Reportedly(not surprisingly), Don Ameche's favorite film role, despite his more remembered portrayal of the invention of the telephone.This version benefits form the interactions of 3 top musical comedy performers in Ameche, Carmen Miranda, and Alice Faye. In contrast, the 3rd version("On the Riviera") depends heavy on the charisma of Danny Kaye, in Ameche's role. In contrast to Alice's several solos, Gene Tierney in her role in the final version does not sing. Also, Corinne Calvert, in Carmen's role, can't begin to compete with Carmen's outlandish charisma. On the whole, the songs in this version are more memorable, whereas the 3rd version excels in imaginative song & dance and comedic productions. Most of the songs were composed by Harry Warren & Mack Gordon, who collaborated on a number of high profile Fox musicals in the early '40s, including another favorite of mine: "Sun Valley Serenade", unfortunately shot in B&W, rather than the gorgeous Technicolor of this film. They composed what became Carmen's signature song: "I, Yi, Yi, Yi, Yi, Like you Very Much", which she sambas to , following "Cai, Cai", in the same performance. Ameche and Alice both sing, independently, two memorable romantic ballads: "They Met in Rio" and "Boa Noite". Suave Ameche had quite a good singing voice for such musicals. He was also the featured male soloist in the prior "Alexander's Ragtime Band", also costarring Alice Faye, introducing "Easter Parade", for example, to film audiences.Unlike the 1st and 3ed versions, this version supposedly takes place in Rio(actually a sound stage). The others took place in France, as intended, and involve all French main characters. The change in location, no doubt, was partly to accommodate Fox's new sensation: Portuguese-Brazilian Carmen, and partly to fulfill their obligation to promote FDR's 'good neighbor ' policy: a propaganda campaign to dissuade Latin American countries from siding with the Fascist block in WWII. The latter purpose is clearly articulated in Ameche's dialogue, as he arrives on stage in a US naval officer's uniform, to take part in the lavish opening musical production, initiated by a spectacularly costumed Carmen, and finished by a very colorful backup chorus, to "Chica, Chica, Boom, Chic". Both Ameche, in the role of stage performer Larry Martin, and Alice Faye, as the wife of Baron Manuel Duarte, are characterized as displaced Americans. Carmen tries to keep Martin on a short leash, and displays periodic jealous rages by animated tongue lashings in Portuguese or mangled English, or by throwing things. This is very similar to her screen persona in her next film: "Weekend in Havana", in which Cesar Romero takes Ameche's place.You will have to pay very close attention much of the time not to get lost whether you are watching Martin impersonating Duarte or vice versa, or whether they are being themselves, and whether the women know or are pretending not to know which they are dealing with at a given time. That makes for a very fun screen play! Then, there are various secondary characters these 2 main characters interact with, as relates to the two women, and to Duarte's big financial problem with his airline business. These include S.Z. Sakall, as Penna, and veteran Curt Bois, as Salles: two clown-like Duarte associates, who often are in the thick of the romantic and financial intrigues. J.Carroll Naish, is Machado: monocled investment banker, trying to take over Duarte's airplane business at an engineered deep discount price. As expected in a true comedy, things end on an up note. Duarte(actually Martin) sells his risky airplane business for a good profit, and he learns his lesson to cut out his philandering and concentrate on making his wife(Alice) happy. The latter theme was more emphasized in the 3rd version, where Tierney lacked a musical role.The finale begins with Duarte carrying a resisting Cecilia(Alice) (thinking him Martin) up a long spiral staircase of their bedroom, in "Gone with the Wind" fashion. Then , bongo drums and brief reprises of the major songs, with Ameche in both his guises included.Alice and Carmen are both dressed in a variety of very glamorous wardrobes, and Ameche is, as usual, impeccably dressed in formal wear off stage. Alice and Carmen would be reteamed for 2 more musicals, while Carmen and Ameche would costar without the pregnant Alice in the less fun "Greenwich Village", a few year later.

MartinHafer As I read the synopsis of "That Night in Rio", I immediately realized it was the same plot as the Danny Kaye film "On the Riviera"--which I've already seen. And, originally (back in 1935) it was "Folies Bergère de Paris"--which I've also seen! Apparently, the studio REALLY liked the plot and all these were filmed within 15 years! Carmen Miranda was an odd phenomenon of the 1940s. Seen today, I am sure many folks wonder HOW she got to be a big star with 20th Century-Fox. She was, like Disco, something that made sense at the time. Today, you wonder how this odd rubber-faced Brazilian lady with fruit salad on her head got to be one of the highest paid ladies at the studio! This isn't meant as an insult--I liked her in some films (especially "Copacabana"). But she is a totally odd and unique personality that I just don't quite understand--and I am sure I'm not alone on this one! Miss Miranda was in this film--which makes sense as it's set in Brazil--though her presence in other Latin American locales did seem a bit more difficult to believe (such as Argentina and Cuba).Don Ameche is the star of this film--and he's supported by both Miranda and Alice Faye. He plays dual roles--that of a nightclub entertainer (Larry Martin) and the Baron Duarte. Larry is called to impersonate the Baron--and this creates two problems. First, he's falling in love with the Baron's wife (Faye) and his girlfriend (Miranda) has gotten wind of this. You have to just go with this and accept the cliché of the identical stranger that was VERY common in Hollywood films--because if you think about it too much it will make your head explode! Although the film is a remake, it does have a few things going for it. First, the color print is very nice and the film obviously had a rahter high budget--so it LOOKS good. Second, Don Ameche does a great job in both roles--with a credible accent and it was great seeing him switch from a South American to an American so quickly. But, regardless, it STILL is a remake--and the plot is very, very creaky! Worth seeing and enjoyable (probably a bit more so than the two other versions) but far from a must-see.

bkoganbing Poor Don Ameche must have felt like something of a doormat. In her first film Carmen Miranda stole the film from him and Betty Grable in Down Argentina Way. Now Ameche with new co-star Alice Faye got upended again by Miranda in That Night In Rio. Don Ameche if nothing else was a gentleman and one of the classiest men in Hollywood. He got his licks in That Night In Rio playing a dual role.If this plot seems familiar it was previously done as Folies Bergere with Maurice Chevalier and afterward by Danny Kaye in On The Double. Ameche is a prominent Brazilian financier who is married to Alice Faye and something of a cold fish. He's also a visiting American entertainer who is going out with Carmen Miranda and as part of his act does a dead on impersonation of the financier with a little more pizazz.Circumstances have Curt Bois and S.Z. Sakall come to the entertainer to have him impersonate the financier for 24 hours while the financier goes out of town for some really delicate business negotiations. The entertainer succeeds in arousing the sleeping woman in Faye and the sleeping tiger in Miranda with the impersonation. I think you can figure the rest out.Harry Warren and Mack Gordon wrote the score, but the songs that Faye and Ameche sing are barely noticeable. But I Yi Yi Yi I Like You Very Much and Chica-Boom-Chic became a staple of Carmen Miranda's nightclub act for the rest of her life. And the way she sings them, hey no one else has ever even tried to do those numbers, you can't possibly imitate that style.For Carmen Miranda fans who are still legion, the world over.

Kalaman This is one of my absolute favorite Fox musicals, photographed in the studio's idiosyncratic garish Technicolor, featuring Carmen Miranda in her second American appearance; Alice Faye and Don Ameche in their last pairing. Ameche is in a double role: playing a Rio nightclub entertainer Larry Martin and a rich airline businessman Baron Duarte. "That Night in Rio" starts explosively with Miranda's entertainingly flashy number "Chicka Chicka Boom Chick" in Rio. Then Carmen's boyfriend Martin enters while riding a car. After hordes of couples dance to Carmen's colorful spectacle, Baron Duarte and his wife Baroness (Alice Faye) arrive. Martin announces he is going to impersonate the Baron. In a musical number, he does it brilliantly. The Baron is very impressed and goes off to backstage to meet him and Carmen. While he is in backstage, Martin courts the Baroness and does another fine Duarte impression. But Martin doesn't know the Baron is in real financial trouble. A few days after that night in Rio, the Baron leaves for Buenos Aires. Martin is secretly hired by the Baron's associates to replace him, so his rivals in the airline business won't notice his absence. Martin not only replaces the Baron, he again courts and romances the Baroness. Many funny and ingenious complications follow. "That Night in Rio" continues the trend started in "Down Argentine Way" - pleasant romancing in exotic Latin locales, galvanized by Technicolor and Carmen Miranda. Alice Faye was supposed to star "Down Argentine Way" but due to illness, the lead role went to Betty Grable. Now, Faye got her lead in "That Night in Rio". I don't think it is near "Hello, Frisco, Hello" (my favorite Faye musical) but there are a lot to enjoy in "That night In Rio".Miranda especially is very funny. Her quarrels with Ameche, her Brazilian accent ("You is a low down, no good ham!"), and her dance numbers (particularly "Ay, yai, yai, yai, yai, I like you very much") are entertaining & rapturous.