SpuffyWeb Sadly Over-hyped

BroadcastChic Excellent, a Must See

StyleSk8r At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

Brennan Camacho Mostly, the movie is committed to the value of a good time.

JohnHowardReid Copyright 24 March 1942 by Loew's Inc. A Metro-Goldwyn-Mayer picture. New York opening at the Capitol: 7 May 1942. U.S. release: 11 March 1942. Australian release: 31 December 1942. 9 reels. 8,187 feet. 91 minutes.SYNOPSIS: Nazi 5th columnists attempt to send coded messages on radio broadcasts originating from a dude ranch in Texas.COMMENT: Abbott and Costello's first film for MGM is nothing if not handsomely photographed. And the boys themselves are in fine form. Their usual gag writer has provided some clever routines involving typical puns, misunderstandings and comebacks, plus a number of slapstick knockabouts which actually come across satisfactorily thanks to deft special effects. The boys also have help from a director with a bit of imagination and sense of camera fluidity. Above all, they are surrounded by a particularly able support cast. True, the principals are not so graciously served by both script and sound recording (though the songs themselves are pleasant enough, and Miss Grayson is attractively photographed), but Tom Conway is menacingly suave, Peter Whitney makes an admirable stooge, whilst stunningly costumed Patricia Dane turns in such an exotically glamorous performance her presence alone elevates Rio Rita to a must-see category. She is a great foil for the boys too and is able to stand up to them with both convincing aloofness and involving patronage. Altogether perfect, it's a pity Abbott & Costello failed to realize what a gifted, heaven-sent asset she was to both them and the film and that they didn't make sure she was employed subsequently (as the Marx Brothers were clever enough to realise what a goldmine they had with Margaret Dumont).OTHER VIEWS: I saw a program on Cinematography on television the other night and was amazed that the first photographer one of the interviewees listed as a prime example of artistic craftsmanship was George J. Folsey. He was right up there with Arthur Miller, Charles Lang, William Daniels and James Wong Howe, despite the fact that he never won any prestigious awards (though nominated quite a few times) and that his is hardly a well-known name even among dedicated film buffs. This feast for the eyes is a good example of Folsey's work, even though he was unable or unwilling to disguise some obvious backdrops and glass shots... Despite their hokey words (in a stage show I saw the songs were deliciously sent up, but here of course they are played perfectly straight by the humorlessly wooden Carroll - effecting a phoney accent - and the inexperienced if lovingly photographed Grayson - this was only her second movie after all), the old tunes still thrill the ears. It's an ingenious script device that brings in the Ranger's Song and reprises it for the climax. The staging is rather elaborate too, with pans across both sides of the screen and an editor's nightmare of studio process and real outdoor shots. Mind you, it doesn't quite work, principally because Carroll is so deadly dull... Abbott and Costello indulge us with some typical amusing routines ranging from smart one-liners and clever puns to well-rehearsed slapstick falls and chases. They are obviously both enjoying their work. -- JHR writing as George Addison.

vincentlynch-moonoi I'm watching several of the Abbott & Costello films that TCM is running, and I began to wonder why I had only watched the collection I already had only once. And watching this film, I finally got it. Abbott & Costello cannot compare to Martin & Lewis, and here's why. It's not the fault of Lou Costello. The man is hilarious, and much more able to combine that hilarity with pathos than Jerry Lewis. The problem is/was Bud Abbott. The main had a very limited talent -- he could feed lines to Lou Costello, he could slap Lou Costello around, he could yell at Lou Costello. But Dean could sing and be the romantic lead. So, you could put Martin & Lewis together in a movie and have a complete film. But with Abbott and Costello, Lou could provide all the comedy, but Abbott could not sing or be romantic or dance or do anything to carry part of the film. And that is very clear in this film.Don't get me wrong. This is an entertaining film, And the focus is Abbott and Costello. But, most A&C films have to bring in some romance, so here they bring in John Carroll and Kathryn Grayson. In most A&C films they have to bring in some music, so again, here they turn to John Carroll and Kathryn Grayson. As a result, as with most other A&C films, "Rio Rita" becomes a musical-comedy-variety film...and who does that better than MGM with its high production values? But as a result, some focus is thereby shifted away from Abbott & Costello. But, A&C are very funny here, both in terms of Lou's slapstick, and the team's witty dialog.Due to World War II, the plot of the old musical (by the way, almost every song from the original Ziegfeld production has been eliminated) has been modified to bring in a Nazi spy plot to trigger the action; but it works.As Abbott & Costello films go, this is pretty good, and well worth a watch.

utgard14 Bud and Lou tangle with Nazi spies in Mexico. The Nazis are led by suave Tom Conway. This is a loose remake of a 1929 Wheeler and Woolsey picture. I haven't seen that and likely won't anytime soon since I don't care for Wheeler and Woolsey much. This is also the first of three movies A&C did for MGM. None of these were among their best movies and this is easily the least enjoyable of the three. Nice cast backing up the boys but far too much focus on the bland romance between Kathryn Grayson and John Carroll, a poor leading man I've never been a fan of. He uses a particularly laughable Latin accent here. Also too much singing! And it's that "opera-y" type singing, too. You know what I mean - deep bass from the guy and high soprano from the girl. Not my thing. As for the comedy, it's pretty by-the-numbers Abbott & Costello material. A few good lines and gags but nothing for the career highlight reel. The car spinning gag ("Push the button!") is probably the movie's best scene and that's in the first twenty minutes. For die-hard A&C fans or fans of Ms. Grayson's singing. Everybody else would be advised to find one of the many superior Abbott & Costello films to watch.

Doctor_Mabuse1 Cast: Bud Abbott, Lou Costello, Kathryn Grayson.Director: S. Sylvan Simon.Abbott & Costello's three MGM films (RIO RITA, LOST IN A HAREM and ABBOTT AND COSTELLO IN Hollywood) are slicker, more polished and slightly more sophisticated in tone than their Universal series begun with BUCK PRIVATES. They also lack the brash energy that makes those films so enduring in entertainment value.Even so, one personally finds RIO RITA to be one of the better movies the classic comedy team were associated with. It must, however, be approached with the understanding that it is a Musical with comedy rather than the other way around. RIO RITA is an updated, entirely re-written version of Florenz Ziegfeld's comic operetta, previously filmed in 1929 with star comics Wheeler and Woolsey repeating their roles from the Broadway blockbuster. Bud and Lou receive first billing due to their great popularity, but the new production is a primarily a vehicle for pretty young soprano Kathryn Grayson (ANCHORS AWEIGH, SHOW BOAT, KISS ME KATE!) who was then being groomed for MGM stardom as an answer to Universal's Deanna Durbin. Hence the focus is on Grayson who performs several good songs (including two from the original show) and an operatic aria which displays her formidable vocal ability.Even more than A&C's other early movies, comedy takes rather a back seat to music and romance. Even the dated dramatic situation involving Nazis infiltrating a Western ranch, original to this version, is secondary to the charms of the leading lady. RIO RITA is, not unlike Abbott and Costello's introductory Musical Comedy film ONE NIGHT IN THE TROPICS, a matter of taste. Fortunately, it is a taste that can be acquired. Personally, one loves Musicals, is fond of Kathryn Grayson and is an admirer of Abbott & Costello; therefore one was thoroughly primed to enjoy this. The movie is recommended to all fans of the comedy team, but some may need several viewings, music and all, to come to terms with it.Rating: GOOD.