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.
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.