Brazil

For the most part, Republic was known as a studio that made B-movies...and mostly westerns. However, occasionally, they made an A-picture (such as "The Quiet Man") or a musical. However, their musicals generally lacked the polish and top actors you'd get at bigger studios like MGM or Twentieth Century-Fox. So, I was not surprised to see Virginia Bruce (a non-singing second-tier actress) playing the lead in this one. The only other name you might recognize is Edward Everett Horton...who is on hand to, as usual, play a comical supporting role. I would have liked more Horton in the story, as he's always wonderful to watch.

Nicky (Virginia Bruce) has written a mean and notorous book, "Why Marry a Latin?", and when the folks in Brazil realize who she is, she naturally gets the cold shoulder. She also plans on writing a book all about Brazil (one of the largest countries in the world) after only a two-week visit there! The only one who seems unaffected the furor about this woman is Miguel (Tito Guízar) and instead of telling her he's a famous song writer (who apparently wrote "Brazil", though in reality it was written by Ary Barroso, who is not in the movie). Instead, he poses as a tour guide and he escorts her all over Brazil as she works on her next hack job...I mean 'book'. But why? Why would Miguel give the time of day do this dopey authoress? And, does he realize she's probably planning on another mean book about the continent?

This is an okay film and it's mostly okay because it has a LOT of production numbers...too many. They often get in the way of the story and I was surprised how poor the choreography was on a few of them. Again, you must remember it's Republic...a studio not known for its musicals. With a few less of these song and dance numbers, the film would have worked better.

Overall, a mildly diverting film...nothing especially exciting but pleasant nonetheless. The only reason I watched it was curiosity, as Roy Rogers appears in the film as himself...which isn't surprising as he was Republic's biggest star at the time.

By the way, if you wonder why many US studios (such as Twenthieth Century-Fox, Republic and Disney) did Latin America-themed films all around this time, it's NOT a coincidence. During WWII, the US government tried to use a good neighbor policy to keep the Latin American countries on the side of the Allies or, at least, not siding with the Axis Powers. Part of it was asking Hollywood to feature the region in films such as "Saludos Amigos", "That Night in Rio" and "Carnival in Costa Rica".

Sometimes songwriter Virginia Bruce arrives in Brazil with a cloud hanging over her: she has written a best-selling book telling people that Latins are lousy lovers, and all of South America hates her. Nonetheless, she and Brazilian songwriter Tito Guizar hit it off, although for the purposes of the plot, he pretends to be twins with the same name. Stuff ensues with a lot of samba music.

To make sure this was a hit, Roy Roger shows up on tour and sings a song at the end. Edward Everett Horton is present also, although he seems grouchier than usual.

I'm sure director Joseph Santley was amused when he was told that Guizar was to play a Brasilian. Guizar was actually Mexican, but to the management at Republic, that must have counted as a difference without a distinction. Still, they refer to the local language as Portugese, and everyone says "obrigado" sooner or later. No one takes the story very seriously, and there are some nice production numbers under the choreography of Billy Daniel,. Nique to a wartime musical, there is no flag-waving finale. Although the country had been at war with Germany since 1942, the Brazilian flag would have confused the US audience.

Brazil has some entertaining musical and dance numbers that are worth a look. Tito Guizar is an impressive singer, but as an actor he personifies the word: bland. The only real spark in this film is Virginia Bruce. She has a wonderful screen presence. She's animated, and emotionally on cue as an actress in every scene she's in. Too bad she didn't get to sing -- she's a distinctive and likable vocalist (she introduced the song "I've Got You Under My Skin" in 1936). Bob Livingston would have been a better choice for her love interest -- he is far more charismatic than Guizar. The first fifteen minutes are impressive as they introduce authoress Virginia, who's American book "Why Marry A Latin?" has caused a furor among Latin men. Along comes Guizar, who at one point becomes twin brothers, which is two too many Guizars for one movie.

While Republic Pictures was not noted for its musicals, the low-budget studio did dabble in the genre. An uneven, but tuneful bit of nonsense, "Brazil" is a diverting Republic film that includes at least one show-stopping dance number amidst such questionable sequences as a chorus of singing gauchos on horseback, a ballad by Roy Rogers, and a stage number about coffee production. The author of a book denigrating Latin lovers, Nicky Henderson, played by lovely Virginia Bruce, arrives in Rio to research her next work, a travel book about the "real" Brazil. Allotting two weeks for an in-depth study of the vast country, Henderson hires a handsome charming guide, Miguel. Played by Mexican singer-actor Tito Guizar, Miguel is a composer with a deadline to write a song for the upcoming carnival. The predictable nonsensical plot involves Miguel playing his twin brother, clowning as a two-headed cousin, and displaying fine voice in a few songs. Edward Everett Horton is on hand as Miguel's best friend, a mismatched friendship if ever there was one.

The movie's highlight comes early, when Veloz and Yolanda, a husband and wife dance team, dazzle with their ballroom steps to "Brazil," written by Ary Barroso five years prior to the film. However, Barroso did pen the song "Rio de Janeiro" for this movie and won an Academy Award nomination for his efforts. The uninspired script offers little to challenge the performers, although Bruce holds her own and emerges with dignity unscathed. Despite his voice and charm, Guizar's performance is a broad caricature of a Latin man, while Horton plays Horton, the daffy effeminate comedy relief. Filmed on the Republic back lot, "Brazil's" Brazil is shown through stock footage and rear projection.

Director Joseph Santley maintains a steady pace that helps viewers slide through the ridiculous moments and focus on the few highlights. However, other than Roy Rogers completists, fans of the three principals, and buffs seeking forgotten musicals, "Brazil's" value lies in the Veloz and Yolanda dance number and, arguably, Guizar's rendition of "Rio de Janeiro." Others may want to pass on this one.

I wonder if the award-winning song really was called "Rio de Janeiro." According to my resource book on the Academy Awards, the song "Brazil" from this movie was the Academy Award winner for "Best Song" category in 1944.

I checked with sheetmusicplus.com and could not find a song called "Rio de Janeiro." If there is such a song in print, I would like to know about it as I love Latin music.

I agree this film should have been in color. Maybe Ted Turner can colorize it for us. Also, I should like to see it available on DVD soon.

As for Edward Everett Horton being in the film, I believe he appeared in other films set in South America in this era. No doubt the interest in Latin America expressed through movies in the 1940s and television in the 1950s was because of South American oil the United States and Canada bought for military use during World War II and during the industrial expansion and prosperity that followed the war. If you think about it, you can see the political undertones in the films of this era.