Lady Alyce Marshmorton must marry soon, and the staff of Tottney Castle have laid bets on who she'll choose, with young Albert wagering on "Mr. X." After Alyce goes to London to meet a beau... See full summary »
The Acunas, a rich Argentine family, have the tradition that the daughters have to get married in order, oldest first. When sister #1 gets married, sisters #3 and #4 put pressure on Maria, ... See full summary »
William A. Seiter
After his wife discovers a telltale diamond bracelet, impresario Martin Cortland tries to show he's not chasing after showgirl Sheila Winthrop. Choreographer Robert Curtis gets caught in ... See full summary »
Aviator and band leader Roger Bond is forever getting his group fired for flirting with the lady guests. When he falls for Brazilian beauty Belinha de Rezende it appears to be for real, even though she is already engaged. His Yankee Clippers band is hired to open the new Hotel Atlântico in Rio and Roger offers to fly Belinha part way home. After a mechanical breakdown and forced landing, Roger is confident and makes his move, but Belinha plays hard to get. She can't seem to decide between Roger and her fiance Júlio. When performing the airborne production number to mark the Hotel's opening, Júlio gets some intriguing ideas... Written by
Gary Jackson <email@example.com>
Despite his obvious on-screen chemistry in dancing with Ginger Rogers, Fred Astaire was reluctant to make a second movie with her. He had previously been part of a dance duo with his sister, Adele Astaire, but wanted to establish himself as a solo dancer. After Flying Down to Rio (1933), Astaire sent a note to his agent about Rogers. "I don't mind making another picture with her, but as for this team idea, it's out! I've just managed to live down one partnership and I don't want to be bothered with any more." But when the critics praised the Astaire-Rogers pairing in "Rio," Astaire was persuaded, and he and Rogers soon made the second film in their partnership, The Gay Divorcee (1934). See more »
Just after the flying sequence with the wing dancers there is a scene with characters sat on the terrace. The back projected image is to the wrong scale resulting in someone with an enormous head being next to the parapet. See more »
Nothing of the kind. He's landed us a job in Rio. Rio de Janeiro. The Hotel Atlantico. We'll be flying down any morning now.
And swimming back in the afternoon. I'm taking my water-wings.
See more »
A run of the mill musical except for the obvious addition.
By the time Flying Down to Rio was released in 1933, It was Warner Brothers who had been having the success as far as musicals were concerned.
Ruby Keeler and Dick Powell were the uncrowned King and Queen of song and dance land and in films like 42nd Street, Footlight Parade and Gold Diggers and the later movies Dames and Flirtation Walk they were paving the way for a motion picture genre that would continue in much the same vein for the next twenty years.
With kaleidescope routines expertly directed by Busby Berkeley via overhead cameras, the movie musical was finally taking shape bearing little or no resemblance to earlier dismal efforts like MGM'S Broadway Melody of 1929 or their equally unimpressive Hollywood Review from the same year.
RKO was at the time a struggling studio with huge debts and was on the verge of going bankrupt. However they decided to capitalize on this medium in an effort to pull themselves back into the black.
Flying Down to Rio was in all respects no different to any other of the films they produced at the time and I'm sure this film would have sank into obscurity and be long forgotten had it not been for the movie milestone it boasts.
Fred Astaire and Ginger Rogers were cast as only 3rd and 4th billed performers, to all intents and purposes, the token dance act, a novelty. Neither of them had done much before. Ginger of course was beginning to make a name for herself. She had featured in both the fore-mentioned 42nd Street and Gold Diggers and was slowly working her way out of chorus lines into bit parts and the occasional solo number.
Fred had done less still. Already a well known stage star in America and Britain, he had just one previous film under his belt. A natural dancer of extraordinary talent, Fred was signed on as RKO's secret weapon in their efforts to make the best musicals.
However, no matter how dull the storyline to "Rio" is (and it is believe me) it is soon forgotten when Fred and Ginger perform their first ever screen dance, The Carioca, a musical number with Latin- American tempo complete with stunning costumes, guest singers and the very kaleidoscopic shots of which Busby Berkeley himself would have been proud. It is their only dance together in the film and their actual dancing is given very limited screen-time, but it was enough to cause Astaire/Rogers mania.
Forgive the cliche but the rest is history as they say.
So successful were they that they went on to appear in a further nine films together making them one of the most beloved and cherished screen partnerships ever.
Alone the Astaire/Rogers musicals of the thirties saved the studio from closure and they helped push Warner's, Keeler and Powell into second place, at least as far as musicals were concerned.
Astaire is given further opportunity to shine in two stunning solos which will leave the viewer in no doubt whatsoever why he was the very best at his chosen craft.
Complete with the now famous 'girls-strapped-onto-aeroplane-wings' scene and with the added talents of Delores Del Rio and Gene Raymond adding the romance, It all helps to make an otherwise dull film into a legendary silver screen gem.
24 of 28 people found this review helpful.
Was this review helpful to you?