6.7/10
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21 user 6 critic

Down Argentine Way (1940)

Approved | | Comedy, Drama, Musical | 11 October 1940 (USA)
An American girl on vacation in Argentina falls for a wealthy racehorse owner.

Director:

Writers:

(screen play), (screen play) | 2 more credits »
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Nominated for 3 Oscars. Another 1 win. See more awards »
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Cast

Cast overview, first billed only:
...
...
...
...
...
Casiano
...
Don Diego Quintana
...
Helen Carson (as Katharine Aldridge)
...
...
Esteban
Robert Conway ...
Jimmy Blake
...
Sebastian
Bobby Stone ...
Panchito
...
Dr. Arturo Padilla
Fayard Nicholas ...
Harold Nicholas ...
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Storyline

An American girl on vacation in Argentina falls for a wealthy racehorse owner.

Plot Summary | Add Synopsis

Taglines:

MUSIC...COLOR...ROMANCE (original poster-all caps) See more »


Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

11 October 1940 (USA)  »

Also Known As:

Argentijnse nachten  »

Filming Locations:

 »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

(Western Electric Mirrophonic Recording)

Color:

(Technicolor)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

The film takes place in October 1940. See more »

Goofs

Although Edward Fielding is listed in the credits as having portrayed Glenda Crawford's father, Willis Crawford, he is nowhere to be seen throughout the entire movie. See more »

Quotes

Glenda Crawford, aka Glenda Cunningham: Excuse me, I've got to go see a man about a horse.
See more »

Connections

Remake of Kentucky (1938) See more »

Soundtracks

Nenita
(1940) (uncredited)
Music by Harry Warren
Lyrics by Mack Gordon
Spanish lyrics by Carlos Albert
Performed in Spanish by Bando da Lua
Sung by Leonid Kinskey at the nightclub
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User Reviews

 
The colour and music captivates. The romance? Not quite so much
12 January 2017 | by See all my reviews

'Down Argentine Way' is notable for being the American debut of Carmen Miranda and the film that made Betty Grable a star. This said, while the casting seemed unlikely initially (for example Alice Faye was intended for the character played by Betty Grable), they mostly come off well and 'Down Argentine Way' manages to entertain enormously.

Sure, while there is so much to enjoy for many it is also to see why others won't connect with it. One says that one shouldn't see a musical for its story, which in a way can be seen as true seeing as even in the classic musicals the story tended to be not as good as the rest of the respective films. Here though the story is thin on the ground, feeling stretched and has its implausible stretches.

The romance between Don Ameche and Betty Grable has many moments of endearing charm, but that Grable replaced an indisposed Alice Faye due to illness makes the chemistry not quite as natural as it could have been. This may have been that Ameche and Faye had worked together a few times before and Grable was in her film debut, so didn't know Ameche as well.

Harry Stephenson on paper couldn't have been a more unlikely and dubious choice for his role and in the final product is for me quite badly miscast. He is not being remotely believable as a Argentinian, which did to me took away hugely from the rest of his performance, with an accent that is phoney at best and comes and goes quicker than one can down a can of fizzy drinks.

On the other hand, 'Down Argentine Way' looks great, with gorgeous use of colour and lavish production design. The songs are lively and infectious, no standards but it's the quality of the music itself and the way it's used that matters more and 'Down Argentine Way' succeeds in those areas.

'Down Argentine Way's' script crackles with wit, energy and charm and the film is rarely dull due to so much being so good. Ameche is as ever suave and charming and Grable's beguiling performance deservedly made her a star.

With the exception of Stephenson the supporting cast work very well. Miranda is not in the film much and her scenes don't necessarily add much to the story and narratively may feel like padding, but she is absolute dynamite in her American debut and her two songs are two of the film's most catchy. J. Carroll Naish is amusing, the Nicholas Brothers dazzle with their athletic dancing and Leonid Kinsky succeeds in making buffoonery not annoying, but the best supporting turn comes from a note-perfect Charlotte Greenwood.

In summary, not great but hugely entertaining, foibles and all. 7/10 Bethany Cox


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