5.4/10
289
8 user 4 critic

Latin Lovers (1953)

Passed | | Comedy, Music, Romance | 28 August 1953 (USA)
Nora Taylor has $37,000,00 but thinks every man she meets prefers her bankbook figure to her own, and that include her current fiancé, Paul Chevron, who has $48,000,000 of his own. Paul ... See full summary »

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Cast

Complete credited cast:
...
Nora Taylor
...
Roberto Santos
...
Paul Chevron
...
Grandfather Eduardo Santos
...
Anne Kellwood
...
Dr. Lionel Y. Newman
...
Analyst
Joaquin Garay ...
Zeca
Archer MacDonald ...
Howard G. Hubbell
...
Mrs. Lionel Y. Newman
...
Mr. Cumberly
...
Christina
The Modernaires ...
Themselves
Rest of cast listed alphabetically:
...
Rufina (scenes deleted)
Natividad Vacío ...
Vacuum Cleaner Man (scenes deleted)
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Storyline

Nora Taylor has $37,000,00 but thinks every man she meets prefers her bankbook figure to her own, and that include her current fiancé, Paul Chevron, who has $48,000,000 of his own. Paul goes to Brazil to play some polo, and Nora follows along. There, she meets and falls for Roberto Santos, whom she thinks has no money, who is really overjoyed when he discovers she has a lot of money. This depresses her somewhat. But, this being a big-budget MGM film, which means that the two top-billed characters have to end up together, winds up with Metro-plot-218 that says Roberto has a few potatoes (or bananas) of his own and is just pleased to find out she isn't a gold digger after his money. The rich get richer and the poor need not apply. Written by Les Adams <longhorn1939@suddenlink.net>

Plot Summary | Add Synopsis

Taglines:

That "Bad and Beautiful" girl in a de luxe musical of romantic Rio! See more »

Genres:

Comedy | Music | Romance

Certificate:

Passed | See all certifications »
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Details

Country:

Language:

Release Date:

28 August 1953 (USA)  »

Also Known As:

Lune de miel au Brésil  »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

(Western Electric Sound System)

Color:

(Technicolor)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Fernando Lamas was originally cast in the role that Ricardo Montalban played. Lamas and Lana Turner were lovers and when they broke up, she insisted he be replaced. See more »

Quotes

Roberto Santos: I took one look at you and knew I had to kiss you.
See more »

Connections

Featured in Shirtless: Hollywood's Sexiest Men (2002) See more »

Soundtracks

Carlotta, Ya Gotta Be Mine
Music by Nicholas Brodszky
Lyrics by Leo Robin
See more »

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User Reviews

Lana in Technicolor AND glorious black-and-white!
4 June 2003 | by (Portland, Oregon) – See all my reviews

This one is much more fun than its inevitable detractors might lead you to believe. The cast, including Jean Hagen (who almost stole the show with her unforgettable Lina Lamont in "Singin' in the Rain"), Louis Calhern strutting his elegant stuff as a superannuated Brazilian, a very young Rita Moreno, the handsome John Lund once again playing a stuffy moneybags (as he did a little later in "High Society"), and Dorothy Neumann who gets some of the best of Isobel Lennart's cleverly scripted lines (with digs at psychoanalysts and their patented brand of voodoo.)

The story is pure Hollywood dream manufacture but it's so handsomely mounted and lushly photographed by that master of the color cameras, Joseph Ruttenberg, that objecting to it prompts the inevitable question, "Why in the heck did you watch it if you weren't in the mood for something with no relationship whatsoever to the real world?" Lana looks gorgeous and Helen Rose had the inspiration to dress her only in black and white and combinations thereof, contrasting her more than strikingly against the ultra-lush Technicolor trappings. She gets to do an ultra-smooth samba with her co-star Ricardo Montalban, who had the good fortune to step in as a replacement for the originally cast Fernando Lamas, whose real-life romance with Luscious Lana had very publicly come to a rocky impasse. Mervyn LeRoy, who had the distinction of mentoring Lana in the earliest days of her Hollywood ascendancy, directs with that machine-tooled efficiency that a vehicle of this kind must have if it is going to come anywhere near to a suspension of disbelief. With all of the first-class elements that Miss Turner was traditionally surrounded during her days as M-G-M's reigning boxoffice beauty, this is the kind of escapism that is, perhaps lamentably, a thing of a very distant past. When you're feeling benign, this one is fine!


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