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 ...
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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 <email@example.com>
This film typifies the sort of sudsy, escapist fare Lana Turner specialized in as one of M-G-M's most reliable box office stars. In it, she plays an up-by-her-bootstraps millionairess who finds herself in the enviable position of being romanced by two men at once. Along the way, she gets to wear designer gowns, diamond jewelry, a mink coat or two and several pairs of her trademark ultra-high high-heels. See more »
When I was young I thought the two most beautiful women in the world were Sophia Loren and Lana Turner. Then I saw Lana Turner in an extensive interview, and discovered that she was close to being the clichéd dumb blond. There is something more stupid however -- this movie. Another one of those feel sorry for the rich because they have such difficult lives...even more pathetic since this is a romantic comedy.
Speaking of beauty, Lana is not at her most beautiful here...a little full in the face. And it's difficult to judge her acting here since the story is so dumb. Ricardo Montalban actually does quite well here, as does John Lund. Louis Calhern is absolutely delightful in the illogical role of the Latin Lover's grandfather. And, it's nice to see Beulah Bondi in an atypical role for her -- psychiatrist (too bad it was such a small -- though pivotal -- role). Jean Hagen is pretty good in her supporting role here, but Eduard Franz has a disappointing role for such a fine character actor.
But, the film is beautiful in its color, and there's some very nice Latin music here.
Mervyn Leroy is one of the great directors, but, as the old saying goes, you can't win them all.
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