Flying Down to Rio (1933)

In what seems to be an attempt to recreate the magic of a Busby Berkeley picture for the RKO studio, Berkeley being a very successful choreographer for rival Warner Bros., there was produced a musical with lavish sets, large choruses of girls, and big dance numbers. The musical Flying Down to Rio was a picture that had the creative imagery, artistic cinematography, and charming dances that a musical of the early 1930s which audiences seemed to have loved in prior productions. Used as a vehicle for two of the studio’s more veteran actors in hope to boost their star power, as well as RKO’s stock in the musical picture realm. In spite of that attempt, the film’s success was most noted in two of its smaller stars which would become a team in many films to come.

Flying Down to Rio is a musical comedy following the story of a band leader and his desperate attempts to win over the affection of a beautiful Brazilian woman, landing him in trouble with work and his friendships, filled with musical productions including lavish dance numbers. Composer Roger Bond (Gene Raymond) has a wandering eye for the flirtatious Doña Elena (Dolores del Rio) that gets his band fired from a nice musical hotel job in Miami, but lands his orchestra a new gig in Rio de Janeiro. Roger and Doña share a trip to Brazil where the two become fond of each other, but it is discovered that she is engaged, and to Roger’s best friend, Julio, at that. Once in Rio Roger’s orchestra has a new challenge as the hotel they are hired at does not have a license for entertainers, but with the help of his friend and band mates, Fred (Astaire) and Honey (Ginger Rogers), the orchestra choreographs a secret show to win support money from the backers of the hotel and make the place a success. Meanwhile the love between Roger and Doña becomes too evident that Julio sacrifices his engagement for the happiness of his two friends.

Though containing a rather weak story that in retrospect makes you think how Julio actually got the shaft of the deal, the film plays out as an adequate musical of its day. The plot is forced with little reality or energy to it, but the musical numbers are of higher class. The grand finale is a musical number that is danced to by many beautiful maddens on flying planes. In today’s standards it is a very poorly played out piece, but for its time, a number with special effects and dancing, it would be a pleasing sight for some. Beyond all that the ones that steal the show are the supporting Fred and Honey played by Fred Astaire and Ginger Rogers. Their chemistry, both acting and dancing, gives the film a piece of gold in a rather lack luster overall picture. The witty lines they shoot off each other  is enjoyable, but what stands out the most is the fantastic dancing the two do with each other, especially when they dance the Carioca, where they dance forehead-to-forehead. This would be the true gem of the film.

Directed by little known Thornton Freeland, the film contains large dances number; Or rather dance numbers multiplied with many dance partners. It is not Busby Berkeley material, but you can see by the attempted dramatic movements of the camera how the filmmakers where trying to make this film larger than it really was. The plane dancing sequence might have impressed audiences of its time, but with the ultimate judgment of time it comes off as highly campy. It takes a great suspension of disbelief, or one who can greatly be lost in the film, to allow this sequence to close out the film with an overall pleasant taste in a person’s mouth. Many may enjoy this, as it takes the romance of choreographed dancing and aviation (keep in mind aviation was still a very new thing that few ever had the chance to enjoy), but at a point it becomes a bit ridiculous. But that may just be me.

The film was meant to be a vehicle the stars of the picture. Dolores del Rio was a silent film seductress known for her exotic beauty. Native of Mexico, del Rio played her beautiful looks very well before talkies, but producers were afraid of what audiences would think if they actually heard her accent, leading to her near disappearing from films altogether. Here RKO gave her a chance to play her seductive self again in hope that she would be the new look of the movies. To play alongside her would be the blond haired, classic American looking Gene Raymond. Never quite the leading man type, Raymond was possibly put in this role to contrast the exoticness of del Rio. Raymond was a gifted stage and film actor with musical talent, but lacked that eye grabbing quality that made actors stars to movie going audiences.

Despite the top billing going to del Rio and Raymond, as well it should as the story surrounded them, it was the team of Astaire and Rogers that won the most notable attention. Rogers was an up and going star, seen as side characters in big musicals such as 42^nd Street and Gold Diggers of 1933. Astaire was a fresh face to the movies, veteran of the stage circuit whom producers had little faith in when it came to film appeal. Cast in only his second film, Astaire filled his role as if a veteran of the screen, supporting the story alongside Rogers, giving the movie some quick comedy relief and a wonderful dancing skill. Producers gave terrible reviews of Astaire when he first auditioned for studio, noting him as lacking acting skill and balding, but he could dance some. Well he could do more than just dance some, he was a dancing machine. At first reluctant to gain a partner, after trouble on stage with his former dance companion (actually his sister), Rogers seemed to be a perfect fit. It was all somehow a chance thing these two would be put together, but it was a match made in heaven for RKO as the duo would make nine more films together in the future.

Flying Down to Rio may have been enjoyable for many during its time, and may still be enjoyed by a number today. It does lack a timelessness that other musicals during its period seemed to have had. Nonetheless we got out of it the team of Astaire and Rogers. Del Rio’s career never took off as hoped, and Raymond ever really rose to leading role material, but that is forgiven in this picture as we see a fun, clean picture with a carefree attitude. In the Great Depression audiences went to the theater to get away and be happy if only for a couple of hours, and that is what this film tried to achieve.