August
Tuesday 18 September 2018 photo 5/5
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Girl From Rio Movie Free Download Hd
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DOWNLOAD: http://urllio.com/r2grt
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Marquita Romero, a South American singer in New York, is striving to secure the release of her brother, Carlos, who has been framed on an arson charge through the conniving of the owner of a night club whose sideline racket is collecting insurance on arson fires he has created. She is aided by Steven Ward, who with the help of an investigator for the insurance company, plans to get the evidence on the racketeer by having Marquita getting a job as a singer in the nightclub. She secures the needed proof in the form of a stamp collection in the gangster's safe that the insurance had been collected on. Meanwhile, the crook's jealous girlfriend has discovered Maquita's plan and has blown the whistle on her.
A girl who is a famous singer in Brazil comes to New York to help clear her brother, who has been charged with arson and murder.
In the late 1930s, Carmen Miranda was a VERY hot item. In Brazil, she was queen of the Samba—and folks in the States really loved her as well. Her popularity was such that Twentieth Century-Fox gave her a HUGE contract to come to America even though she could barely speak English! And, her films were immensely popular and made a mint for the studio. At the same time, several other studios attempted to create their own Carmen Mirandas—with much less success. One was Movita*—whose only real similarity to Miranda were her apparent Brazilian roots. But her singing and style were NOTHING like the real thing—and this film is ample proof why she, too, didn't become a household name.
The film begins with a horrid scene. Movita was talking to her immensely untalented maid. I say immensely untalented because the lady simply could not deliver her lines—stumbling over them and sounding about as convincing as Mr. Potatohead! At least this helped to make Movita look much more talented by comparison.
The story is about the lady's brother. He's in America—held in prison on arson and murder charges! When Movita learns of this, she leaves her lucrative career in Brazil and zips to America. She soon learns that her brother in married (you'd sure think she'd know about this considering it's been five months) and moves in with his wife. Later, with the help of her friend (Warren Hull), Movita gets a job at a nightclub in order to do some undercover work to prove her brother's innocence. In the process, she sings lots of songs (none of which sound the least bit like the Samba) and miraculously saves the day.
So is there anything to recommend the film? Nothing especially, though occasionally the film is mildly interesting. Unfortunately, as Movita has little charisma in the film and her singing is pretty awful, I can easily understand how this one slipped under the radar! Not terrible
but not at all good. And, a film with a terrible ending that I would have a hard time describing—it's that dumb. For Movita groupies only.
By the way, it was inexplicable that the secret code spoken by Movita was in Spanish, not Portuguese. Didn't the folks who made this film know that folks in Brazil do NOT speak Spanish?! So, would you like to know where in Brazil Movita hailed? Arizona, USA, actually!! This lady later went on to become Mrs. Marlon Brando and is the last remaining living member of the cast of "Mutiny on the Bounty". Because she was not Brazilian, you have to feel sorry for her and can understand why the film turned out father poorly.
Alpha Video, DVD distributors of generally unloved and long out of print American films, principally from the 1930s and 1940s, is rendering valuable service to those cinéastes who value these works, since many of these productions will probably not be otherwise accessible and are thereby on their way to being collectible items. Many of these are from prints proffered by private collectors, with Alpha selecting the best available copies, as there is no attempt toward re-mastering, and no DVD extras are provided other than scene selection, and some trailers, although the company's packaging is attractive and its liner notes are, for the most part, useful. This film's principal attraction is Movita Castaneda, talented Mexican coloratura who favourably impressed United States audiences with her efforts in such as FLYING DOWN TO RIO and MUTINY ON THE BOUNTY, later gaining additional renown when she, while pregnant, married (a much younger than her) Marlon Brando. She is quite effective, both musically and dramatically, in this movie, noteworthy because few retakes are to be had under the aegis of lowly-budgeted Monogram Pictures, and while there are several scenes marked by brief skips, the largest portion of the print is free of these flaws and a viewer is rewarded by a briskly paced and interesting tale. Movita is cast as Marquita Romero ("La Marquita"), an aspiring singer in Rio de Janeiro who, directly preceding a stage performance, receives a cablegram providing her with an unpleasant surprise: her brother Carlos is under arrest for murder in New York City. Marquita immediately flies there, leaving behind her swain Steve (Warren Hull), and meeting with Annette (Adele Pearce), the young woman who had sent her the message and who is the new wife of Carlos. Annette explains to Marquita that her husband is victim of a frame-up. Naturally, Steve has followed Marquita to New York where he joins the women, the trio then engaging the services of a prominent criminal attorney, and it soon develops that a night club owner is the probable murderer, not Carlos, in an insurance related case where he may have destroyed his own business through an act of arson. Marquita applies for a job to sing at the club as means of discovering the truth in this matter, and is hired by the suspect, all very melodramatic to be sure, yet the plot just about comes off thanks to some able acting by a competent cast of supporting players. The film is burdened with a somewhat cluttered narrative line but Pearce, in addition to Dennis Moore and Kay Linaker as associates of the tale's villain, bring clarity to those sequences within which they appear. Movita sings three numbers and veteran director Lambert Hillyer, thoroughly accustomed to working with thin budgets, abruptly ends the piece when time and funding run dry. It must be noted that the language of Brazil and Brazilians is Portuguese rather than Spanish as is used here but, nonetheless, there is a good deal of enjoyment to be found in this admittedly routine production.
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