UnowPriceless hyped garbage

Intcatinfo A Masterpiece!

Afouotos Although it has its amusing moments, in eneral the plot does not convince.

TrueHello Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

www1125 For me, this film is a weaker attempt compared to the films Abbott and Costello were making at Universal. This fact is actually shocking, because MGM was one of the biggest and most important studios around at that time, and comedy wasn't new for them. The opening scenes in the pet shop are hilarious, and the film has its share of funny jokes, such as the car repair shop, and the washing machine scenes. However, I think the scene where the donkey(having swallowed a Nazi radio) sticks its head in the window, and speaks in Hitler's voice, is my favorite in the film. I always crack up laughing at that moment, and Lou's comment, "I've heard your voice, but this is the first time I've ever seen your face."

MartinHafer During the 1920-1940s, MGM made a ton of wonderful films. However, when it came to comedies (especially comedy teams), they really were inept. Here is the track record: With Laurel and Hardy, Hal Roach Studios released films through MGM and MGM didn't touch the productions. When they did a MGM films without Roach, it resulted in THE AIR RAID WARDENS and NOTHING BUT TROUBLE--two of their worst films.With Buster Keaton, he was a genius during the silent era. His first MGM film, the CAMERAMAN, was pretty good. But, then they soon began making sound films, they got the brilliant idea of pairing Keaton (a brilliant physical comedian) with Jimmy Durante (a loud and brash comedian). This mix naturally didn't work and they all but abandoned physical comedy. This effectively ruined Keaton's solo career.With the Three Stooges, the studio didn't know what to do. So, they let them go after making a few bizarre films, like DANCING LADY, where the Stooges played solo acts in a Clark Gable and Joan Crawford film.With the Marx Brothers, although A NIGHT AT THE OPERA and A DAY AT THE RACES were classics, soon the studio put them in insipid formulaic films like THE BIG STORE and AT THE CIRCUS. Gone were their wild and crazy earlier style of films and many believe their films with Paramount (DUCK SOUP, HORSE FEATHERS and others) were their best and most consistent films.With Abbott and Costello, after a long string of very successful films with Universal, they were "loaned out" (i.e., bought for several films) to MGM. This resulted in three rather bland films. MGM decided the team was a flash in the pan and returned them to Universal--after which, the team went on to make many very successful films.So, the fact that I wasn't impressed with RIO RITA is no big surprise--the MGM folks simply had no idea how to make this type of film and spent very little making it. This is very surprising that with the success of Abbott and Costello in their previous films. That MGM (a very high-class studio) would make such a cheap looking film was amazing and it was much cheaper than the films the team did with a much smaller Universal Studios. For example, in the bad segment at the garage near the beginning of the film, you can see the seam in the "sky" and the sound is terrible--like they are filming in a warehouse--which is what they seemed to be doing throughout the film. To make things worse, they used very cheap background paintings. Why, oh why, didn't they do any location shooting? The total effect is pretty claustrophobia-inducing though still watchable.Aside from bad sets, the film features a lot of singing--and awful lot of singing. I guess the studio saw it more as a Kathryn Grayson and John Carroll film instead of an Abbott and Costello one. MGM can't completely blamed for this, as all but one of their previous films at Universal had too much music as well. As to the humor, while Bud and Lou seem game, the routines aren't particularly good or inspired. Having them in a very contrived plot involving Nazi agents in Mexico(!) also didn't help.Overall, watchable but that's all. A definite comedown from their prior films.

sryder@judson-il.edu This was Bud and Lou's only film for MGM, which was their good fortune. It's surprising that Universal Studios, for which A and C were prime money-makers, would have lent them out. They must have sent someone to Universal in exchange. Most of the team's Universal films, no matter how silly the premise, were usually tightly constructed around their personalities and abilities, which were mostly a series of set pieces within a flimsy plot, except The Time of Their Lives, when they portrayed characters in the story line, without any of their routines. Many consider this their best film, though I don't agree, despite its departure from their formula. At any rate, MGM showed itself unable to use their talents to the foremost, as was the case in their use of the Marx Brothers in their three last MGM films. There are several excellent routines, but they are submerged in a tedious and unbelievable plot of romance and espionage. MGM was developing Kathryn Grayson (who does not get star billing) as a contract player, and would probably have taken advantage of A and C's box office appeal to showcase her. Unfortunately, her performance is quite wooden; though perhaps she could not do much with the material given. Later on she developed at least a degree of charm, if not strong acting talent, in some of MGM's large-scale musicals, especially Show Boat. If you are an A and C fan, make good use of your fast-forward.

Russell Dodd Abbott and Costello stranded in a petshop (this part was filmed after the film was completed as Kathryn Grayson's opening number was considered racist and was cut!!) and lose their jobs. They are stranded in a town. Oddly enough, they decide to go their separate ways!! I didn't like this idea. Bud and Lou are supposed to be partners (well for most of their films).They sneak into the boot (trunk) of famous crooner Ricardo Montera, as they wrongly assume he is going to NY. He is on his way to Vista Del Rio, A radio station in Texas to sing on a live broadcast. Rita, is a big star on the station and has eyes only for Montera, who they had a brief encounter with 10 years previously. He arrives next morning, with the boys still in the back of the car and immediately gets on his horse and rides off to the plains. He grew up with the rangers. Ricardo, not remembering Rita, meets up with her and comes on fresh to her (After a boring song). After, she reminds him who she is, the rangers then appear and they sing the only good song in the movie. Bud and Lou(after an absolutely hilarious - and I mean HILARIOUS!!) routine with the car, find themselves wondering around starving. After stealing fake apples used by the nazi owners (they are really radios), they are more hungry than ever. A waiter lays a table right where they are lying and they eat the food. After the waiters chase them away, Rita tells Lucette, also after Ricardo, that she sent them the food. She then employs the boys as house detectives. The boys have to get Lucette away from Ricardo and the manager has to get a broadcast out that night to fellow nazis in code. This is a hilarious, top Abbott and Costello comedy. There is a good background story and plenty left over for the boys to do many routines and wordplay. If only they made more films of this standard. They did make better films though. The only downside is the many songs. Kathryn Grayson performs a never ending opera number which slows down the pace. The rest of the songs, after 10 years of watching this movie (and STILL laughing) I can sit through.Look out for the best bit: Lou trapped inside a giant washing machine!! Abbott and Costello fans will certainly not be disapointed with this movie.There was something so special about the films they made in the early 40s that I just can't define! Wonderful!