Starring Bebe Daniels, John Boles, Bert Wheeler, and Robert Woosley
Directed by Luther Reed
Music by Harry Tierney; Lyrics by Joseph McCarthy
Radio-Keith-Orpheum Films, later RKO, formed just as sound arrived in Hollywood. In fact, they were the first major studio formed expressively to make sound films. Rio Rita was their third release, and their first truly high-budget undertaking. This was an adaptation of the 1927 Broadway hit, with Ziegfeld himself co-producing. Comics Wheeler and Woosley came along to the film with most of the music and the opulent production, including elaborate costumes and sets and Technicolor in the last 20 minutes. Was it worth the expense, or should this south-of-the-border romance be sent back up north? To answer that question, let's begin in the little Mexican town of San Lucas, where the search for the Kinkajou is just starting to really heat up...
The Story: Captain Jim Stewart (Boles) of the Texas Rangers arrives at San Lucas with his men in pursuit of the notorious local bandit, who just robbed a bank. He suspects Roberto Ferguson (Don Alvardo) and tries to get information out of his sister Rita (Daniels), but falls for her instead. Wealthy General Ravinoff (Georges Renavent) also loves Rita and convinces her that Jim will arrest her brother if she furthers the relationship. He blackmails her into marrying him on his Pirate Barge, but Jim and his Rangers are on their tail.
Meanwhile, Chick Bean (Wheeler) is also visiting San Lucas with his girlfriend Dolly (Dorothy Lee). He wants to get a divorce so he can marry Dolly, but the US doesn't acknowledge Mexican divorces. He's still technically married to his estranged wife Katie (Helen Kaiser). His lawyer Ned Lovett (Woosley) first advises him to stay away from his new wife...then decides to romance Katie himself when he learns she inherited a ton of money.
The Song and Dance: Goofy, action-packed fluff was one of 1929's biggest hits and still has some magic to spare today. Daniels and Boles are obviously having a great time as the lovers separated by his pursuit of her beloved brother. Their songs together show all the passion that the ones for the lovers in Whoopee! lacked. Rita herself is a little bit more interesting and feisty than Daniels' similar role in Dixiana a year later. Wheeler and Woosley are an acquired taste today, but they do still have some good gags, especially when Lee and Kaiser join in on the barge.
Outdoor shooting adds authenticity and vitality to the first half. The second half benefits from the lavish production, especially the Technicolor that shows up once everyone hits the Pirate Barge. It's almost as gorgeous as the color in Whoopee!, with stunning costumes (I love Lee's turquoise dress with the peach flowers and fringe skirt) and the nifty pirate ship set.
Favorite Number: Rita and Jim fall in love as she sings the lovely "River of My Dreams" in counterpoint to his version of the title song at the hacienda. He leads his Rangers through "The Rangers Song" when they're rounding up a posse. Lee and Wheeler have a ball with their hilarious acrobatic duet to "Sweetheart, We Need Each Other" on the barge. Wheeler and Woosely pay more attention to each other during the reprise of "Sweetheart" sung on the side of the barge than to either of their actual sweethearts singing along.
Trivia: Rio Rita opened the brand-new Ziegfeld Theater in 1927 and was a smash, running for almost a year and a half, with Wheeler and Woosley paired specifically for the show. To my knowledge, it's seldom been seen since then, though there was apparently a TV version in 1950.
The version most people see on TCM and DVD (and that I reviewed) is from the cut-down rerelease in 1932. While most of the excised footage has since been lost, Daniels and Boles' second duet "When You're In Love You'll Waltz" and Dorothy Lee leading the chorus through "The Kinkajou" apparently do exist.
What I Don't Like: To start with, the Mexican stereotypes aren't quite as thick on the ground as the Indian ones in Whoopee!, but they're still there. Daniels' idea of a Mexican accident borders on ridiculous, and some of her over-the-top reactions to Boles' heroics at the hacienda party are pure silent movie histronics.
This more-or-less represents the type of musical that the arrival of more serious and "integrated" works made look out of date in the 1950's. Wheeler and Woosley's divorce story has almost nothing to do with the search for the Kinkajou and Jim and Rita's relationship, and can actually come off as a little distasteful today. Not to mention, this is an early talkie. Reed was no craftsman; basically, we get a lot of dull and arid long takes of whomever happens to be standing there. Pearl Eaton's chorus routines manage to be even less interesting.
The Big Finale: This was a lot more fun than I thought it would be, given its reputation and the time period. If you love westerns, action, or any of the stars, you'll want to head south of the border and meet Rita, too.
Home Media: Currently only on DVD from the Warner Archives.
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