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Wonderful character development!

Best movie of this year hands down!

It's a feast for the eyes. But what really makes this dramedy work is the acting.

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

Copyright 24 March 1942 by Loew's Inc. A Metro-Goldwyn-Mayer picture. New York opening at the Capitol: 7 May 1942. U.S. release: 11 March 1942. Australian release: 31 December 1942. 9 reels. 8,187 feet. 91 minutes.SYNOPSIS: Nazi 5th columnists attempt to send coded messages on radio broadcasts originating from a dude ranch in Texas.COMMENT: Abbott and Costello's first film for MGM is nothing if not handsomely photographed. And the boys themselves are in fine form. Their usual gag writer has provided some clever routines involving typical puns, misunderstandings and comebacks, plus a number of slapstick knockabouts which actually come across satisfactorily thanks to deft special effects. The boys also have help from a director with a bit of imagination and sense of camera fluidity. Above all, they are surrounded by a particularly able support cast. True, the principals are not so graciously served by both script and sound recording (though the songs themselves are pleasant enough, and Miss Grayson is attractively photographed), but Tom Conway is menacingly suave, Peter Whitney makes an admirable stooge, whilst stunningly costumed Patricia Dane turns in such an exotically glamorous performance her presence alone elevates Rio Rita to a must-see category. She is a great foil for the boys too and is able to stand up to them with both convincing aloofness and involving patronage. Altogether perfect, it's a pity Abbott & Costello failed to realize what a gifted, heaven-sent asset she was to both them and the film and that they didn't make sure she was employed subsequently (as the Marx Brothers were clever enough to realise what a goldmine they had with Margaret Dumont).OTHER VIEWS: I saw a program on Cinematography on television the other night and was amazed that the first photographer one of the interviewees listed as a prime example of artistic craftsmanship was George J. Folsey. He was right up there with Arthur Miller, Charles Lang, William Daniels and James Wong Howe, despite the fact that he never won any prestigious awards (though nominated quite a few times) and that his is hardly a well-known name even among dedicated film buffs. This feast for the eyes is a good example of Folsey's work, even though he was unable or unwilling to disguise some obvious backdrops and glass shots... Despite their hokey words (in a stage show I saw the songs were deliciously sent up, but here of course they are played perfectly straight by the humorlessly wooden Carroll - effecting a phoney accent - and the inexperienced if lovingly photographed Grayson - this was only her second movie after all), the old tunes still thrill the ears. It's an ingenious script device that brings in the Ranger's Song and reprises it for the climax. The staging is rather elaborate too, with pans across both sides of the screen and an editor's nightmare of studio process and real outdoor shots. Mind you, it doesn't quite work, principally because Carroll is so deadly dull... Abbott and Costello indulge us with some typical amusing routines ranging from smart one-liners and clever puns to well-rehearsed slapstick falls and chases. They are obviously both enjoying their work. -- JHR writing as George Addison.

Abbott and Costello were huge stars over at Universal Studios during this time, and this was the first time they made a movie for another studio (MGM) during their peak years. The results are quite good as far as the comical shenanigans of A&C are concerned -- they engage in some pretty laughable situations and were really spot-on at their game here, having energetic fun; I wonder if they were trying harder to show that they could be just as good for a rival studio other than their own? But unfortunately it isn't all roses. MGM was noted for their musicals, and there is a lot of singing trickled about here -- though unlike some of the more upbeat ditties from the Andrews Sisters in the Universal movies, these interludes are cringe-worthy. I mean there's some downright AWFUL singing to be endured in RIO RITA. The worst is a lengthy cadenza performed by one of the lead ladies. Just brutal. Too bad, as this could have been a good solid vehicle for Bud and Lou. **1/2 out of ****

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."

With the money that Abbott and Costello made in their films at Universal to save that studio from going bankrupt, L.B. Mayer decided he wanted some of that himself. So Universal was probably paid a lot of cash to loan them out for the first of three films.MGM dusted off the old show Rio Rita which was a smash Broadway success for Florenz Ziegfeld in 1927-1928. Universal had filmed it in 1929 with John Boles, Bebe Daniels and Wheeler and Woolsey. Come to think of it, they probably tossed in the rights for Rio Rita in the loan out deal for Abbott and Costello.All that was retained were the two big songs of the show, the title song and the Ranger song. Harold Arlen and E.Y. Harburg wrote You Came Along sung very nicely by John Carroll and Kathryn Grayson.The plot is pretty silly involving some Nazi spies sending coded messages during a broadcast featuring Latino crooner John Carroll. He's got a cheap Mexican accent that really doesn't fool anyone. Why didn't MGM use a real Latino performer like Tito Guizar? I guess we'll never know.And Abbott and Costello don't get to use any of their patented routines here although they do have some funny moments. MGM did much better by them in Lost In a Harem which is more like the stuff they were doing at Universal.