Copacabana is a 1947 American musicalcomedy film directed by Alfred E. Green starring Carmen Miranda, Groucho Marx and Steve Cochran. The film is a showcase for Miranda, who performs several numbers in her usual style, including a high-energy rendition of "Tico-Tico". Groucho, as Lionel, her fiance and agent, also sings a musical number, "Go West, Young Man", wearing his traditional greasepaint brows, mustache, and baggy suit. This was Groucho's first significant film appearance as a solo act, minus Harpo and Chico.
Anne (Gloria Jean), at the urging of Andy (Andy Russell), sings a song called "Stranger Things Have Happened", admitting her unrequited love for her employer, Steve (Steve Cochran).
Plot
Lionel Q. Devereaux and his alluring girlfriend, Brazilian singer Carmen Navarro, have been engaged for ten years. They are highly unsuccessful nightclub performers, due to Lionel's total lack of talent. They stay at an upscale hotel in New York. One day they get a twenty-four-hour notice to pay their bill, but they lack the funds to oblige. They hurriedly try to convince the big shot producer Steve Hunt to give Carmen a job at the Club Copacabana, and with the help of the easily convinced, gullible singer Andy Russell, posing as an agent, they achieve their goal to get her an audition.
When the producer asks Lionel and Russell whom else they represent, they invent out of thin air a veiled mysterious beauty from Paris and call her Fifi. They persuade Carmen to play the part of Fifi. The producer hires both ladies for the job, but Fifi is the new big sensation who gets mentioned in the press. Steve is very attracted to the girls, and to protect Carmen from the producer, Lionel tells him that he is engaged to be married to Carmen. Steve then turns to Fifi and asks her out instead. Desperate to solve the troublesome situation, Lionel asks Carmen to play Fifi and go on a date with the producer, veiled as usual. Another complication to add to the plot is that Anne, Steve's secretary, is in love with the producer, and not very keen on him going on a date with Fifi.
Andy tries to fix up Steve and Anne, to save both himself and Carmen from discovery. He gets Anne to sing her feelings towards Steve, in an attempt to make him more attracted to and aware of her. The plan doesn't work, as Steve shows no interest in Anne.
A Hollywood movie producer, Anatole Murphy, takes an interest in Fifi, and makes a generous offer to Steve, to take over Lionel's contract for the sum of $100,000, which he refuses. At the same time an agent named Liggett persuades Lionel to sell Fifi's contract to him for the lesser sum of $5,000. Murphy in turn pays $100,000 to Liggett.
But Liggett becomes suspicious, since he sees how the veiled Fifi get into a taxi, and then Carmen comes out of it. Anne reveals to Carmen that the mysterious Fifi has made it impossible for her to get Steve's attention. To help Anne out, Lionel and Carmen stage a fight between Carmen and Fifi in Carmen's dressing room. The fight ends with Fifi disappearing. Lionel reports back to Steve that Fifi has been found dead in the river, but he also expresses his feeling of joy over "killing" her. The conversation is overheard, and he is blamed and arrested for Fifi's murder. Lionel tries to explain to the police during the investigation that he only made Fifi up.
In the meantime, Steve confesses to Anne that he only expressed an interest in Fifi because of his business, and that he is in love with Anne. Carmen enters the scene, dressed as Fifi, but removes her veil in front of everybody, showing that Carmen and Fifi are one and the same. The film producer Murphy offers to sign a contract with Carmen, to use her as an actor in his productions, and also wants to buy the story for a film. Lionel becomes involved in the following film productions, and gets credit for almost everything, from casting to storyline. The picture opens with a song about the Club Copacabana.[4]
Kay Marvis, Groucho's then-wife, has a small role as a clerk from whom Groucho tries to mooch a cigar.
Production
Advertisement for the movie Copacabana on the facade of the London Pavilion.
According to a report in the Hollywood Reporter (June 1944), independent producer Jack H. Skirball was originally set to make the film, with assistance from Monte Proser. Around the same time, George Raft was announced as a potential lead for the film.
The film’s origins trace back to when United Artists suggested to Sam Coslow that the studio could use a musical film to balance its release schedule. Coslow discussed the idea with George Frank, Carmen Miranda's manager, and Monte Proser and Walter Bachelor, managers of the famous New York nightclub Copacabana, located at 10 East 60th St. They decided to combine Miranda with the Copacabana.[1] This was Miranda’s first film after leaving Twentieth Century-Fox, the studio she had been under contract with since 1940. Coslow wrote a story that included a dual role for Miranda. They made an agreement with David Hersh as their financial man, and the United Artists approved it.[1]
In August, Coslow cast Gloria Jean for her first film since 1945.[5] In September 1946, it was announced that Groucho Marx would star. This was the first film in which Groucho would appear without his older brothers. It was also the first film where Groucho appeared with his own mustache, instead of a makeup one. Groucho received 10% of the profits.[1]
Coslow, Frank, Proser, Bachelor, and Hersh invested pre-production funds, including scriptwriter fees and secretarial expenses. They borrowed 65% of the $1,300,000 budget from a bank at 5% interest. The remaining 35% came from a private financing company.[1]
The Hollywood Reporter mentions that Chester Clute, Richard Elliott, Frank Scannell, Pierre Andre, and Andrew Tombes were added to the cast, but their involvement in the completed film was not confirmed. Pierre Andre was hired to perform a special dance number with Dee Turnell, according to The Hollywood Reporter.
Filming began on November 1, 1946, at Goldwyn Studios.
In mid-February 1947, The Hollywood Reporter reported that producer Sam Coslow was considering reshooting scenes in which Miranda appeared with blonde hair, due to fan letters from Brazilian fans stating they preferred her as a brunette. The reshot scenes would be inserted only in copies released in South America, according to the item.
Critics highlight that while Groucho Marx and Carmen Miranda are charismatic and entertaining, the film fails to fully capitalize on the talents of both actors.
Bosley Crowther's review of Copacabana in the New York Times is quite negative. He begins by saying that the film follows the typical Hollywood nightclub movie formula, with clichéd sets, musical numbers, and shallow characters. The main attraction of the film is Groucho Marx, who, without his brothers and his trademark mustache, plays the agent of an artist in an absurd plot. Crowther praises Groucho’s ability to make the most of the limited material but notes that the absence of his usual comedic partners (the Marx Brothers) weakens the comedy, leaving the film lacking the sparkle that characterizes his previous work. Carmen Miranda, who plays two characters in the film, is mentioned as Groucho’s partner, but her performance as a singer is limited to making faces and playing exaggerated roles. Other actors such as Steve Cochran, Gloria Jean, and Andy Russell contribute to a boring romantic subplot, and the "Copa Girls" number is described as lackluster. Crowther concludes that despite efforts to keep the film lively, it lacks originality and energy, with a cast that fails to save the plot.[7]
Tina Hassannia from Slant Magazine gave the film 2.5 out of 5 stars, describing it as an irreverent musical that mixes love and hate toward show business. While it follows the stereotypical story of social ascent, the film stands out for its sarcasm and critique of the falseness and tricks necessary in the entertainment world. The film subtly criticizes Orientalism in Hollywood, addressing how Miranda was often perceived through the lens of the "Other," while her real talent was overshadowed by the exotic persona imposed on her. The review also mentions that, despite its funny jokes and good music, the film is an escapist fantasy that reflects the reality of show business and the struggles of artists like Miranda, whose careers were in decline at the time. Groucho Marx's presence, with his famous non sequiturs, adds humor but also serves as a façade for deeper criticism. The film is described as a mix of sarcasm, flattery, and sweetness, at times silly but still entertaining.[8]
The review from AMC channel describes the film as a peculiar slapstick musical, with Groucho Marx and Carmen Miranda forming an unusual pairing. The review notes that without his brothers, Groucho loses some of his energy, becoming somewhat "thin" when he's not delivering his usual sharp jokes. The text also points out that the musical numbers dominate the film, and the romantic subplot involving secondary characters takes up a significant portion of the narrative, making the second half of the film more tedious. Miranda's dual performance (playing two different characters) is fun for a short period, but the review suggests that this material is only enough to fill a sitcom episode. Despite this, the review emphasizes that Groucho Marx is still "at the top of his game" with his witty retorts, especially considering the less impressive cast around him. In the end, the review concludes that the film has its fun moments but is, for the most part, a superficial entertainment spectacle.[9]
Rianne Hill Soriano’s review for Yahoo! points out that Copacabana might seem silly and cheesy by modern musical standards, but it has a certain charm due to its period production and the unexpected appeal of some of its comedic and musical scenes. While the film has aged predictably, its energy and pacing keep it surprisingly fun, especially for fans of old musicals and classic comedies.[10]
Craig Butler's review for AllMovie describes the film as "monotonous and prosaic," despite the talents of the lead stars, Carmen Miranda and Groucho Marx. Butler suggests that the idea of pairing these two icons could have been much more interesting. However, he believes that although the stars do not disappoint, their talents are underutilized in a film that lacks energy and originality, resulting in a cinematic experience without any standout moments. The critic emphasizes that the film drags predictably and lacks elements that would make it truly special or memorable.
Sérgio Augusto wrote in Brazilian newspaper Folha de S. Paulo about how Copacabana is a disappointing film, especially for fans of Carmen Miranda. Instead of being a memorable classic, the film is seen as a bland chanchada, with a plot full of clichés and low-quality production. Augusto criticizes the direction of Alfred E. Green, whom he considers bureaucratic and uninspired, and the production of Sam Coslow, the composer of the film’s songs, most of which are described as atrocious. He also mentions the presence of fake sambas and points out that Carmen Miranda is forced to sing in French while portraying a French character, Mademoiselle Fifi, in a role that feels more like a caricature than an authentic performance. The pairing of Groucho Marx and Carmen Miranda, though potentially interesting, is seen as underused, making the film monotonous, though there is still some charm in the jokes and interactions between the two leads. In terms of music, "Tico-Tico no Fubá" is the only song that stands out among the many weak numbers, including "How to Make a Hit with Fifi" and "I Haven't a Thing to Sell." Ultimately, the review laments that the film does not live up to expectations, offering a spectacle without the energy and magic one might expect from a movie starring Carmen Miranda and Groucho Marx.[11]
Lawsuit
As reported in Los Angeles Times on 14 July 1953, Murray P. Koch sued Coslow and George Frank for $80,000, money he claimed to have advanced Beacon to aid in the making of this film. Along with Walter Batchelor and David Hersh, both of whom were dead by the time the suit was filed, Frank and Coslow held a controlling interest in Beacon, which was deemed insolvent.[12]
The disposition of this lawsuit is not known. According to The Hollywood Reporter, the film was obtained for re-release by Hal R. Makelim's Atlas Pictures Co. in Jan 1954. The film was also re-issued in July 1972.[13]
Julius Henry "Groucho" Marx was an American comedian, actor, writer, and singer who performed in films and vaudeville on television, radio, and the stage. He is considered one of America's greatest comedians.
The Marx Brothers were an American family comedy act that was successful in vaudeville, on Broadway, and in 14 motion pictures from 1905 to 1949. Five of the Marx Brothers' fourteen feature films were selected by the American Film Institute (AFI) as among the top 100 comedy films, with two of them, Duck Soup (1933) and A Night at the Opera (1935), in the top fifteen. They are widely considered by critics, scholars and fans to be among the greatest and most influential comedians of the 20th century. The brothers were included in AFI's 100 Years...100 Stars list of the 25 greatest male stars of Classical Hollywood cinema, the only performers to be included collectively.
Maria do Carmo Miranda da Cunha, known professionally as Carmen Miranda, was a Portuguese-born Brazilian singer, dancer, and actress. Nicknamed "The Brazilian Bombshell", she was known for her signature fruit hat outfit that she wore in her American films.
You Bet Your Life is an American comedy quiz series that has aired on both radio and television. The original version was hosted by Groucho Marx of the Marx Brothers, with announcer and sidekick George Fenneman. The show debuted on ABC Radio on October 27, 1947, moved to CBS Radio debuting October 5, 1949, and went to NBC-TV and NBC Radio on October 4, 1950. Because of its simple format, it was possible to broadcast the show on both radio and television but not simultaneously. Many of the laughs on the television show were evoked by Groucho's facial reactions and other visual gimmicks. So the two versions were slightly different. The last episode in a radio format aired on June 10, 1960. The series continued on television for another year, recording the last season, beginning on September 22, 1960, with a new title, The Groucho Show.
The Cocoanuts is a 1929 pre-Code musical comedy film starring the Marx Brothers. Produced for Paramount Pictures by Walter Wanger, who is not credited, the film also stars Mary Eaton, Oscar Shaw, Margaret Dumont and Kay Francis. The first sound film to credit more than one director, it was adapted to the screen by Morrie Ryskind from the George S. Kaufman Broadway musical play. Five of the film's tunes were composed by Irving Berlin, including "When My Dreams Come True", sung by Oscar Shaw and Mary Eaton.
Monkey Business is a 1931 American pre-Code comedy film. It is the third of the Marx Brothers' released movies, and the first with an original screenplay rather than an adaptation of one of their Broadway shows. The film also features Thelma Todd, Harry Woods and Ruth Hall and Rockliffe Fellowes. It is directed by Norman Z. McLeod with screenplay by S. J. Perelman and Will B. Johnstone.
Copacabana most commonly refers to:
Howard Harris was a comedy writer whose credits included Copacabana (1947) starring Groucho Marx and Carmen Miranda, The Jackie Gleason Show, You Bet Your Life with Groucho Marx, Gilligan's Island, Petticoat Junction, and other popular television shows.
Arthur Sheekman was an American theater and movie critic, columnist, playwright, and editor—but best known for his writing for the screen. His specialty was light comedy. Groucho Marx called him "The Fastest Wit in the West."
The Gang's All Here is a 1943 American Twentieth Century Fox Technicolor musical film starring Alice Faye, Carmen Miranda and James Ellison. The film, directed and choreographed by Busby Berkeley, is known for its use of musical numbers with fruit hats. Included among the 10 highest-grossing films of that year, it was at that time Fox's most expensive production.
Gene Nelson was an American actor, dancer, screenwriter, and director.
Double Dynamite is a 1951 American musical comedy film directed by Irving Cummings and starring Jane Russell, Groucho Marx, and Frank Sinatra. The film was written by Leo Rosten (story), Melville Shavelson (screenplay), Mannie Manheim, and Harry Crane.
Constantin Bakaleinikoff was a Russian-American composer.
That Night in Rio is a 1941 American Technicolor musical comedy film directed by Irving Cummings and starring Alice Faye, Don Ameche and Carmen Miranda. It was produced and distributed by Hollywood Twentieth Century Fox. It is one of several film adaptations of the 1934 play The Red Cat by Rudolf Lothar and Hans Adler. Others are Folies Bergère de Paris (1935) and On the Riviera (1951).
Week-End in Havana is a 1941 American Technicolor musical film directed by Walter Lang and starring Alice Faye, John Payne and Carmen Miranda. The film was produced and distributed by Hollywood studio 20th Century Fox. It was the second of three pictures the two stars made together and the second Faye film to have a Latin American theme, typical of Fox musicals of the early 1940s. Faye was pregnant during filming. It is also known by the alternative titles A Week-End in Havana and That Week-End in Havana.
Step Lively is a 1944 American musical film directed by Tim Whelan and starring Frank Sinatra. Step Lively was based on the 1937 play Room Service, by Allen Boretz and John Murray. It was a remake of the 1938 RKO film Room Service, starring the Marx Brothers, Lucille Ball, and Ann Miller.
Doll Face is a 1945 American film released by 20th Century Fox and directed by Lewis Seiler starring Vivian Blaine as "Doll Face" Carroll. It also stars actor Dennis O'Keefe and singers Carmen Miranda and Perry Como. The film is based on the 1943 play The Naked Genius written by Gypsy Rose Lee. In the opening credits, she is billed under her birth name, Louise Hovick. The film is also known as Come Back to Me in the United Kingdom.
Mr. Music is a 1950 film starring Bing Crosby and Nancy Olson, directed by Richard Haydn, and released by Paramount Pictures. It is based on the play Accent on Youth written by Samson Raphaelson. Filming took place from October to December 1949 in Hollywood.
"Go West Young Man" was a 1940 song by Bert Kalmar and Harry Ruby written for the MGM film Go West, originally sung by Groucho Marx, backed by a chorus, who performed solo for the first time in the song. The song was cut from the film. The song was eventually used in the 1947 United Artists film Copacabana when it was sung again by Groucho. He and Bing Crosby dueted on the song on Crosby's Philco Radio Time show on February 12, 1947.
This is a complete filmography of Carmen Miranda, a Portuguese-Brazilian singer, actress, and dancer.
References
1 2 3 4 5 Brady, Thomas F. (22 Dec 1946). "HOLLYWOOD ROUND-UP: Controversy Over 'Abie's Irish Rose'--Addenda Profit Sharing Back in Business Opportunism Before the Court". New York Times. p.49.
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