They Met In Argentina

  • 1941
  • Movie
  • NR
  • Musical

A dismal effort at trying to make a film that would appeal to both South American and U.S. audiences. Hardly anyone cared too much for it, as it barely made half of the $500,000 sunk into it. Yarn centers around the efforts of Ellison, as a representative of a Texas oil baron, to secure a prize Argentine race horse; instead, he winds up falling for the...read more

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A dismal effort at trying to make a film that would appeal to both South American and U.S. audiences. Hardly anyone cared too much for it, as it barely made half of the $500,000 sunk into it. Yarn centers around the efforts of Ellison, as a representative of a Texas oil baron, to secure

a prize Argentine race horse; instead, he winds up falling for the horse-owner's daughter, O'Hara. The result is turbulent romance and a headache for the audience. Vila, a popular star in Argentina, was relegated to a small, subordinate role, which may have been a serious mistake as far as South

American reception was concerned. Choreographer Veloz--of the well-known cinematic dance team of Veloz and Yolanda--should have stuck to performing. Producer Brock, who bore much of the credit for the successful south-of-the-border film FLYING DOWN TO RIO (1933)--the first film to pair Fred

Astaire and Ginger Rogers--never again worked for RKO after this flop. The film was plagued with production problems; codirector Hively had to fill in for the originally assigned Goodwins, who became ill after production began. That a South American market existed for U.S.-made pictures was

certain; Walt Disney's four-part cartoon feature SALUDOS AMIGOS (1943) beat GONE WITH THE WIND (1939) as Argentina's biggest box-office winner only two seasons after this one. Three-fourths of all the films shown in Argentina were imports from the U.S. during 1941. RKO was dilatory in its approach

to this potential market; of the eight big studios, it was tied with United Artists for the fewest releases screened in Mexico, for example. Financial mogul Nelson Rockefeller, the power behind the scenes at RKO during this period, was determined to open up the market; he had many other interests

in the region. This film, with probably the worst of Rodgers and Hart's musical offerings, was neither commercially nor culturally acceptable. Songs include "Carefree Carretero," "You've Got the Best of Me," "Amarillo," "Cutting the Cane," "Never Go to Argentina," "Lolita," "North America Meets

South America," "Simpatica" (Richard Rodgers, Lorenz Hart).

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  • Rating: NR
  • Review: A dismal effort at trying to make a film that would appeal to both South American and U.S. audiences. Hardly anyone cared too much for it, as it barely made half of the $500,000 sunk into it. Yarn centers around the efforts of Ellison, as a representative… (more)

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