A Fox Musical Gone South Of Border

Down Argentine Way (1940) Sets Technicolor To Song

Good neighbor import of South American sound was well along pre-war, playgrounds nearer the equator tendered here by Fox to outshine even Euro haunts of pleasure, latter lately haunted by waves of war that would engulf once-free and easy climes. Escapism, then, was better aimed due south, and what more inviting spots than those captured by second units equipped with three-strip Technicolor cameras? Down Argentine Way may have been a lushest yet travel folder caught in motion. Had there been anything in the 30's to rival it? Most of action is laid outdoors, and even if principals (Betty Grable, Don Ameche) stayed at the Fox ranch, doubling as Argentina, still it's no stretch to imagine them amidst the pampas. This was an era where suggestion of the real thing was nearly as good, a stagecraft to last until Cinemascope, Fox's own Frankenstein creation, made travel an imperative for foreign-set films. Wide as they were, none of those would surpass sun-lit streets captured here by a best-of-all color process still a breathtaking novelty in 1940 when Down Argentine Way was released.

Captivating background was essential to tune-fest aimed at top tier. Otherwise, they'd be just musicals to lure lines half or less as long. Down Argentine Way and ones like it drew folks who figured a best (if not only) reason for going to movies was to see places they'd not experience otherwise. View-the-world options were for these confined to photo books, lectures with slides, or stereo-viewers picked up off parlor tables when visiting relatives. Beyond that, it was the Bijou and hope that shorts might include another Fitzpatrick Traveltalk, MGM's single-reel series on people and places most of patrons would never visit. Far-away seemed nearer when a Grable or Ameche came from, or went, there. Movies had helped make the world a smaller place since before the last war, and now with another to be fought, we'd have reason, and soon urgency, to ally our hemisphere against common enemies. Down Argentine Way was early incentive to join hands with a neighbor as postcard-attractive and congenial as we considered ourselves to be.

Argentina as depicted here is leisure headquarters, days spent breeding horseflesh for big-money racing, and neon-lit nightlife where Carmen Miranda leads a never-ending conga line. This is no mere happy place, it is a rich place. We may assume, as 1940 audiences undoubtedly did, that there was never a Great Depression in Argentina. A lot probably thought Argentina would be a nice spot to sit out the coming war. Did those with resource watch Down Argentine Way and pack bags for vacation, if not a longer stay? I don't get a sense of tie-ins, no luxury plane rides shown or travel agencies boosted, as would be case with Fox's Weekend In Havana that came a year after Down Argentine Way. What helped these shows was popularity ever on the rise of Latin music, being a happy association we'd have with places till then mere names on a map. Argentina and Havana were less suggestion of backdrop than cues to a type of attraction being offered. Dance as performed south-of-borders went back to early 30's and handshake that was Flying Down To Rio and specialty numbers performed since in one after another high-profile musical. There'd be little argument over Latin rhythm besting our own.

Of 40's musicals, ones from Fox seem most rooted to the era. This may be partly reason why they've sunk off radars, even radar maintained by buffs. There was no Astaire or Gene Kelly at 20th; in fact, leading men hewed more to watching partners perform than doing so themselves. Though Don Ameche and John Payne occasionally sang, recall of them doing so retreats quick after viewing. What sticks are the specialties, Carmen Miranda in Down Argentine Way before lift to greater prominence and at times excess of her novelty, and more so, the Nicholas Brothers, whose skill looks to derive from other planets where gravity is no issue. These two won't fail to astonish even in another seventy-years, at which time watchers might wonder if CGI wasn't deployed in 1940 rather than presumed twenty-first century. All the rest in song/dance looks stock still beside them. Down Argentine Way now streams at I-Tunes in HD, good reason to take plunge in this and other Fox musicals offered there and looking a best since true Technicolor prints were still around and occasionally shown.

Two items to note in the ad at left from Columbus' Ohio Theatre (which still stands and operates downtown, and is but short walk from Cinevent headquarters at the Renaissance Hotel). Roger Garrett was Ohio house organist from 1933 to 1942. He was a Columbus institution, at least as popular as any movie the Ohio ever ran. Overtures and recital by Garrett was reason alone for many a ticket bought. The organist would return to the Ohio for a final concert (and sing-a-long) in 1969. Friday night bonus with Down Argentine Way was a football rally featuring team members from Ohio State. Tie-in with sport groups was ongoing benefit to stadium turnstiles and theatre boxoffice. Athletes would take the stage, sometimes entertain, though just being seen was enough for fans and family members. These were pep rallies pure and simple, designed to whip patronage into mood for the weekend game and boost grid squad besides. Like with Garrett at his organ, football fever often tipped ticket-buyers to Ohio's favor rather than rivals down the street, even where they were playing a better movie. Yet further case where live events were more a draw than what was on screens.