View All Photos (4) Movie Info The top-billed stars in the extravagant RKO musical Flying Down to Rio are Dolores Del Rio and Gene Raymond. Forget all that: this is the movie that first teamed Fred Astaire and Ginger Rogers. We're supposed to care about the romantic triangle between aviator/bandleader Raymond, Brazilian heiress Del Rio and her wealthy fiance Raul Roulien, but the moment Fred and Ginger dance to a minute's worth of "The Carioca", the film is theirs forever. Other musical highlights include Rogers' opening piece "Music Makes Me" and tenor Roulien's lush rendition of "Orchids in the Moonlight". Then there's the title number. The plot has it that Del Rio' uncle has been prohibited from having a floor show at his lavish hotel because of a Rio city ordinance. Astaire and Raymond save the day by staging the climactic "Flying Down to Rio" number thousands of feet in the air, with hundreds of chorus girls shimmying and swaying while strapped to the wings of a fleet of airplanes.

It is one of the most outrageously brilliant numbers in movie musical history, and one that never fails to incite a big round of applause from the audience--even audiences of the 1990s. Together with King Kong, Flying Down to Rio saved the fledgling RKO Radio studios from bankruptcy in 1933. The film was a smash everywhere it played, encouraging the studio to concoct future teamings of those two stalwart supporting players Fred Astaire and Ginger Rogers. Rating: Flying Down to Rio Reviews & Ratings - IMDb IMDb 17 January 2017 8:34 AM, PST NEWS 34 out of 38 people found the following review useful: Only in America of the thirties from Los Angeles 14 February 2006 Consider this. RKO released "Flying down to Rio" in 1933, when America was in the very depths of the Great Depression. Millions of Americans were out of work and millions more lived in fear of the economic and political realities plaguing the world. So Hollywood turned out films like this one, escapist fare about rich dilettantes drifting back and forth from Miami to Rio.

Indeed, the hero of this little trifle, Gene Raymond, is the scion of a wealthy family who will inherit lots of money, if he gives up fiddling around with song writing and aviation. And the thing is, pictures liked this one worked. The unemployed probably didn't have the ten cents or more it took to get in to see gems like this, but those who did have the money turned out for this kind of picture, gawking at the upper classes in wonder. "Flying down to Rio," though, is an early talkie and hardly the best example of this kind of romantic comedy. Directed by Thornton Freeland, an early talkie director whose career was largely undistinguished, it has a loose feel about it and does not marry sound and visuals together with any real skill. The pacing is bad, the musical numbers drag on way too long and the film is not the kind of polished production RKO and the rest of Hollywood would start turning out within the next few years. But "Flying Down to Rio" is remembered today for one thing and one thing only, the first pairing of Fred Astaire and Ginger Rogers, who would become the greatest dance team in movie history.

That pairing almost didn't happen, because Ginger's role was originally earmarked for starlet Dorothy Jordan, who wound up catching the eye of Merian C. Cooper, then riding high at RKO after the spectacular success of "King Kong." Jordan became Cooper's girlfriend and quickly his wife and Ginger stepped into her dance shoes and from there into screen immortality. Ironically, Fred and Ginger are not the leads in this film and actually only do one dance number together, but they were good enough to convince the powers that be that new stars had been born, providing those stars could dance their way through their future films. But aside from that number, there are a couple of other reasons to see this film. The first is top billed star Dolores Del Rio, one of the most beautiful women to ever turn up on the screen. A wealthy socialite from Mexico, she arrived in Hollywood in the silent era and became famous playing a French peasant girl being romanced by two American soldiers in "What Price Glory." Her transition to sound was rocky, though, not because of her voice, but rather what felled many a silent star, her "foreign accent." But it didn't kill her. She returned to Mexico and helped launch its film industry.

Aside from Del Rio, the other things to look for are the Depression era sets. Built to depict hotels and elaborate supper clubs, they are among the most spectacular of the era. And then, finally, there is that other sequence this film is known for, the truly amazing production number featuring the title song, "Flying Down to Rio" in which a bevy of beautiful girls allow themselves to be strapped to the wings of biplanes and flown over Rio as entertainment during the opening of a hotel. While the overwhelming majority of the footage are probably process shots, there appear to be a couple of real life wing walker type shots blended in to give the sequence a realistic feel. Merian Cooper, then RKO's defacto production boss, was among many other things a pilot himself, an aviation buff and one of the founders of Pan American Airways, the airline that pioneered trans-ocean flight. And even before the famed Pan Am Clippers crossed the Atlantic and the Pacific in the mid-thirties, they'd already established mail and early passenger service to South America with the Sikorsky S-40 nd S-42 flying boats,shown at the end of the film.

In some ways, this film is one big advertisement for the Clippers and for aviation, back when it looked like fun. But then, the real fun was watching Astaire and Rogers in subsequent films proving that in addition to having a good eye for manly stuff like big gorillas and airplanes, Merian C.Cooper was not exactly blind to musical talent, either. Was the above review useful to you? 28 out of 31 people found the following review useful: Classic pre-code Talkie from Sydney, Australia 10 June 2003 There was a golden age of cinema lasting only four or five years - from the end of the silent era to the beginning of the Hays Code, the severe censorship rules which sought to turn cinema from naughty to nice, but in actuality sapped them of their truth and energy. `Flying Down to Rio' is a classic pre-Hayes code talkie, and its characters have a quality of frankness which endears them to modern audience far more than many later films, whose stilted, conservative quality is somewhat alienating.

You'd be surprised at what they could get away with in those days - it would be forty years before a film could get away with a line like that spoken by a starlet of her South American rivals - `What have those girls got below the equator that we haven't got?' The film, about a love triangle between a Brazilian woman and two members of a swing band, is of course famous for two things - the slightly surreal sequence in which showgirls ride a biplane down to Rio in Busby Berkley-esque formation, and the debut of Fred Astaire and Ginger Rogers as a screen team. It's no wonder that audiences fell in love with the duo, whose `Carioca' is the highlight of the film. They only made them like this for a little while - more's the shame! Was the above review useful to you? 28 out of 32 people found the following review useful: Historical For More Than One Reason from United States 24 November 2005 I gave this "Fred Astaire" comedy-romance-musical higher marks than normal because the romance, usually the sappy part of the Astaire films, doesn't dominate as it does most of his movies.

As usual, there are a number of interesting dance scenes including a spectacular Busby Berkeley-type production on the wings of airplanes. That scene has to be seen to be believed, not just for the uniqueness of it but for the bra-less women pictured! Yikes, it's not something you expect to see with a classic film - and you wouldn't see for another 35 years. It's pretty amazing. I really shouldn't label this an "Astaire film " because Dolores Del Rio and Gene Raymond are the two stars. Astaire is a close third. Raul Roulien would be next while Ginger Rogers just has a small role.....but it IS noteworthy for being the first time all of us saw the famous Astaire-Rogers pairing. The comedy in this film also is pretty good. The best parts of the film are the beginning and end. The fadeout segways in here reminded of silent films, which weren't that long removed from this. Was the above review useful to you? 22 out of 26 people found the following review useful: A run of the mill musical except for the obvious addition.

from Coventry, England 5 July 2004 By the time Flying Down to Rio was released in 1933, It was Warner Brothers who had been having the success as far as musicals were concerned. Ruby Keeler and Dick Powell were the uncrowned King and Queen of song and dance land and in films like 42nd Street, Footlight Parade and Gold Diggers and the later movies Dames and Flirtation Walk they were paving the way for a motion picture genre that would continue in much the same vein for the next twenty years. With kaleidescope routines expertly directed by Busby Berkeley via overhead cameras, the movie musical was finally taking shape bearing little or no resemblance to earlier dismal efforts like MGM'S Broadway Melody of 1929 or their equally unimpressive Hollywood Review from the same year. RKO was at the time a struggling studio with huge debts and was on the verge of going bankrupt. However they decided to capitalize on this medium in an effort to pull themselves back into the black.

Flying Down to Rio was in all respects no different to any other of the films they produced at the time and I'm sure this film would have sank into obscurity and be long forgotten had it not been for the movie milestone it boasts. Fred Astaire and Ginger Rogers were cast as only 3rd and 4th billed performers, to all intents and purposes, the token dance act, a novelty. Neither of them had done much before. Ginger of course was beginning to make a name for herself. She had featured in both the fore-mentioned 42nd Street and Gold Diggers and was slowly working her way out of chorus lines into bit parts and the occasional solo number. Fred had done less still. Already a well known stage star in America and Britain, he had just one previous film under his belt. A natural dancer of extraordinary talent, Fred was signed on as RKO's secret weapon in their efforts to make the best musicals.

However, no matter how dull the storyline to "Rio" is (and it is believe me) it is soon forgotten when Fred and Ginger perform their first ever screen dance, The Carioca, a musical number with Latin- American tempo complete with stunning costumes, guest singers and the very kaleidoscopic shots of which Busby Berkeley himself would have been proud. It is their only dance together in the film and their actual dancing is given very limited screen-time, but it was enough to cause Astaire/Rogers mania. Forgive the cliche but the rest is history as they say. So successful were they that they went on to appear in a further nine films together making them one of the most beloved and cherished screen partnerships ever. Alone the Astaire/Rogers musicals of the thirties saved the studio from closure and they helped push Warner's, Keeler and Powell into second place, at least as far as musicals were concerned. Astaire is given further opportunity to shine in two stunning solos which will leave the viewer in no doubt whatsoever why he was the very best at his chosen craft.

Complete with the now famous 'girls-strapped-onto-aeroplane-wings' scene and with the added talents of Delores Del Rio and Gene Raymond adding the romance, It all helps to make an otherwise dull film into a legendary silver screen gem. Was the above review useful to you? 21 out of 25 people found the following review useful: Grade A Entertainment! An Underrated Gem! from Saint Paul, MN 11 November 2001 Flying Down to Rio will always be best known for being the movie that first paired Fred Astaire and Ginger Rogers, but, believe me, its worth goes far beyond just that stunning accomplishment. The lead actor is Gene Raymond, who was one of the funniest actors in early Hollywood. My other favorite Raymond movie is Hitchcock's only foray into straight comedy, Mr. and Mrs. Smith, where he starred opposite Carole Lombard and was more than up to it. Raymond's female opposite here is Delores de Rio, an actress with whom I am unfamiliar, but, man, is she a beauty. Astaire plays Raymond's best friend and cohort and Rogers plays a singer who tours with them. The film is wonderfully witty and actually very inventive.

The editor goes a little crazy with the different types of swipes he uses throughout the film, but they're still neat. It doesn't bother me much that the filmmakers' experiments don't always work. I'm just happy they were trying new things. The cinematography is often great and much more unique than in other RKO musicals. The music is marvelous, especially the show-stopping Carioca (as opposed to Karaoke!), which seems to last forever, but in a good way! This is the number with the Astaire and Rogers dance. The other dancers in the scene are also wonderful, and the editing of that number is particularly amazing. The climactic musical sequence is as amazing as it is silly: seemingly hundreds of women dancing on the wings of flying planes. It's meant to be entertainment for the people below, but, well, the intricate movements of the girls could never have been seen on the ground (reminiscent of the Busby Berkeley number in 42nd Street where the camera shoots the dancers' pattern from above). Again, the editing here is simply remarkable.

I can only imagine that the daring stunts perpetrated in the scene, though obviously fake, would have stunned the hell out of an audience in 1933! Today, in the 21st Century, Flying Down to Rio plays as one of the greatest pieces of fluff ever produced. 10/10. Was the above review useful to you? 15 out of 16 people found the following review useful: The Aviator 3 March 2007 Howard Hughes, oh how we needed you. From other sources you will have learned that this is pretty sexy stuff in terms of transparent clothes; not a bra on the hundreds of candidates. And the original dirty dancing before it was outlawed, and that crack about what Brazilian women have "below the equator." Also, you will have heard about this being the first Astaire-Rogers pairing. You may not have heard of one of the most racially respectful scenes I know from the era: a couple land on a supposedly deserted island and the woman is frightened by what she thinks are natives. Turns out one comes out of the woods.

He's playing golf and while shirtless (in order to make the joke work) speaks English normally and carries himself like a regular man. Its the reverse joke of what you'd usually see in bugeyed stepinfetchits. But what I find fascinating is the way sex, romance, money and music are all somehow related to aviation. Our hero, we are told is heir to a fortune if only he would give up his music and planes. But it is plain that he does it because of the women. And by that we know he means sex, only sex. We first see him as he climbs out of his plane, which has a piano stuffed in it. Now think about that a minute. This is what technology meant in those days: adventure, charm, bodily pleasure. And its what the sort of music we see in films was supposed to imply as well. If you do not see this, let me describe the climax. Scores of scantily clad women are strapped to what looks like a dozen small planes to perform choreographically as best you can when bolted down. Every shot you can take of a woman's body is presented, along with a wingload of errant nipples. I can just imagine the smiles when they thought it up.

There's something else to watch for. This has the most elaborate transitions I believe I have seen for any film. They really are amazingly varied and so copious they are as much a feature as Fred's dancing. Ted's Evaluation -- 2 of 3: Has some interesting elements. Was the above review useful to you? 16 out of 18 people found the following review useful: Rio, Rio by the Sea-o from West Virginia 16 November 2001 The first pairing of Astaire and Rogers, playing second leads to Dolores DelRio and a slightly strabismic Gene Raymond. What music and what dancing!!! And the scenery of 1933 Rio is worth seeing. The story is slight, the acting is slighter but who cares when Astaire and Rogers take the floor for the Carioca. How silly is the concept of a bunch of girls strapped to the wings of airplanes performing over the hotel? But again, who cares?...it's history on film as the seminal appearance of the most famous dance team in the movies. The supporting players are good but what became of Raul Roulien?.....the rest are familiar to fans of old movies.

Love the music,(even Orchids in the Moonlight)and especially the title tune which is rather forgotten now. Step back in time and enjoy this dated, but absolutely wonderful film. You won't be sorry and maybe you will dance the Carioca!! Was the above review useful to you? 15 out of 17 people found the following review useful: Flights of musical fancy from Canada 22 May 2001 This early musical reminds me of a frothy milkshake with a tangy, South American flavor! Entertainment, pure and simple. Although slightly dated in some ways it still has a great deal of appeal for those who enjoy well staged musicals. Sure there were more streamlined musical productions to follow at a later date, but I feel this one has an exciting atmosphere as far as musical content is concerned (dancing), not to mention the episode, as a finale, of those smiling girls strapped to planes soaring up above the landscape. I wonder if they'd dare to do such high flying films again in our time. Gene Raymond was some handsome fella! although I felt his acting ability could do with more smooth flowing gestures. Dolores del Rio certainly was exquisite, which no one can deny.

The teaming of Fred and Ginger here is probably well documented many times over by others so suffice to say they sure started something in the history of dance! Pass the popcorn please and just enjoy. Was the above review useful to you? 12 out of 13 people found the following review useful: Fred and Ginger liven up a hackneyed plot from United Kingdom 4 October 2003 This movie is typical of its time in the 'two guys and a girl' storyline, this time over the alluring Doleres del Rio (scarily, she looked much the same as this as Elvis Presley's mother in 'Flaming Star' years later). Gene Raymond plays the conniving bandleader who chases her from Miami to Rio, with an impromptu island stop en route.

There are some nice touches (the ghostly 'consciences' of Raymond and del Rio for one, the back projection of orchids and palm trees showcasing her thoughts as her local hick boyfriend sings 'Orchids in the Moonlight') but of course the real interest of this movie is for two reasons - one, the clever and inventive acrobatic stuff with the girls tied to aeroplane wings etc over a new nightspot; and two, the first screen teaming of Fred Astaire and Ginger Rogers, who light up the movie with 'The Carioca'. Fred may have been far from a looker but there is no denying his talent and there was certainly ample chemistry with Rogers for the teaming to work. They'd go on to brighter and better things through the 30s, but this film is fun. Was the above review useful to you?

11 out of 13 people found the following review useful: South American Rhythm from Kissimmee, Florida 1 February 2002 FLYING DOWN TO RIO (RKO Radio, 1933), directed by Thornton Freeland, is a musical showcase for Mexican star Dolores Del Rio playing a Brazilian beauty named Belinia De Rezende, Gene Raymond as Roger Bond, a girl chasing orchestra leader, and Raul Roulien as Julio Rubeiro as Belinia's fiancé and Roger's best friend who complicates matters. By the film's conclusion, the ones who "walked off" with the movie are the supporting players of Ginger Rogers as the band vocalist, and Fred Astaire as the accordionist-dancer, in that order, thus, the beginning of a new screen team, and never again in the persona of sassy Honey Hale and semi-sophisticated Fred Ayres. Yet it's amazing that Astaire and Rogers made such a lasting impression at all in this production, considering they play subordinate roles who supply "comedy relief," and have very little opportunity to act or dance together.

Even in the famous, "Carioca," number (which was how they became crowned "The King and Queen of the Carioca"), they get to perform only a few dance steps, but the ensemble of other dancers and singers get most of the footage during its 12 minutes. But even without Astaire and Rogers, or either with one of them along with a different partner, FLYING DOWN TO RIO remains an early musical attempt to capture that South American feel and tango rhythm, predating all those cliché musicals MGM or 20th Century-Fox would distribute in the 1940s, with the addition of Technicolor and/or Xavier Cugat and Carmen Miranda, etc. As for the plot elements, it remains similar to the ones used in subsequent Astaire and Rogers films, but this time the situations of strangers meeting followed by a merry mix-up, belongs to its leading players (Del Rio, Raymond and Roulien). The first half of the movie takes place in Miami, Florida, where the plot development amongst the central characters begin, then shifts to Rio De Janiero, the second largest city in Brazil, where the complications continue and are resolved after 89 minutes of screen time.

In between all this comes the singing and dancing to help the plot along. With the music and lyrics by Gus Kahn, Edward Eliscu and Vincent Youmans, the songs include: "Music Makes Me" (sung by Ginger Rogers in the foreground with Fred Astaire, as one of the members of the band, playing the accordion in the background); "The Carioca" (performed by musicians, danced by numerous Brazilians, sung by Alice Gentle and Etta Moten, and danced briefly by Astaire and Rogers); "Orchids in the Moonlight" (sung by Raul Roulien to Dolores Del Rio/reprise, danced by Astaire and Del Rio, with one observer saying to another, "Oh, look, Belinha is dancing our tango with an Americano."); "Music Makes Me" (tap dance solo by Astaire); and "Flying Down to Rio" (sung by Fred Astaire/ danced by girls chained to the wings of the flying airplanes).

Other than some advanced camera techniques used in this production, portions of the movie play like a picture postcard advertisement, mainly during its montage sequences where the camera focuses first from an air-view of famous landmarks, then from the ground view of Rio De Janiero, and flipping over to other scenes of the city from people walking the streets to cars driving down the roads before returning to the storyline. In the supporting cast are Blanche Frederici as Belinda's old-fashioned Aunt (Tia) Elena; Roy D'Arcy, Maurice Black and Armand Kaliz as the Greeks; Franklin Pangborn as Mr. Hammerstein; Luis Alberni as The Rio Casino Manager; and Eric Blore as Mr. Butterbass making his first of five performances in an Astaire and Rogers musical. He is an asset to every one of them. It's also interesting to note that Raul Roulien remained somewhat obscure after appearing in this, never to become the Cesar Romero-type of Hollywood. As for the few Hollywood movies to feature him in the early 1930s, this is the only one still in circulation today and possibly his best opportunity on screen.

When Gene Raymond was interviewed about FLYING DOWN TO RIO in the documentary on RKO Radio titled "Hollywood, the Golden Years" (as narrated by Ed Asner back in the late 1980s), he mentioned that he thought that FLYING DOWN TO RIO was going to become the "Bomb of Bombs," but much to his surprise when it made its premiere during the Christmas season at Radio City Music Hall, he noticed while being in New York City that there was a long line of people going around the block waiting to go in and see this movie. One cannot be sure that history would repeat itself again in today's society, but FLYING DOWN TO RIO, in spite of whatever is right or wrong it it, is vintage entertainment at best. Only one debit: acrobats flipping and catching one other, and hanging on the swings under the wings of the flying airplane during the "Flying Down to Rio" number. Not realistic, but it got by. And on the historical side, this is where Astaire and Rogers got their start together on screen, thus, becoming the most popular song and dance team of the movies, never to be topped or equaled by anyone.

Now that's something to think about! FLYING DOWN TO RIO, which was formerly shown on American Movie Classics for many years, is currently presented on Turner Classic Movies. It is also available on video cassette and DVD. Recommended highly to fans of the team and/or musicals from this era. (***1/2) Was the above review useful to you? Page 1 of 6: ‎Flying Down to Rio (1933) directed by Thornton Freeland • Reviews, film + cast • Letterboxd Review by Jason ★★★ The first film partnership for Ginger Rogers and Fred Astaire sees them as supporting players for Dolores del Rio and Gene Raymond in Flying Down to Rio, an enjoyable if slightly rough musical comedy. Raymond plays Roger Bond, the leader of a band + pilot who is a bit of a ladies man which often gets him into trouble. At an event his band plays he encounters del Rio's Belinha, and is quickly besotted as tends to happen in these early comedies. Belinha is engaged to be married to Julio (Raul Roulien) as part of a family arrangement however, and she soon finds herself torn between the two men.

Astaire is Roger's friend and plays in his band, while Rogers'… Review by kyeah ★★★★ Fred Astaire never ceases to amaze me. The dynamic duo of Fred Astaire and Ginger Rogers is on full display in their first screen pairing, a wacky musical with a witty, energetic screenplay. Produced during the rise of talkies and before the enforcement of the Hays Code, the characters of Flying Down to Rio are charmingly frank, making one risqué comment after another without the fear of censorship by the MPAA (formerly the MPPDA). The film is chock-full of quotable lines, although a few of them may slip through the cracks due to differences in cultural contexts. This is the type of movie that makes you long for simpler times, when the world was free and uncaring, and everyone knew… Review by Jason ★★★ The first film partnership for Ginger Rogers and Fred Astaire sees them as supporting players for Dolores del Rio and Gene Raymond in Flying Down to Rio, an enjoyable if slightly rough musical comedy. Raymond plays Roger Bond, the leader of a band + pilot who is a bit of a ladies man which often gets him into trouble.

At an event his band plays he encounters del Rio's Belinha, and is quickly besotted as tends to happen in these early comedies. Belinha is engaged to be married to Julio (Raul Roulien) as part of a family arrangement however, and she soon finds herself torn between the two men. Astaire is Roger's friend and plays in his band, while Rogers'… Review by Not Pauline Kael The romantic leads in this RKO musical were the dark-eyed, incomparably beautiful Dolores Del Rio as a Brazilian aristocrat, the ultra-blond Gene Raymond as an American dance-orchestra leader who's smitten by her, and soulful Raul Roulien as her Brazilian fiancé. But it's famous for being the movie in which Ginger met Fred; they were intended for comic relief. Dazzlingly slender, sexy Ginger was the brash, good-natured vocalist for Raymond's band, and Fred was the accordionist. But when they cut loose on the dance floor and did the Carioca, the glamorous triangle became an obstruction.

(You begin to notice how many times Del Rio flashes her eyes haughtily.) The picture-which is almost surreally entertaining-is also famous for its madcap choreography: chorus… Review by ArizonaJim ★★½ As long as Fred Astaire and Ginger Rogers remain famous, which hopefully will be as long as films are watched, Flying Down to Rio’s place in history is assured. But, other than being the first time Astaire and Rogers were teamed, the film is a bit of a mishmash. If you are in the right mood it is quite fun, if not it will be dull. The central plot is about bandleader Gene Raymond falling for Brazilian heiress Dolores del Rio: she is beautiful and Latin and he WASP and baby faced and bland (although we are told his father is big on Wall Street: there might be a crossing of racial lines, but money keeps with money), but all… Flying Down to Rio DVD with Dolores del Rio, Gene Raymond, Raul Roulien (NR) +Movie Reviews Thanx to Amazon for Finding this Gem!

Great Movie Addict | New York City | 02/03/2000 (4 out of 5 stars) "It's hard to see why a musical combo like composer VincentYoumans and lyricist Gus Kahn don't get more credit for beauties likethe rhythmic "Carioca" and the classic tango "Orchids in the Moonlight," two standards people have been humming since 1933. Audiences went to see Gene Raymond and the gorgeous Dolores Del Rio, but were swept away by the relatively unknown Astaire and Rogers. And take a gander at Ginger Rogers singing "I Like Music" in a gown that barely made it through the Hayes office. This was one of the last times she would play the usual working-blonde smart alec before later films revealed her as the great artist she was. The plot is standard, dopey fluff from every 30's musical, but a cast of RKO old-pro's pull it off quite well -- right down to the silly gyrations of pudgy bathing beauties anchored to soaring biplanes over Rio. Get this while you can, it's a great piece of Hollywood history." Accidentally a historic moment... H.

Bala | Carson - hey, we have an IKEA store! - CA USA | 06/04/2006 (4 out of 5 stars) ""Can't sing. Can't act. Balding. Can dance a little." Hollywood legend has it that that was the report on Fred Astaire's initial RKO screen test. Not a very auspicious start for a stage dancer trying to get a foot in the door of Hollywood. His movie debut was in a 1933 MGM movie titled "Dancing Lady", wherein Fred had a fleeting cameo as himself. But it was later on in the same year that Fred really made the movie audience sit up and pay attention, when he got fifth-billing in RKO's "Flying Down to Rio." The plot focus is mainly on the inconsequential love triangle of Dolores del Rio, Gene Raymond and Brazilian tenor Raul Roulien and it takes place in Rio de Janeiro. Roger Bond (Raymond) is an aviator/band leader who falls hard for Belinha (del Rio), only to find out she's engaged to his good buddy, Julio (Roulien)...

This was just supposed to be yet another musical-comedy done by the numbers in a style prevalent to the times. But in the greater scope of things, the lead romance takes backstage to the real relevance of this film: the first ever team-up of Fred Astaire and Ginger Rogers (the fourth-billed on the roster). On a personal level, this movie also has one of my favorite one-liners: "What have these South Americans got below the equator that we haven't?" Fred Astaire - back in his Broadway stage days, and partnered with his sister Adele - used to specialize in playing the musically gifted, nice all-American fella with no girl to romance (he certainly couldn't romance his sister) and he carries that role over to this film. He plays Fred Ayres, sidekick and wingman to Raymond's Roger Bond, who does all the heavy load of skirt-chasing. Fred has a relationship with Ginger's Honey Hayes, but it seems to be strictly grounded in friendship, though flirting occurs. It won't be until his next movie The Gay Divorcee that he becomes a romantic lead, the girl in question being, of course, Ginger Rogers.

It's a bit ironic to me, though, that the more enjoyable verbal exchanges seem to take place between Fred and Honey, with the amorous Roger and Belinha (del Rio's character) trading the more routine banter. But probably, I'm biased. The Astaire and Rogers partnership starts innocently enough with the lively musical number "Music Makes Me" but the duo's chemistry is in full-blown display with the eleven-minute-plus-long "The Carioca", a song-and-dance routine that called for the participators to dance with their foreheads pressed together. Oh, Fred and Ginger don't dance for the entire length of the number but, apparently, the audience saw enough to leave a lasting impression. Astaire gets his only singing assignment at the finale, warbling the title song as an unbelievable and disconcerting Busby Berkeley-type aerial routine goes underway. Sandwiched somewhere in the middle of the film, Roulien also croons "Orchids in the Moonlight". This movie became a financial success, which pulled the RKO studio out of imminent bankruptcy. Variety magazine reviewed the movie thus: "The main point of Flying Down to Rio is the screen promise of Fred Astaire....

He's assuredly a bet after this one, for he's distinctly likeable on the screen, the mike is kind to his voice and as a dancer he remains in a class by himself. The latter observation will be no news to the professsion, which has long admitted that Astaire starts dancing where the others stop hoofing". With only Raymond and del Rio in the cast, this would've been a 2-and-a-half star rating from me, not bad but nothing special. As it is, I'm dropping down 4 stars on Flying Down to Rio, for frothy, entertaining musicality and its historical significance in filmdom. Oh yeah, Gene Raymond gets the girl in the end. " The plot is thin--but it hatched Fred and Ginger !!! Matthew G. Sherwin | last seen screaming at Amazon customer service | 05/11/2007 (5 out of 5 stars) "Flying Down To Rio featured the great Delores Del Rio as Belinha De Rezende, a wealthy Brazilian young lady who must enter into an arranged marriage; and Gene Raymond playing Roger Bond, an American band manager who falls in love with her practically at first sight.

RKO intended for Flying Down To Rio to be a vehicle for Gene Raymond and Delores Del Rio. Rather unexpectedly, however, two other people stole the show: Fred Astaire as Fred Ayres, the band's accordionist and Ginger Rogers as Honey Hale. Audiences were very impressed and never forgot them; Fred and Ginger continued to make great movies together for quite some while to come. But I am getting ahead of myself--by about several reviews or so! In Flying Down To Rio you get an American band rather used to being out of work run by ladies' man Roger Bond; a crooked Greek syndicate; an aerial flying show with dancing girls on the wings of the airplanes, new found love on a supposedly deserted island that turns out to be Haiti; the biggest and best Carioca dance scene you ever did see; and a stuffy old aunt looking after Belinha to make sure she enters into that not so perfectly arranged marriage. So, you may ask, how do these all fit together? Well, this is a 1930s musical designed to distract Americans from the Great Depression, so the answer is easy: they DON'T always fit together well.

The plot resembles a buffet where you get a little bit of a lot; and certainly not all of the characters have depth to them here. Gene Raymond injects a lot of effort to act rather convincingly as Roger Bond who is deeply in love with Belinha De Rezende; and Delores Del Rio plays Belinha beautifully. At the same time, we see Fred and Honey (Fred and Ginger) just beginning to shine and they easily steal the show two or three times throughout this picture. The Carioca dance scene is choreographed to perfection; and Fred and Ginger work wonders together throughout the rest of the film, too. Will Belinha marry her husband to be Julio (Raul Roulien) and set aside her somewhat impulsive amorous feelings for band manager Roger? Will the band find work in Rio? Will the hotel where the band wants to play be able to stage a show if their permit is fouled up? Why do the Greeks want to take over the hotel? Sorry folks; no spoilers here--if you want to know the answers you'll just have to watch the film to find out!

The choreography shines through best with the numerous extensive song and dance numbers that are peppered all throughout the film; and the cinematography is rather good. The people are well framed on the screen when they need to be and there are several scene changes that take place with lines running across the screen to indicate that we are jumping to another place for the next scene. This was considered fine cinematography in its day. The DVD has a couple of extras but if you get this DVD the film squarely remains the main event. You get a comedy short entitled Short Beer and Pretzels with Ted Healy and His Stooges and a cartoon entitled I Like Mountain Music. I highly recommend this film for fans of Fred Astaire and Ginger Rogers especially since this was their first film together. Their dancing even then was outstanding, to say the least. People who enjoy musicals from the golden age of Hollywood should catch this film, too, to enjoy the numerous song and dance numbers. The dancing isn't always the best, but you will like these musical numbers anyway. Enjoy! Heavy on Group Dances; Light on Fred & Ginger (DVD Review) N.

Lim | Santa Clara, CA USA | 10/28/2006 (4 out of 5 stars) "Their first film together, this is the only Fred and Ginger (F&G) movie where they play supporting roles. The studio executives and the public did not yet know this couple's dance potential and powerhouse future. They only dance together once 43 minutes into the film (The Carioca). The movie is filled with several post-card quality shots of Rio de Janeiro and has more choreographed group dance routines and vocalists than you can shake a stick at. My favorite is all those girls dancing on biplanes while in flight, which is very creative. The romantic plot of the main characters, Belhina De Rezende (Dolores del Rio) and Roger Bond (Gene Raymond) and the subplot of the Greek investors are a little light but still held my interest. The vintage short "Beer and Pretzels" is a very early three stooges short with Ted Healy still with the comedy team. The slapping-of-the-face sound effects have not yet even entered the soundtrack. Just like F&G in Rio, Moe, Larry and Curly are in supporting roles.

The four men cause havoc as waiters in a high class restaurant. Most of this short consists of song and dance routines of people I have never heard of. (1933 Run time 20:33) In the classic cartoon "I Like Mountain Music" the characters in a department store come to life and perform. Most of them jump out from magazine and book covers and are caricatures of personalities popular at the time. (1933 B&W Run time 6:59) Theatrical Trailer (Run Time 1:29)" Let's Hope We'll See Flying Down to Rio Released R. Baum | 03/09/2006 (5 out of 5 stars) "This film is naturally an essential for every hard core Astaire & Rogers fan. The plot is irrelevant -- it's the catchy classic song and dance routines that I particularly like in this movie. Much of the music including "Flying Down to Rio" and the lesser known "Music Makes Me" is nearly impossible to find anywhere else, even in audio Astaire & Rogers CD collections. Recently I noticed that amazon.de is selling Top Hat on DVD with the movie "Flying Down to Rio" included as a bonus track.

The DVD appears to include the English original sound in addition to the dubbed German audio track. The downside of ordering this DVD is that it is region 2 (U.S. DVDs are region 1), so one would need an appropriate DVD player to watch this DVD, but at least I'm glad it appears that "Flying Down to Rio" is already out there on the world market." Flying Down to Rio : definition of Flying Down to Rio and synonyms of Flying Down to Rio (English) English Flying Down to Rio is a 1933 RKO musical film noted for being the first screen pairing of Fred Astaire and Ginger Rogers , although Dolores del Río and Gene Raymond received top-billing. Among the featured players Franklin Pangborn and Eric Blore are notable. The songs in the film were written by Vincent Youmans (music) and Gus Kahn and Edward Eliscu (lyrics), with musical direction and additional music by Max Steiner . This is also the only film in which screen veteran Ginger Rogers was billed above famed Broadway dancer Fred Astaire. The black-and-white film (later computer- colorized ) was directed by Thornton Freeland and produced by Merian C. Cooper and Lou Brock .

The screenplay was written by Erwin S. Gelsey, H.W. Hanemann and Cyril Hume , based on a story by Lou Brock and a play by Anne Caldwell . Linwood Dunn did the special effects for the celebrated airplane-wing-dance sequence at the end of the film. Contents Plot The first screen announcement of the Astaire-Rogers partnership - from the trailer to Flying Down to Rio Composer Roger Bond ( Gene Raymond ) and his orchestra are appearing in Miami , with vocalist Honey Hales (Rogers). Despite the warnings of accordionist and assistant band leader Fred Ayres (Astaire), Roger is attracted to the beautiful and flirtatious Belinha (Dolores del Río) in the audience, he leaves the bandstand to pursue her. Doña Elena ( Blanche Friderici ), Belinha's chaperone , is informed of this, and arranges for Roger and the band to be fired. But Roger pursues Belinha to Brazil , and organises as engagement for the band at the Hotel Atlantico in Rio de Janeiro , unaware that the hotel is owned by Belinha's father (Walter Walker).

Roger persuades Belinha to allow him to fly her there in his private plane, which runs into trouble inflight, forcing a landing on an apparently deserted island. Under the moonlight, she falls into his arms, while admitting to him that she is already engaged. In Rio, Roger informs his good friend Julio (Raul Roulien) that he has fallen in love, but finds out that Belinha is engaged to Julio. During rehearsals for the Hotel's opening, Fred is told by police that the hotel lacks an entertainment license. When Roger spots a plane overhead, he comes up with the idea of strapping dancing girls to planes, with Fred leading the band and Honey and Julio leading the planes. The show is a great success and the hotel's future guaranteed. Julio gives Belinha up to Roger while Fred and Honey celebrate. [1] [2] Cast Franklin Pangborn as Hammerstein, Hotel Manager Music All the songs in Flying Down to Rio were written by Vincent Youmans (music) and Gus Kahn and Edward Eliscu (lyrics). The dance director was Dave Gould, assisted by Hermes Pan , who went on to be Astaire's primary choreographer.

"Flying Down to Rio" – sung by Fred Astaire, danced by Ginger Rogers and the chorus "Music Makes Me" – sung by Ginger Rogers, danced by Fred Astaire "Orchids in Moonlight" – sung by Raul Roulien, danced by Fred Astaire and Dolores del Rio; this became a popular tango song " Carioca " – sung by Alice Gentle , Movita Castaneda and Etta Moten , danced by Fred Astaire, Ginger Rogers and the chorus [3] ; this is notable for being Astaire and Rogers' first dance together; they dance with their foreheads touching. Notes Flying Down to Rio (1933) Review, with Ginger Rogers and Fred Astaire – Pre-Code.Com Proof That It’s Pre-Code This thing has more bare legs than a Rockettes review. The film opens with a manager inspecting all of the hotel’s maids, front and backside. He seems less interested in girls than the girls seem interested in him.

“He could name his own figure.” “He can name mine any time!” Straight faced, to the camera by an American woman clueless to Del Rio’s sex appeal: “What do these South Americans got below the equator that we don’t?” There’s this strange moment where you think Raul Roulien is checking out (and possibly horrified by) Gene Raymond’s penis: A group of South Americans dance “The Carioca” which is apparently so sexy that inspires everyone to have dirty thoughts. Rogers notes, “Is my mind red!” Ginger Rogers, ever dismissive, casually punches a girl in the face who questions her. The final dance sequence features a brief scene where a line of dancers suffer from a parachute malfunction. Luckily, it’s not that they don’t open, just that the parachutes rip off their clothes. And this is just all the stuff I caught… Flying Down to Rio: Rio by the Sea-O “Music makes you do things you never should do…” One of the fun things about looking at early sound movies is that you pretty much see the entire template of musicals for decades after defined in a few short years.

From 1927 to 1930, you had the classic revue style talking hold, often stagy and filled with songs sung directly to the audience. Next you had the Busby Berkeley visual extravaganzas that took hold at Warner Brothers in ’32, using dream logic and special effects while slinging saucy innuendos by the fistful. Flying Down to Rio is built to cash in on the Berkeley film’s successes, filled with elaborate routines and a fantastical atmosphere, but the movie features one unusually potent ingredient that would come to dominate musicals for decades after: the dancing. That’s because this is the first feature pairing Fred Astaire and Ginger Rogers, two of the brightest stars of late-30s films. Together here, fourth and fifth billed, they practically waltz off with the movie from its stars, taking a number called “The Carioca” and turning it into a sensation. Footloose and fancy free. But let’s remove Flying Down to Rio from its place as a stepping stone to cinematic history and take a closer look.

The film’s plot itself is creakier than most of the preceding thirty years of cinema: a band leader with a roving eye sets his sights on a fiery Brazilian girl. Unfortunately, she’s already engaged to his best friend. Who will the girl go with– our handsome white rogue or the steady but concerned foreigner? It’s almost ridiculous how uninvolving the main plot is. Front man Gene Raymond, while certainly muscular and good natured, is stuck being a Lothario and not much else. Dolores Del Rio, the beautiful actress, is beautiful with a smile that could kill, but is pretty much just jostled by machinations. Raul Roulien’s character is at the crap end of the triangle and probably the most sympathetic of the three, though he too is trapped in a movie that thinks less of the guy who does the noble thing and more of the guy who gets the girl by virtue of simply wanting her more. And that plot is probably why Flying Down to Rio is rarely regarded highly in the Astaire and Rogers canon, as the film lurches to a stop when the romantic teeth gnashing begins. There’s no tension and Del Rio and Raymond lack the chemistry to overcome it.

Those are interesting overalls, Dolores. That being said, for a 90 minute movie, that plot barely clogs up a third of it. Most of the time is occupied with elaborate musical set pieces, with the finale, a spectacular over-the-top aerial ballet with chorus girls arranged on airplanes and boogieing to the titular musical number, being especially grandiose. Ludicrous, yes, but deliriously enjoyable. The only other number to match it is the aforementioned “Carioca”, which showcases a lengthy dance number that involves touching foreheads and thoughts that will apparently make you blush. Rogers and Astaire get their only chance to tear up the carpet here, and the beautiful effortlessness behind their brief shining moment is tantalizing to say the least. The film’s pre-Code content is easily comparable to some of the dirtiest pictures of the day, as women and men both undress with relish. The musical numbers, too, are dotted with innuendos, from Ginger Roger’s opening piece (performed in a virtually see-through dress) to the wild gyrations that take place on the top of the aircraft.

There’s even a lengthy scene on a tropical island where Belinha and Roger have out of body experiences that encourage themselves to wildly copulate. “Sexy sexy sex sex, Dolores. Remember that!” And that’s kind of the fun of Flying Down to Rio, which, save for its moments of dancing greatness, is a fairly worthy imitator of the Busby Berkeley mold. It may be less about the Depression than what Berkeley normally dealt with and more about the lure of flying and the lush exoticism of South America, but it’s a naughty jaunt that ends on a fairly literal high note. Trivia & Links The first of nine film pairings of between Fred Astaire and Ginger Rogers. Their next is The Gay Divorcee (1934) which isn’t technically a pre-Code, but, hell, I’m covering it anyway. You can’t stop me! This movie is credited for saving RKO Studios from bankruptcy, with the rest of the Astaire and Rogers series keeping them in the black for the rest of the decade. Clarence Muse has a pretty funny cameo as a golfer. Who, uh, doesn’t wear a shirt for some reason.

In original prints, the rather unspectacular “Orchids in the Moonlight” number was color tinted. Movie Diva has a ton of great info both about how Astaire and Rogers worked together– they dated briefly in New York before they separately went to Hollywood and spent the rest of their career being consummate professionals to one another. There’s also a lot of info on Astaire’s background, and his collaborator Hermes Pan. She uses her best tidbit for the end: And, for those of you who may have dreamed of dancing with Fred Astaire, he disdained social dancing, and could rarely be persuaded to do so. Dancing was work, after all. Greenbriar Picture Show , besides relating a charming story about an exhibitor making his way across the country selling the movie, also talks about how the movie was crafted as another attempt to romanticize and normalize air travel since the film’s producer, Merian C. Cooper, also sat on the board of Pan-Am. “Uh, by a waterfall with you?” Dr. Macro has a ton of posters for this one. Musicals 101 dedicates an entire page to the team and their importance to film dancing.

They’re also pretty down on Ginger, but I suppose that’s not surprising since Ginger seemed rather down on musicals. A Noodle in A Haystack has some great stills. Del Rio is showcasing a two piece bathing suit, which is almost scandalous if you hadn’t seen her in what little she wore in Bird of Paradise. TCMDb reveals the secrets of the film’s special effects: In spite of the fact that RKO was in financial trouble, it spared no expense on Flying Down to Rio: music by Vincent Youmans (his final score before retiring due to health problems); dozens of dancers; second-unit photography in Brazil, which provided authentic backgrounds; enormous, dazzlingly white Art Deco sets representing hotels, ballrooms and nightclubs in Miami and Rio de Janeiro; and — as promised — the title number, with chorus girls dancing precariously on the wings of airplanes. The number was actually a combination of wide shots done in Malibu, and process shots in a hangar, with the planes suspended by wires only a few feet off the ground.

Many of the sources note that the following Astaire/Rogers vehicles follow a certain romantic pattern, with one other peculiarity: Fred always gets a solo dance number, Ginger always gets a solo song. Alex Udvary notes this, and also makes mention of the subtext to Ginger’s number: And finally, pay attention to Ginger Rogers’ song, “Music Makes Me” (Ginger had it in her contract that she would get to sing one solo song in every movie. She was afraid the studio was going to pay more attention to Fred). Lyrics include “my self control was something to brag about/now its the gag about town”. What do you think she’s referring to when she says “music makes me”? The beginning of a beautiful on-screen partnership. Mordaunt Hall for the New York Times enjoyed it, saying of Astaire and Rogers: An impressive series of scenes are devoted to a dance known as the Carioca. During this interlude that nimble-toed Fred Astaire and the charming Ginger Rogers give a performance of this Carioca. The music is delightful, and besides Mr.

Astaire and Miss Rogers many other persons dance the extraordinarily rhythmic Carioca, one feature of which happens to be that of the couples pressing their foreheads together as they glide around the floor. Gallery

Question: Flying Down to Rio is a 1933 movie that saw the first screen pairing of which partnership.
Answer: Fred Astaire and Ginger Rogers.