Flying Down to Rio

A constellation of delightful entertainment, romance, and vivacious dance numbers, Flying Down to Rio is a 1933 American pre-Code RKO musical film—an unforgettable exemplar of early movie musicals. Helmed ably by director Thornton Freeland, this motion picture marks the first on-screen pairing of the legendary silver screen couple Fred Astaire and Ginger Rogers. Although they play secondary characters to the film's main protagonists, Dolores Del Rio, Gene Raymond, and Raul Roulien, their spark jumps off the screen and is impossible to ignore.

Starring the exotic Mexican actress Dolores Del Rio as Belinha De Rezende, the story unfolds in Miami, where she encounters the charming band instrumentalist and aviator, Roger Bond, played by Gene Raymond. Their chance meeting sets up an exciting tale of romance and melodrama. Raymond masterfully embodies the character's dashingly debonair appeal and his thirst for adventure. Coupled with Del Rio's vivacious allure, their clashes and chemistry compose the heart of the main narrative.

In the movie, Band Leader Roger is with his troupe in Miami for a performance. By chance or by fate, he sets eyes on Belinha, who is a stunning Brazilian beauty. Taken in by her charm, he's smitten and immediately sets to woo her. His infatuation quickly spirals into a romantic urgency that leads him and his band to Rio de Janeiro, where most of the plot unfolds.

Belinha is already engaged to marry Brazilian gentleman Julio Rubeiro, essayed by Raul Roulien, creating a complex love triangle between the three protagonists. Julio, a wealthy and influential businessman, seems a perfect match for Belinha—but the undeniable romantic tension between Roger and Belinha complicates matters, setting a playful and thrilling rhythm throughout the entire narrative.

On reaching Rio, Roger and his band hit a snag; they have issues regarding their entertainment license and have to figure out a creative way to perform their act. Hailing from the golden era of dance and musical cinema, it's no surprise that the plot hurdles lend themselves splendidly well to song and dance numbers that not only entertain but also drive the narrative forward.

While the romance and drama are at the center stage of this picture, the music by Vincent Youmans and lyrics by Edward Eliscu and Gus Kahn add another fantastic dimension. Notable numbers are the titular song "Flying Down to Rio" and "The Carioca," which became a major hit and was even nominated for an Academy Award for Best Original Song.

Another lead attraction of the film is spectacular dance sequences—especially its grand finale, which is a jaw-dropping air sequence where hundreds of chorus girls perform atop the wings of airplanes flying around in formation. This audacious and utterly unforgettable scene captures the wild spirit of innovation and daring in early Hollywood. It's a tribute to the choreography talents of Dave Gould, whose creative design and execution of these formations won him an Academy Award for Dance Direction.

Flying Down to Rio is further punctuated by the stellar performances from Fred Astaire and Ginger Rogers, who essay the characters of Fred Ayers and Honey Hale respectively. Although not the leading pair, their dynamic chemistry is palpable. Their dance number "The Carioca," where they dance cheek-to-cheek, turning this Brazilian dance into a memorable phenomenon, is still remembered and celebrated to this day as one of the film’s highlights.

In conclusion, Flying Down to Rio is a zestful pre-Code musical film that beautifully blends romance, drama, music, and choreography, creating a mesmerizing spectacle that’s joyful to watch. The palpable chemistry between the actors and the splendid song and dance numbers make it a lasting classic from Hollywood's Golden Age. The film has a certain timeless charm that will make it a delightful watch even for modern audiences with a penchant for classic musicals. Above all, it promises to be a cinematic trip sparking nostalgia for a bygone era of movie magic, grandeur, and sheer inventiveness.