Lupe Velez (Carmelita), Leon Errol (Lord Epping/Uncle Matt), Walter Reed (Dennis Lindsay), Elizabeth Risdon (Aunt Della), Lydia Bilbrook (Lady Epping), Hugh Beaumont (George Sharpe), Aileen Carlyle (Mrs Pettibone), Alan Carney (bartender), Marietta Canty (Carmelita's maid), Wally Brown (desk clerk), Charles Coleman (Epping butler), Eddie Dew (Sheriff Walters), Don Kramer, Dorothy Rogers, George Rogers (dancers), Patti Brill (bellgirl), Bud Geary, Duke Green (deputies), June Booth (nurse), Eddie Borden (messenger boy), Barbara Hale (girl at airport), George Plues (stage driver), Ann Summers, Margie Stewart, Mary Halsey, Margaret Landry, Rita Corday, Joan Barclay (bits), Robert Anderson (Captain Rogers), Ruth Lee (Mrs Walters), Anne O'Neal (orphanage director), Billy Edward Reed (attendant). Director: LESLIE GOODWINS. Screenplay: Charles E. Roberts, Dane Lussier. Strory; Charles E. Roberts. Film editor: Harry Marker. Photography: Jack Mackenzie. Art directors: Albert S. D'Agostino, Walter E. Keller. Set decorators: Darrell Silvera, Harley Miller. Music directed by Constantin Bakaleinikoff. Assistant director: James Casey. Sound recording: Terry Kellum. Sound re-recording: James G. Stewart. RCA Sound System. Producer: Bert Gilroy. Copyright 11 July 1943 by RKO-Radio Pictures, Inc. No recorded New York opening. U.S. release: 17 July 1943. Australian release: 13 January 1944. 5,789 feet. 63 minutes. COMMENT: Despite guest appearances by Alan Carney and Wally Brown, plus the re-appearance of Charles Coleman (albeit as a different butler), this last entry rates as neither the best nor the worst of the series. Negative elements include some misplaced wartime patriotism (if the writers really wanted to introduce all the "Anchors Aweigh" rah-rah-rah, why not make it part of the "contract-must-be-signed" plot? It's hard to believe the principals are still haggling about this stupid radio advertising contract seven pictures later), and a rather threadbare "misunderstanding" which doesn't stand up to close scrutiny unless we accept the fact that Dennis is an idiot. He is, of course, but this reduces our sympathy and interest in him to zero. Certainly he makes a typical naval officer, as feather-brained as they come, but I don't think this was the script's intention. Epping is supposed to be the dope, but his actions and reactions are far less asinine. Throwing the plot further off balance is the strong performance by Hugh Beaumont who makes his villain so likable and personable, we are genuinely sorry to see him lose out at the end.It's good to recorcd that Miss Velez rises to the occasion nobly. She dances up a storm too.

These Mexican Spitfire films are something else. Almost always the same plot and antics, but so lively that they breeze by. This series is the epitome of frantic farce. Leon Errol bounds from Uncle Matt, the sensible American, to Lord Epping, the befuddled Englishman, and brings things to a froth by consistently having Uncle Matt do impersonations of Epping. Much sputtering confusion, innuendos, door-slamming, and racing around ensues. But Errol is so effortlessly charming and game that it all goes down smoothly, no matter how high-pitched the antics get. And Errol is matched with the Spitfire herself, Lupe Velez. Sadly, this is her last Hollywood film. Her famous suicide followed at the end of the following year. It was thought she was washed up in Hollywood, but it's doubtful such a firecracker personality could have stayed unlit for long. She might have exploded on television in the fifties, if anything. But she left behind a lot of personality on screen for viewers to marvel at. She and Errol are unsung as one of the finest comedy teams in Hollywood history. The Mexican Spitfire films are worthless without their timing, talent, and inter-action. 'Blessed Event' concerns the confusion over Carmelita (Lupe) having a baby and how its existence, or non-existence, influences Lord Epping's signature on a contract for Carmelita's husband. Hugh Beaumont is competing for Epping's signature and he's well aware that the whole baby thing is a crock. But Epping goes to Arizona to find out, with Beaumont following. Inevitably, it's up to Uncle Matt to do his Epping impersonation again to save the day. Beaumont is okay, but the other cast members are wallpaper. Errol and Velez are a vortex of energy, leaving nothing to anyone else. There is one minor note: Alan Carney and Wally Brown have separate bit parts (Carney as bartender, Brown as desk clerk) but soon after in the same year would start their comedy team antics as RKO's answer to Abbott & Costello.

The last of the series, and not the best, but kudos to Lupe Velez, who was unique and never better than in this series. Leon Errol's rather nondescript film career was capped by his brilliant comic creation of Lord Epping. What an unlikely pair...but they are terrific together.

This was the 2nd MEXICAN SPITFIRE film that I saw and, although I loved MEXICAN SPITFIRE OUT WEST (my 1st)this film and every other subsequent MEXICAN SPITFIRE seemed like I already saw it... talk about beating a dead horse. Lupe Valez is comic as can be as Carmelitta, and teaming her up with Leon Errol makes for a great comedy team. It is a shame that the Lord Epping theme was over worked or this entire series would rate an 8 with me. If you've seen one, You've seen them all.