Copyright 24 March 1942 by Loew's Inc. A Metro-Goldwyn-Mayer picture. New York opening at the Capitol: 7 May 1942. U.S. release: 11 March 1942. Australian release: 31 December 1942. 9 reels. 8,187 feet. 91 minutes.SYNOPSIS: Nazi 5th columnists attempt to send coded messages on radio broadcasts originating from a dude ranch in Texas.COMMENT: Abbott and Costello's first film for MGM is nothing if not handsomely photographed. And the boys themselves are in fine form. Their usual gag writer has provided some clever routines involving typical puns, misunderstandings and comebacks, plus a number of slapstick knockabouts which actually come across satisfactorily thanks to deft special effects. The boys also have help from a director with a bit of imagination and sense of camera fluidity. Above all, they are surrounded by a particularly able support cast. True, the principals are not so graciously served by both script and sound recording (though the songs themselves are pleasant enough, and Miss Grayson is attractively photographed), but Tom Conway is menacingly suave, Peter Whitney makes an admirable stooge, whilst stunningly costumed Patricia Dane turns in such an exotically glamorous performance her presence alone elevates Rio Rita to a must-see category. She is a great foil for the boys too and is able to stand up to them with both convincing aloofness and involving patronage. Altogether perfect, it's a pity Abbott & Costello failed to realize what a gifted, heaven-sent asset she was to both them and the film and that they didn't make sure she was employed subsequently (as the Marx Brothers were clever enough to realise what a goldmine they had with Margaret Dumont).OTHER VIEWS: I saw a program on Cinematography on television the other night and was amazed that the first photographer one of the interviewees listed as a prime example of artistic craftsmanship was George J. Folsey. He was right up there with Arthur Miller, Charles Lang, William Daniels and James Wong Howe, despite the fact that he never won any prestigious awards (though nominated quite a few times) and that his is hardly a well-known name even among dedicated film buffs. This feast for the eyes is a good example of Folsey's work, even though he was unable or unwilling to disguise some obvious backdrops and glass shots... Despite their hokey words (in a stage show I saw the songs were deliciously sent up, but here of course they are played perfectly straight by the humorlessly wooden Carroll - effecting a phoney accent - and the inexperienced if lovingly photographed Grayson - this was only her second movie after all), the old tunes still thrill the ears. It's an ingenious script device that brings in the Ranger's Song and reprises it for the climax. The staging is rather elaborate too, with pans across both sides of the screen and an editor's nightmare of studio process and real outdoor shots. Mind you, it doesn't quite work, principally because Carroll is so deadly dull... Abbott and Costello indulge us with some typical amusing routines ranging from smart one-liners and clever puns to well-rehearsed slapstick falls and chases. They are obviously both enjoying their work. -- JHR writing as George Addison.

Corny but likable Abbott and Costello comedy about the duo working at a dude ranch and discovering a Nazi plot (this was filmed during WWII after all). Most of the the comedy is their usual Who's-On-First-like word play and like a lot of Marx Brothers and other comedy pictures of the time, this one features several musical numbers. You also have Tom Conway and Kathryn Grayson, so there's a solid supporting cast, for this otherwise forgettable but entertaining enough of Abbott and Costello picture.

Abbott and Costello were huge stars over at Universal Studios during this time, and this was the first time they made a movie for another studio (MGM) during their peak years. The results are quite good as far as the comical shenanigans of A&C are concerned -- they engage in some pretty laughable situations and were really spot-on at their game here, having energetic fun; I wonder if they were trying harder to show that they could be just as good for a rival studio other than their own? But unfortunately it isn't all roses. MGM was noted for their musicals, and there is a lot of singing trickled about here -- though unlike some of the more upbeat ditties from the Andrews Sisters in the Universal movies, these interludes are cringe-worthy. I mean there's some downright AWFUL singing to be endured in RIO RITA. The worst is a lengthy cadenza performed by one of the lead ladies. Just brutal. Too bad, as this could have been a good solid vehicle for Bud and Lou. **1/2 out of ****

This was Bud and Lou's only film for MGM, which was their good fortune. It's surprising that Universal Studios, for which A and C were prime money-makers, would have lent them out. They must have sent someone to Universal in exchange. Most of the team's Universal films, no matter how silly the premise, were usually tightly constructed around their personalities and abilities, which were mostly a series of set pieces within a flimsy plot, except The Time of Their Lives, when they portrayed characters in the story line, without any of their routines. Many consider this their best film, though I don't agree, despite its departure from their formula. At any rate, MGM showed itself unable to use their talents to the foremost, as was the case in their use of the Marx Brothers in their three last MGM films. There are several excellent routines, but they are submerged in a tedious and unbelievable plot of romance and espionage. MGM was developing Kathryn Grayson (who does not get star billing) as a contract player, and would probably have taken advantage of A and C's box office appeal to showcase her. Unfortunately, her performance is quite wooden; though perhaps she could not do much with the material given. Later on she developed at least a degree of charm, if not strong acting talent, in some of MGM's large-scale musicals, especially Show Boat. If you are an A and C fan, make good use of your fast-forward.