Okay, I enjoy these old, obscure 1940s movies. "The Thrill Of Brazil" is a hokey, corny, and just plain fun musical that just happens to feature the father of a friend of mine in a major supporting role. That's how I came to be familiar with this old, obscure flick. This is a fun bit of cinematic fluff with lots of clever writing and musical numbers.I'm not sure if I would have sat through it were it not for Sid Tomack's major supporting role as the cab driver "Irkie Bower". Sid's elastic face and big beaming smile made his performance as the goofy cab driver quite entertaining. But what was more surprising was the quality of the writing of the entire film! As one reviewer mentioned, there are an abundance of puns.The theme of this film can best be stated as: "Their marriage didn't work out, but there is hope, neither did the divorce." And it's set to music!

You need energy to keep up with "The Front Page" and "His Girl Friday," from which "Thrill of Brazil" stole the story. You need a frontal lobotomy to sit through TOB.I don't like manic movies. The Marx Brothers always give me headaches. For me, pacing is important and "Thrill of Brazil" has none. You are never allowed to take a deep breath and regroup, but are kept listening to the hue and cry of dialogue, singing and dancing.The music is eminently forgettable, with little charm and less enjoyment. After seeing the fourth, or was it fifth, dancing number with the same rhythm, same costumes, same dance steps... well, ho-hum.I wish I could say something - ANYTHING - nice about this movie. The actors had a hard row to hoe and, unfortunately, didn't acquit themselves well. Keenan Wynn was just plain loud. There was no charm to his portrayal, no attractiveness to his character. He was so oily and slimy and underhanded, I wished for someone to shoot him within the first 20 minutes.I wouldn't waste your time. I'm sorry I wasted mine.1 out of 10 only because there was no 0.

Non stop puns. That and a whole lot of song and dance, tap dancing, and verbal sparring are what we get in "Thrill of Brazil." All in good natured fun, Steve (Keenan Wynn, Annie get your Gun ) and John ( Allyn Joslyn) are fighting over Vicki (Evelyn Keyes, Gone with the Wind, many others). Meanwhile, Ann Miller is caught up in the whirlwind as Linda Lorens, tries to sing and dance her way through the her entertainment numbers. Also some great music from Enric Madriguera and his orchestra, as well as Tito Guízar, all of whom actually did perform and record in public at the time. This film might have been even more hokey if the music and dance weren't so good. Filmed after the war, so the mood is very upbeat and happy. Ann Miller had been making movies for 10 years by now, but she still has the look and demeanor of a young, rookie, but this could just be good acting on her part. Interesting scene where Vicki captures some of the local downtown market scenes and fights in pencil drawings, to be used in their nightclub act later. Several sight gags have a vaudevillian feel, but it all works. Although she was a major starlet in her own right, Evelyn Keyes is also known for her marriages to the bigshots Artie Shaw, John Huston, Charles Vidor. Also look for Ludwig, played by the always funny Felix Bressart, who had made "Shop around the Corner" with J Stewart. Bressart and Wynn had just made "Without Love" together in 1945.

A goofy Columbia musical: let's remake Hawks' HIS GIRL Friday as a musical, only instead of Cary Grant, Rosalind Russell and Ralph Bellamy, we'll have Keenan Wynn, Evelyn Keyes and Allyn Joslyn, and instead of it being about newspapers and death, it will be about --- nightclub producers! Sounds like a waste of time, doesn't it? Well, despite the undeniable talent of the people involved -- as well as that of director Sylvan Simon, yes it is. Except for the musical numbers and those are standouts. The songs aren't much, decent but forgettable, but dance director Nick Castle knew how to choreograph a dance number so well that they were lifting them five years later for MGM musicals. And then, of course, there's Ann Miller. When she starts tapping, the movie becomes not just good but great.But there's too much time between the musical numbers. Worthwhile, but not great.