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Latin Lovers

Latin Lovers (1953)

August. 28,1953
|
5.4
| Romance

An heiress searches for true love while vacationing in Brazil.

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Jeanskynebu
1953/08/28

the audience applauded

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BelSports
1953/08/29

This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

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Curt
1953/08/30

Watching it is like watching the spectacle of a class clown at their best: you laugh at their jokes, instigate their defiance, and "ooooh" when they get in trouble.

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Dana
1953/08/31

An old-fashioned movie made with new-fashioned finesse.

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wes-connors
1953/09/01

Beautiful blonde Lana Turner (as Nora Taylor) worries men may want her because she is worth $37 million dollars. She is engaged to handsome blond John Lund (as Paul Chevron), who is worth $48 million dollars. It sounds like a good match, but Ms. Turner is still worried. When she was poor, a greedy boy stole all her marbles, she tells her analyst. Both Turner and Mr. Lund go to picturesque Brazil, where he plays polo. Turner wears expensive clothes and meets muscle-glistening Ricardo Montalban (as Roberto Santos). They are mutually attracted. Turner decides to hide her $37 million estate from Mr. Montalban, because she (now) thinks men are not interested in marrying beautiful and wealthy women. Honest. This story is as silly as it sounds. However, it is worth watching to see how the crew at MGM could pull out the big guns; in this case, for Turner and Montalban. The production always looks great.***** Latin Lovers (8/12/53) Mervyn LeRoy ~ Lana Turner, Ricardo Montalban, John Lund, Louis Calhern

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moonspinner55
1953/09/02

Shallow time-filler, directed by the estimable Mervyn LeRoy (who must have been a bit embarrassed), this picture-postcard travelogue-cum-romance should have put Ricardo Montalban on the map as a huge matinée idol. Montalban never quite broke the ethnic barrier to become a Valentino-type player in Hollywood, and filmdom certainly missed a prime opportunity. Montalban swaggers and struts and exudes mucho charisma as a horse rancher in Brazil who falls for vacationing heiress Lana Turner. Semi-musical piece of Hollywood factory gloss entertains in its fashion, but you'll be ashamed of yourself in the morning. Turner is so aloof that even Ricardo fails to melt her icy exterior, but the South American flavor is amusingly captured and the picture looks good enough to eat. ** from ****

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Nazi_Fighter_David
1953/09/03

This gorgeously-directed film presented Lana Turner as Nora Taylor, a lady who has everything in the world—including $37 million which she inherited from her father… Her one big problem: not even her psychoanalyst can tell her whether men love her for herself or her money… She isn't even sure of Paul Chevron (John Lund), her stuffy fiancé, who is worth $48 million in his own right… His reaction to her ardor is unenthusiastic, so when he goes off to Brazil with his polo team, she follows him in the hope that the change in climate will warm him up… Unfortunately for Nora, the land of romance does nothing for Paul, who is just as businesslike as ever…But she does meet Roberto Santos(Ricardo Montalban), a young and handsome plantation owner, who sweeps her off her feet… At first, Nora is afraid that he'll refuse to marry her when he learns about her fortune, but she's even more upset when he expresses great delight in the discovery…What follows is a game of wits, and the picture can be likened to a multicolored parfait… It's entertaining of its kind and not nearly as slight as it would have been in less capable hands… "Latin Lovers" was more a romantic comedy with music than one of MGM's traditional super-musicals of the period… It did feature five original Nicholas Brodsky—Leo Robin tunes, two of which were "sung" by Ricardo Montalban…Other music included the rippling strains of several red-hot sambas, staged by Frank Veloz…The film was still another great showcase for Turner the clotheshorse… Helen Rose, who was Oscar-nominated for her work in both "The Merry Widow" and "The Bad and the Beautiful" came up with an unusual idea in designing the star's wardrobe… All of Lana's more than twenty costumes were created in black and white—or a combination of both—and pitted against the rich1y Technicolored backgrounds, it resulted in a striking and unusual effect

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Greg Couture
1953/09/04

This one is much more fun than its inevitable detractors might lead you to believe. The cast, including Jean Hagen (who almost stole the show with her unforgettable Lina Lamont in "Singin' in the Rain"), Louis Calhern strutting his elegant stuff as a superannuated Brazilian, a very young Rita Moreno, the handsome John Lund once again playing a stuffy moneybags (as he did a little later in "High Society"), and Dorothy Neumann who gets some of the best of Isobel Lennart's cleverly scripted lines (with digs at psychoanalysts and their patented brand of voodoo.)The story is pure Hollywood dream manufacture but it's so handsomely mounted and lushly photographed by that master of the color cameras, Joseph Ruttenberg, that objecting to it prompts the inevitable question, "Why in the heck did you watch it if you weren't in the mood for something with no relationship whatsoever to the real world?" Lana looks gorgeous and Helen Rose had the inspiration to dress her only in black and white and combinations thereof, contrasting her more than strikingly against the ultra-lush Technicolor trappings. She gets to do an ultra-smooth samba with her co-star Ricardo Montalban, who had the good fortune to step in as a replacement for the originally cast Fernando Lamas, whose real-life romance with Luscious Lana had very publicly come to a rocky impasse. Mervyn LeRoy, who had the distinction of mentoring Lana in the earliest days of her Hollywood ascendancy, directs with that machine-tooled efficiency that a vehicle of this kind must have if it is going to come anywhere near to a suspension of disbelief. With all of the first-class elements that Miss Turner was traditionally surrounded during her days as M-G-M's reigning boxoffice beauty, this is the kind of escapism that is, perhaps lamentably, a thing of a very distant past. When you're feeling benign, this one is fine!

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