Copyright 30 May 1947 by Beacon Productions, Inc. Released through United Artists. New York release at the Broadway: 11 July 1947. U.S. release: 30 May 1947. U.K. release: December 1947. Australian release: 20 November 1947. Sydney release at the Empire: 8 November 1947. 8,525 feet. 93½ minutes.
SYNOPSIS: Agent induces not overbright nightclub manager to hire a non-existent double act.
COMMENT: Groucho's first film without his brothers was not a box-office success despite the fact that he appeared "in character" for an attractively chorused (and costumed) song number, "Go West, Young Man". The energetic support of Carmen Miranda in a dual role, some pleasant songs and a bevy of "Copa Girls" could not save a lame and rather talkative script. The players try hard (Gloria Jean is particularly agreeable and has a catchy production number), and even Alfred E. Green (whose direction is usually ploddingly pedestrian) makes a few laudable attempts at atmosphere, pace and inventiveness. All to no avail. The jokes are stubbornly stale and heavy-handed, the plot unintentionally ridiculous, and the characters one-dimensionally garrulous.
Copacabana could be saved - it would cut down to a fairly entertaining two-reeler for nightclub buffs. Of course this would remove most of Mr Marx and as he is the reason most people will want to see Copacabana, such drastic trimming is not likely. A pity. I've got a soft spot myself for the old Groucho, but Copacabana sticks him with such gummy material it's downright impossible to unglue.
SYNOPSIS: Agent induces not overbright nightclub manager to hire a non-existent double act.
COMMENT: Groucho's first film without his brothers was not a box-office success despite the fact that he appeared "in character" for an attractively chorused (and costumed) song number, "Go West, Young Man". The energetic support of Carmen Miranda in a dual role, some pleasant songs and a bevy of "Copa Girls" could not save a lame and rather talkative script. The players try hard (Gloria Jean is particularly agreeable and has a catchy production number), and even Alfred E. Green (whose direction is usually ploddingly pedestrian) makes a few laudable attempts at atmosphere, pace and inventiveness. All to no avail. The jokes are stubbornly stale and heavy-handed, the plot unintentionally ridiculous, and the characters one-dimensionally garrulous.
Copacabana could be saved - it would cut down to a fairly entertaining two-reeler for nightclub buffs. Of course this would remove most of Mr Marx and as he is the reason most people will want to see Copacabana, such drastic trimming is not likely. A pity. I've got a soft spot myself for the old Groucho, but Copacabana sticks him with such gummy material it's downright impossible to unglue.