Copacabana is a 1947 American musical comedy film directed by Alfred E. Green starring Groucho Marx, Carmen Miranda, and Steve Cochran. Groucho appears for the first time in his own person, without his traditional greasepaint mustache and swallow-tail coat. (He does don the old makeup and costume for one last time, in a specialty number.) This was Groucho's first significant film appearance as a solo act, minus his brothers Harpo and Chico.
Plot Lionel Q. Devereaux and his alluring girlfriend, Brazilian singer Carmen Navarro, have been engaged for 10 years. They are highly unsuccessful vaudeville performers, due to Lionel's total lack of talent. They have worn out their welcome at a theatrical hotel in New York City, and the manager gives them 24 hours to pay their bill. Lionel splits the act: Carmen will be the talent and Lionel will be her agent. He goes to the famous Copacabana nightclub, forcing himself on producer Steve Hunt and pressuring him to audition Carmen.
When the producer asks Lionel about his other clients, Lionel produces a list—a racing form—where one of the names on the sheet is Mlle. Fifi. Lionel persuades Carmen to audition as Parisian belle Mlle. Fifi, with her face covered by a veil. The producer hires both Carmen and Fifi for the Copa. Carmen now has to do quick costume changes on a breakneck schedule to maintain the illusion of two different women. Steve is very attracted to the girls, and to protect Carmen from the producer, Lionel tells him that he is engaged to be married to Carmen. Steve then turns to Fifi and asks her out instead. Anne Stuart, Steve's secretary, is in love with the producer herself, and resents his going on a date with Fifi.
Lionel's professional rival, an agent named Liggett, persuades Lionel to sell Fifi's contract to him for $5,000. Lionel accepts the fast cash, reasoning that Liggett is paying for someone who doesn't exist. Lionel is unaware that Hollywood producer Anatole Murphy wants to star Fifi in movies, and will pay $100,000 to Liggett.
Liggett becomes suspicious when he sees the veiled Fifi get into a taxi, and then Carmen comes out of it. Anne reveals to Carmen that the mysterious Fifi has made her getting Steve's attention impossible. To help Anne out, Lionel and Carmen stage a fight between Carmen and Fifi in Carmen's dressing room. The fight ends with Fifi disappearing. Lionel reports back to Steve that Fifi has been found dead in the river, but he also expresses his satisfaction over "killing" her. The conversation is overheard, and he is blamed and arrested for Fifi's murder. Lionel tries to explain to the police during the investigation that he only made Fifi up, but nobody believes him and he makes repeated attempts to escape the law.
Steve confesses that he only expressed an interest in Fifi because of his business, and that he is really in love with Anne. Carmen enters the scene, dressed as Fifi, but removes her veil in front of everybody, showing that Carmen and Fifi are one and the same. The film producer, Murphy, enthused by this incredible story, buys the entire premise for a film. Lionel becomes involved in the ensuing film production, and takes screen credit for almost everything, from casting to developing the film. The picture opens with a song about the Copacabana.
Cast Groucho Marx as Lionel Q. Devereaux Carmen Miranda as Carmen Navarro / Mademoiselle Fifi Steve Cochran as Steve Hunt Andy Russell as Himself Gloria Jean as Anne Stuart Ralph Sanford as Liggett Andrew Tombes as Anatole Murphy Frank J. Scannell as Joe Lane, stage manager Chester Clute as Hotel desk clerk Dick Elliott as Green, hotel manager The DeCastro Sisters as Themselves, in finale Chili Williams as Copa Girl Mari Blanchard as Copa Girl Guest appearances by Broadway columnists: Abel Green as Himself Louie Sobol as Himself Earl Wilson as Himself
Production
According to a report in the Hollywood Reporter (June 1944), independent producer Jack H. Skirball was originally set to make the film, with assistance from Monte Proser. Around the same time, George Raft was announced as a potential lead for the film.
The film's origins trace back to when United Artists suggested to Sam Coslow that the studio could use a musical film to balance its release schedule. Coslow discussed the idea with George Frank, Carmen Miranda's manager, and Monte Proser and Walter Bachelor, managers of the famous New York City nightclub Copacabana, located at 10 East 60th Street. They decided to combine Miranda with the Copacabana.New York Times, Dec. 22, 1946, p. 49. This was Miranda’s first film after leaving 20th Century-Fox, the studio with which she had been under contract since 1940. Coslow wrote a story that included a dual role for Miranda. They made an agreement with David Hersh to back the production, and United Artists approved it.
In August, Coslow cast singing star Gloria JeanNew York Times, Aug. 9, 1946, p. 23. for her first film since December 1944. On the advice of her agent Eddie Sherman, she had left motion pictures for national and then international personal appearance tours, and returned to Hollywood in 1946.Scott MacGillivray and Jan MacGillivray, Gloria Jean: A Little Bit of Heaven, iUniverse, 2005, p. 209. In September 1946, it was announced that Groucho Marx would star, without his older brothers. He agreed to 10% of the profits.Thomas F. Brady, New York Times, Dec. 22, 1946, p. 9.
Coslow, Frank, Proser, Bachelor, and Hersh invested preproduction funds, including scriptwriter fees and secretarial expenses. They borrowed 65% of the $1,300,000 budget from a bank at 5% interest. The remaining 35% came from Standard Capital, a private financing company.Brady, p. 9. United Artists announced that Coslow would be producing five musical features, "all to carry budgets of $1,500,000 or more."Independent Exhibitors Film Bulletin, Apr. 14, 1946, p. 23. Proser's terms were 20% of the profits plus $25,000 for the screen rights to the Copacabana name.Abel Green, Variety, Jan. 29, 1947, p. 2.
The film includes cameo appearances by Broadway columnists Abel Green (editor of Variety), Louie Sobol (New York Journal-American), and Earl Wilson (New York Post). At the time of production, Groucho Marx was married to Kay Gorcey; she has a small role as a cigarette girl, from whom Groucho tries to buy a nickel cigar.
The Hollywood Reporter announced that character comedians Chester Clute, Dick Elliott, Frank Scannell, and Andrew Tombes were added to the cast. Pierre Andre was also hired to perform a special dance number with Dee Turnell.
Filming began on November 1, 1946, at Samuel Goldwyn Studios, and the shoot lasted for 42 days, on a par with major motion pictures of the day.Motion Picture Production Encyclopedia, published by Hollywood Reporter, 1948, p. 415. One of the screenwriters was Allen Boretz, who had co-written the hit play Room Service, later adapted as a Marx Brothers film.MacGillivray, p. 211. Boretz reused the Room Service premise of an unsuccessful theatrical entrepreneur using desperate means to land a lucrative contract. Another of the Copacabana writers was Howard Harris, who caught the spirit and pace of Groucho's wisecracks so well that he went on to write material for Groucho's You Bet Your Life television series.
Seven original songs were composed by Sam Coslow. Groucho Marx insisted on a song by his usual tunesmiths, Bert Kalmar and Harry Ruby, and sang their "Go West, Young Man", composed in 1936.
In mid-February 1947, The Hollywood Reporter announced that Sam Coslow was considering reshooting scenes in which Miranda appeared with blonde hair, due to letters from Brazilian fans stating they preferred her as a brunette. The reshot scenes would be inserted only in prints released in South America, according to the item. Given that production expenses were already well over the million-dollar mark and the film was nearing release, it is unlikely that Coslow bothered to film additional scenes.
Coslow decided that the rough cut of the film ran too long, and film editor Philip Cahn trimmed it to 92 minutes. One of the deleted sequences was a specialty number by the DeCastro Sisters, a rubber-faced nightclub trio who combined songs and dances with laughs, in the manner of the Ritz Brothers. In the finished film the trio is billed prominently (ninth out of 20) but appears only in the finale, singing a fragment of "Let's Do the Copacabana".
Promotion Carmen Miranda was booked for live appearances at the Copacabana nightclub while the picture was playing first-run in New York City. The engagement lasted only a few weeks; Miranda and Groucho Marx headlined a nightclub act at the Arrowhead Inn in Saratoga, New York.Boxoffice, Aug. 23, 1947, p. 40.
Soundtrack songs "We've Come to the Copa" — The Copa Girls "Tico-Tico no Fubá" — Carmen Miranda "Je Vous Aime" — Carmen Miranda "My Heart Was Doing a Bolero" — Andy Russell "He Hasn't Got a Thing to Sell" — Carmen Miranda and Andy Russell "To Make a Hit with Fifi" — Carmen Miranda "Stranger Things Have Happened" — Andy Russell "Stranger Things Have Happened" — Gloria Jean "Go West, Young Man" — Groucho Marx "Je Vous Aime"— Andy Russell "Let's Do the Copacabana" — Carmen Miranda
Reception Showmen's Trade Review liked the film's chances: "Just the sort of picture the majority of average moviegoers delight in seeing -- delightfully enjoyable, easy-to-take summertime entertainment with amusing situations, tuneful songs, and elaborate production numbers. If exhibitors take advantage of the film's exploitation possibilities, better-than-average business should result."Showmen's Trade Review, May 24, 1947, p. 20. Boxoffice agreed: "There is every indication the picture will be a winner in all situations."Boxoffice, June 2, 1947, p. 831. Variety also concurred but was more guarded about the film's chances: "Copacabana has all the ingredients of a successful filmusical, including an entertaining and lighthearted story, a group of okay songs, several good production numbers, and a bevy of beautiful showgirls. Film should do okay in top situations throughout the country."Variety, May 21, 1947, p. 15.
Film Daily advised theater managers: "A potentially sock package of entertainment that was responded to all down the line, and spontaneously, by a sneak preview neighborhood audience. Never does it have a dull moment. Miss Miranda and Marx are a knockout comedy team. Marx is in there all the time pitching to most comic effect. Miss Miranda delivers both song and line to what can be considered probably her best performance to date. Direction first-rate. Photography Grade A."Film Daily, May 21, 1947, p. 7.