After years of toiling away as a child performer and later a starlet in B-musicals, Betty Grable became a bonafide star at the ripe old age of 24 in 20th Century Fox's Down Argentine Way in 1940. 

Ironically, Fox honcho Darryl F. Zanuck saw her not in one of her collegiate musicals, but on Broadway in DuBarry Was a Lady. Zanuck was wowed by her sparkling personality. When Fox’s reigning musical star Alice Faye had to drop out of Down Argentine Way due to illness, Grable was brought in and a star was born.

Frankly, I was unfamiliar with Betty Grable onscreen. I knew that she was Fox's biggest female star and specialized in musicals, but the only movie I ever saw her in was the comedy How to Marry a Millionaire, near the end of her career. For decades, I thought Grable’s musicals sounded silly, and critics usually brushed her off, compared to other golden era beauties and musical stars.

I was pleasantly surprised. I recalled a friend who watched Betty Grable movies back in the '80s to take her mind off two pregnancies. Now this pal was a very no-nonsense and modern woman, but she found Grable very cute and charming, and the movies just plain fun. Okay, so it took me awhile to catch up!

Fox musicals were mostly interchangeable, with often the same casts, directors, songwriters, designers, etc. And yes, the “good neighbor” policy that studios sought to promote flew in the face of Hollywood stereotyping. But everyone is a stereotype in these cartoonish musicals: the spoiled rich girl or likeable gold digger, the playboy leading man, the rich stuffed shirts, and the comic relief supporting cast. Still, Argentina wasn’t thrilled with Hollywood’s representation of their citizens. But they are the epitome of ‘40s escapist entertainment, especially during war time. 

The premise of Down Argentine Way is simple. Don Ameche’s horse breeder brings his horse to a New York racing event to sell. But his father forbids him to sell to Betty Grable, because of a long ago feud with her family. This creates tension between the two young folks. But never fear, after much bickering and bantering, a happy ending is celebrated with music and dance!

What a treat watching Betty Grable perform. In terms of looks, Betty was somewhere between Lana Turner and Ginger Rogers. Betty was pretty in a normal, accessible way. Grable wasn't the perfect platinum blonde like Lana, but she had a sassy, girl next door quality, and she didn't become mannered as Ginger Rogers gradually did. While many noted Grable didn't try to extend her range into more substantial roles, I found her acting surprisingly contemporary and natural, especially for the era. Betty was no Judy Garland as a singer or Eleanor Powell as a dancer, but Betty's voice was substantial enough to not be dubbed like so many glamour girls of the era and her dancing seemed skilled and energetic. And Gable was glamorous enough to wear those Travis Banton gowns with ease.

Here, Grable gets her first leading lady in an “A” picture and scored a home run at new studio Fox. And for nearly 15 years, Betty was Fox's top leading lady. Betty Grable was gradually replaced by Marilyn Monroe by the mid-50s. At that point, Betty had enough of films, anyway.

Down Argentine Way is not Betty's best picture by a long shot. The plot is especially paper thin, and the stereotypes are very dated and offensive to some. The one big song, the title tune, gets played three times, at least! But this picture is significant because it was the first Fox "good neighbor" film, for better or worse. Second, it was Carmen Miranda's first American picture. Finally, this was Grable's first big hit at Fox. Betty was almost always in the Top Ten list of Box Office Stars, 10 years consecutively from 1942-52. The only female star of the golden era that popular with the public was Doris Day, who had the edge over Betty in that Doris had a great singing career. Though Marilyn replaced Betty as the "new blonde" at Fox, it was really Doris Day who took over as movies' singing and dancing "girl next door."

Don Ameche, half-Italian, was cast as an Argentinean playboy with an eye for horses and the ladies. Ameche is attractive, charming, and sings quite well. Ameche also has a relaxed chemistry with Grable. Charlotte Greenwood gets to do her comedic dancing shtick and this is her first of several films with Grable. A veteran cast of white actors pretend to be from Argentina! Henry Stephenson as Ameche’s papa was British, Leonid Kinskey was Russian, J. Carrol Naish was Irish, etc. Carmen Miranda, who was stuck in New York City with a nightclub contract, sings three stand-alone numbers. She was a big hit with Americans, but singing in Portuguese while presented as an Argentinean, did not endear the latter country.

Typical of these films, there was some location filming for establishing scenery, but the stars filmed on the studio lot, joined by rear projection. This added to the overall inauthentic nature of Down Argentine Way, when it was supposed to wow our neighbors from down under.

The Travis Banton gowns are over the top gorgeous for Betty Grable, who has the figure and confidence to wear them. Fox's gaudy color must have made Technicolor gurus Natalie and Herbert Kalmus very happy.

If you can overlook the flaws of another era in film, Down Argentine Way offers colorful, high spirited fun. Most of all, it showcases Betty Grable in her ingratiating introduction to stardom.