The Lady in the Tutti-Frutti Hat

Carmen Miranda, a Spectacle of Ethnicity

Bibliographic Data

ID8905231
AuthorsShari Roberts (corresponding author)
Year1993
Volume32
Issue3
Pages3-3
Publication date1993-01-01
Open AccessNo
TypeARTICLE
VenueCinema Journal (JOURNAL)
Journal identifiersISSN: 0009-7101 • E-ISSN: 1527-2087
PublisherJSTOR (PUBLISHER)
DOI10.2307/1225876
OpenAlexW2313090015
LanguageEN
Citations received19

In years from 1939 to 1944, just prior to and during U.S. involvement in World War II, Carmen Miranda, Brazilian Bombshell, appeared in eight Hollywood musicals and two Broadway musical revues, all of which were highly successful. When Miranda's Weekend in Havana opened in 1941, it received top box office statistics for that week-over twice amount achieved by Citizen Kane, which was in its second week.' The speed with which rival studios jumped on Fox-Miranda bandwagon reflects Latina actress's popularity and profitability. Miranda wannabes included Lina Romay, Cugie's Latin Doll of M-G-M; Margo of RKO; and Maria Montez of Universal; not to mention Acquanetta, Venezuelan Volcano, and Olga San Juan, Puerto Rican Pepperpot. Although not billed as star in most of her musicals, Miranda was, according to popular press, oomph that stops show.''2 In fact, for her debut in United States in The Streets of Paris on Broadway, Miranda's songs weren't listed in program and she appeared for only six minutes, but she was still seen as the outstanding hit of show.3 What was attraction that brought such instant fame in United States to an actress who never succeeded in exceeding her status as a specialty act? And what appeal did these films hold for female viewers, who comprised majority of home-front audiences

Art · Ethnic group · Humanities · Political science · Sociology · Spectacle · Anthropology · Cuban History and Society · Latin American and Latino Studies · Law · Theater, Performance, and Music History

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