The Carioca and The Continental: 2 Songs That Competed at the 1934 Academy Awards
On day 2 of the countdown to the launch of Astaire: Footnotes in a Legacy on August 2, we’re diving into the lively rhythms of "The Carioca" in Flying Down to Rio to the sophisticated charm of "The Continental" in The Gay Divorcee to discover how these songs captured the essence of the era and set the stage for Astaire and Rogers' legendary status in Hollywood.
The early 1930s was a vibrant time in Hollywood, marked by the transition from silent films to talkies and the burgeoning influence of musical numbers. Among the notable milestones in this era was the inaugural Academy Award for Best Original Song, introduced at the 1934 Oscars. Two standout contenders for this prestigious award were “The Carioca” from Flying Down to Rio and “The Continental” from The Gay Divorcee. In fact, there was only one other contender that year: “Love in Bloom” from the film She Loves Me Not. Both songs from the first two Astaire and Rogers films not only captured the imagination of audiences but also showcased the era’s innovative spirit.
"The Carioca" from Flying Down to Rio
“The Carioca,” composed by Vincent Youmans with lyrics by Edward Eliscu and Gus Kahn, was one of the standout musical numbers from the 1933 film Flying Down to Rio. This film was significant for many reasons: it was the first major film to feature the iconic dance partnership of Fred Astaire and Ginger Rogers, and it was also a showcase of lavish musical numbers that became a hallmark of the genre of the glamorous Hollywood musical.
The song itself was a product of the pre-Code era, a period known for its more relaxed censorship rules before the Motion Picture Production Code strictly regulated Hollywood’s content. Due to Flying Down to Rio being released before the Hays Code enforcement, “The Carioca” could indulge in a level of sensuality and glamour that would later become constrained under the Code. The term carioca refers to the people of Rio de Janeiro, and the song’s lively, rhythmic style perfectly embodied the vibrant Brazilian spirit.
In Flying Down to Rio, “The Carioca” is performed during a pivotal scene in which Fred Astaire and Ginger Rogers, along with a chorus of dancers, deliver an energetic and visually spectacular dance number. The setting is a lavish Rio carnival, and the sequence is filled with beautiful costumes, intricate choreography, and an exuberant atmosphere that captures the essence of Brazilian dance culture.
The reception of “The Carioca” was overwhelmingly positive. The song’s infectious rhythm and the accompanying dance routine became one of the highlights of the film, contributing significantly to its success. Critics and audiences alike were captivated by the lively performance, which showcased the extraordinary talent of Astaire and Rogers and their ability to bring a sense of magic and energy to the screen.
The dance sequence for “The Carioca” is a masterpiece of choreography and staging. Astaire and Rogers’ performance is characterized by its fluidity and precision, with the dancers executing a series of intricate steps that blend seamlessly with the vibrant musical score. The number was notable for its use of synchronized dance routines and camera work that highlighted the dynamic energy of the performance. Running at 17 1/2 minutes, it is the longest Astaire and Rogers number ever and was the longest dance number in any film period until Gene Kelly’s 18 minute ballet in An American in Paris.
The impact of “The Carioca” on the film industry was significant. It set a new standard for musical numbers in Hollywood, demonstrating how a well-executed song-and-dance routine could elevate a film and leave a lasting impression on audiences. After all, what is Flying Down to Rio known for? Not for the main plot, but for the first pairing of Fred Astaire and Ginger Rogers. The success of “The Carioca” paved the way for future collaborations between Astaire and Rogers, solidifying their status as one of the most iconic dance duos in cinema history.
"The Continental" from The Gay Divorcee
“The Continental,” composed by Con Conrad and Herb Magidson, with lyrics by Conrad and Magidson, was another major contender for the Best Original Song Oscar in 1934. Featured in the film The Gay Divorcee, this song holds a special place in Hollywood history as the first-ever winner of the Academy Award for Best Original Song.
The song is emblematic of the pre-Code era’s opulence and sophistication. It was written specifically for the film and became an integral part of its narrative. The Continental’s lively, upbeat melody and its lyrics celebrating romance and dance were perfectly suited to the film’s theme of love and adventure.
In The Gay Divorcee, “The Continental” is performed during a grand ballroom scene. The sequence is a showcase of elaborate set designs, stunning costumes, and a lavish dance routine that reflects the glamour and sophistication of the era. The film, directed by Mark Sandrich and featuring Fred Astaire and Ginger Rogers, is a quintessential example of the genre’s elegance and charm.
The reception of “The Continental” was highly favorable, both as a song and as a part of the film. The number’s catchy melody and its visually stunning presentation made it a standout moment in the movie. The song’s success was a testament to the creative and musical prowess of its composers and performers.
The dance sequence associated with “The Continental” is one of the most memorable in the history of film musicals. The choreography, designed by Hermes Pan, is characterized by its sophistication and style, with Astaire and Rogers performing a series of intricate and graceful moves that highlight their exceptional talent.
The legacy of “The Continental” is significant. It beat out “The Carioca” and “Love in Bloom” to win the first ever Academy Award for Best Original Song at the 1934 Oscars. “The Continental” set a precedent for future awards and established the importance of original compositions in film. The song’s success also solidified the status of Astaire and Rogers as major stars in Hollywood, showcasing their ability to bring both charm and technical skill to their performances.
The Competition and the Outcome
The 1934 Academy Awards marked a historic moment for the film industry with the introduction of the Best Original Song category. The competition between “The Carioca” and “The Continental” was particularly notable, as both songs represented the peak of Hollywood’s musical innovation during the pre-Code era.
While “The Carioca” was a lively and exuberant representation of Brazilian dance, “The Continental” offered a sophisticated and elegant portrayal of ballroom romance. The judges’ decision to award the Oscar to “The Continental” was a reflection of its exceptional composition, its impact on the film, and its role in establishing the significance of original songs in cinema.
The success of “The Continental” at the Academy Awards was a landmark moment that set the stage for future winners in the category. It highlighted the importance of original music in film and showcased the creative talents of its composers and performers.
The competition between “Carioca” and “The Continental” at the 1934 Academy Awards exemplifies the dynamic and innovative spirit of the pre-Code era. Both songs not only captured the essence of their respective films but also pushed the boundaries of what was possible in Hollywood musicals. “Carioca” dazzled with its vibrant energy and cultural flair, while “The Continental” set a new standard for elegance and sophistication in film music.
As the first winner of the Best Original Song Oscar, “The Continental” holds a special place in Hollywood history. Its success was a testament to the creativity and talent of its creators and performers, and it established a legacy that continues to influence the world of film musicals. The competition between these two remarkable songs is a reminder of the enduring power of music in cinema and its ability to captivate and inspire audiences.
