The Baron heads home but Cecilia tries one more time to get back at him by pretending to make violent love (in the old-fashioned sense) to Larry.

[1] The film's screenplay, written by George Seaton, Bess Meredyth, and Hal Long, is a remake of Folies Bergère de Paris (1935), directed by Roy Del Ruth and starring Maurice Chevalier, Merle Oberon, and Ann Sothern.

The screenplay was presented to the Brazilian ambassador in Washington, D.C., who approved it and stated that it would be "a useful type of film for relations between North and South America".

[4] A report published in the Motion Picture Production Code archives noted that the film was rejected for distribution in Ireland, although no specific reason was given.

[5] The film was released in theaters on April 11, 1941, to enthusiastic audiences and mildly appreciative critics, with Miranda stealing the notices.

The review notes that the use of Don Ameche in dual roles is not a significant innovation and that the story becomes predictable, relying on recurring jokes.

While the movie has some charming moments and enjoyable musical numbers, it fails to establish a genuine connection with the Latin audience, serving more as a parade of images and stereotypes than a true cultural exploration.

The production is characterized by visual luxury, with the use of Technicolor and a series of melodic songs, creating a vibrant and engaging entertainment experience.

The review highlights Don Ameche's ability to perform his dual role competently, and praises Alice Faye for her appeal in the film.

However, it is Carmen Miranda who steals the show, with her energy and presence, especially early on in the film, when she truly "begins to act," bringing undeniable vigor to the production.

[10] The Los Angeles Herald-Examiner describes Carmen as "equipped with vibrant colors, articulated hips, and exuberantly cheerful," considering her one of the film's main attractions and highlighting her performance as the most fun of her Hollywood career.