Week-End in Havana (1941)

80 mins | Musical comedy | 17 October 1941

Director:

Walter Lang

Producer:

William LeBaron

Cinematographer:

Ernest Palmer

Editor:

Allen McNeil

Production Designers:

Richard Day, Joseph C. Wright

Production Company:

Twentieth Century--Fox Film Corp.
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HISTORY

The working titles of this film were Caribbean Cruise and Honeymoon in Havana . According to the Twentieth Century-Fox Produced Scripts Collection at the UCLA Art--Special Collections Library, in early Mar 1941, Betty Grable was scheduled to play "Nan Spencer," and executive producer Darryl F. Zanuck suggested that Henry Fonda play "Jay Williams." A 17 Mar 1941 HR news item also noted that Grable and Fonda were set for the lead roles, while a 2 May 1941 HR news item stated that Don Ameche would have a lead role. HR news items in late 1940 stated that Jack Andrews and George Seaton were to work on the film's screenplay. Although the extent of Seaton's contribution to the completed picture has not been confirmed, the Twentieth Century-Fox Records of the Legal Department, also at UCLA, indicate that Andrews' material was not used. The legal records also indicate that an original story outline entitled Caribbean Cruise , written by Frank S. Nugent, was not used.
       The story files and HR news items reveal that first Harry Joe Brown and then Fred Kohlmar were set to produce the picture. When Kohlmar left to work at Paramount, William LeBaron assumed production responsibilities. This was the first film produced by LeBaron for Twentieth Century-Fox. HR news items reported that the studio had tested Phillip Reed for a role and were considering casting him in the picture, and that Mal St. Clair had been signed to direct the musical sequences. Their participation in the released picture has not been confirmed, however. According ... More Less

The working titles of this film were Caribbean Cruise and Honeymoon in Havana . According to the Twentieth Century-Fox Produced Scripts Collection at the UCLA Art--Special Collections Library, in early Mar 1941, Betty Grable was scheduled to play "Nan Spencer," and executive producer Darryl F. Zanuck suggested that Henry Fonda play "Jay Williams." A 17 Mar 1941 HR news item also noted that Grable and Fonda were set for the lead roles, while a 2 May 1941 HR news item stated that Don Ameche would have a lead role. HR news items in late 1940 stated that Jack Andrews and George Seaton were to work on the film's screenplay. Although the extent of Seaton's contribution to the completed picture has not been confirmed, the Twentieth Century-Fox Records of the Legal Department, also at UCLA, indicate that Andrews' material was not used. The legal records also indicate that an original story outline entitled Caribbean Cruise , written by Frank S. Nugent, was not used.
       The story files and HR news items reveal that first Harry Joe Brown and then Fred Kohlmar were set to produce the picture. When Kohlmar left to work at Paramount, William LeBaron assumed production responsibilities. This was the first film produced by LeBaron for Twentieth Century-Fox. HR news items reported that the studio had tested Phillip Reed for a role and were considering casting him in the picture, and that Mal St. Clair had been signed to direct the musical sequences. Their participation in the released picture has not been confirmed, however. According to studio records and HR news items, "long shots with doubles, atmospheric shots and process plates" were filmed on location in Havana and the Cuban countryside. Second unit director James Havens and his crew were on location for approximately one month. A 26 Sep 1941 HR news item announced that Alice Faye was going to retire from the screen temporarily while awaiting the birth of her first child. Faye returned from retirement in the 1943 Twentieth Century-Fox picture Hello Frisco, Hello (see above).
       According to information in the MPAA/PCA Collection at the AMPAS Library, the PCA rejected a 14 May 1941 version of the screenplay because of "the inference of an illicit sex relationship" between "Rosita" and "Monte," and "Jay" and "Nan," and the indication that "Rosita" wished to enter into such a relationship with "Jay." The PCA especially objected to the use of the words "manage" and "manager" in respect to the relationships between "Rosita," "Monte" and "Jay." In Jun 1941, the PCA informed the studio: "We still get the impression that the word 'manage' is so used, or over-used, that one gets the feeling that it is intended to mean something which is sex suggestive." The problems were eventually resolved and the script approved. More Less

GEOGRAPHIC LOCATIONS
LOCATION
BIBLIOGRAPHIC SOURCES
SOURCE
DATE
PAGE
American Cinematographer
Nov 41
p. 522.
Box Office
13 Sep 1941.
---
Daily Variety
11 Sep 1941.
---
Film Daily
12 Sep 41
p. 6.
Hollywood Reporter
7 Oct 40
p. 1.
Hollywood Reporter
16 Dec 40
p. 1.
Hollywood Reporter
12 Mar 41
p. 7.
Hollywood Reporter
17 Mar 41
p. 3.
Hollywood Reporter
19 Mar 41
p. 4.
Hollywood Reporter
1 Apr 41
p. 4.
Hollywood Reporter
2 May 41
p. 6.
Hollywood Reporter
4 Jun 41
p. 2.
Hollywood Reporter
1 Jul 41
p. 2.
Hollywood Reporter
25 Jul 41
p. 11.
Hollywood Reporter
28 Jul 41
p. 11.
Hollywood Reporter
11 Sep 41
p. 9.
Hollywood Reporter
26 Sep 41
p. 1.
Hollywood Reporter
9 Oct 41
p. 1.
Motion Picture Daily
11 Sep 1941.
---
Motion Picture Herald
13 Sep 1941.
---
Motion Picture Herald Product Digest
20 Sep 41
p. 275.
New York Times
8 Nov 41
p. 11.
Variety
17 Sep 41
p. 9.
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Loc dir
Asst dir
Loc asst dir
PRODUCERS
Exec prod
WRITERS
Orig scr, Orig scr
Orig scr, Orig scr
PHOTOGRAPHY
Dir of photog
Loc cam
ART DIRECTORS
Art dir
FILM EDITOR
Film ed
SET DECORATOR
Set dec
COSTUMES
Alice Faye's wardrobe woman
MUSIC
Mus dir
DANCE
Dances staged by
Prod number des by
MAKEUP
Makeup artist
Alice Faye's hairdresser
PRODUCTION MISC
Carmen Miranda's English instructor
Tech adv
STAND INS
Stand-in for Alice Faye
COLOR PERSONNEL
Technicolor dir
Loc Technicolor tech
Loc Technicolor asst
SOURCES
SONGS
"A Week-End in Havana," "When I Love, I Love," "The Man with the Lollypop Song" and "The Nango," music and lyrics by Mack Gordon and Harry Warren
"Tropical Magic," music and lyrics by Mack Gordon and Harry Warren, Spanish lyrics by Ernesto Piedra
"Rebola Bola (Embolada)," music and lyrics by Aloysio Oliveira, Nestor Amaral and Francisco Eugenio Brant Horta
+
SONGS
"A Week-End in Havana," "When I Love, I Love," "The Man with the Lollypop Song" and "The Nango," music and lyrics by Mack Gordon and Harry Warren
"Tropical Magic," music and lyrics by Mack Gordon and Harry Warren, Spanish lyrics by Ernesto Piedra
"Rebola Bola (Embolada)," music and lyrics by Aloysio Oliveira, Nestor Amaral and Francisco Eugenio Brant Horta
"Romance and Rhumba," music by James V. Monaco, lyrics by Mack Gordon.
+
DETAILS
Alternate Titles:
Caribbean Cruise
Honeymoon in Havana
Release Date:
17 October 1941
Premiere Information:
Denver opening: 8 October 1941
Production Date:
mid June--late July 1941
Copyright Claimant:
Twentieth Century--Fox Film Corp.
Copyright Date:
17 October 1941
Copyright Number:
LP10792
Physical Properties:
Sound
Western Electric Mirrophonic Recording
Color
Technicolor
Duration(in mins):
80
Length(in feet):
7,461
Length(in reels):
8
Country:
United States
PCA No:
7484
SYNOPSIS

When his cruise ship, the Cuban Queen , runs aground near Florida on its way to Havana, New York ocean liner magnate Walter McCracken sends his vice-president, Jay Williams, to the site to forestall any legal action. Jay gets the passengers to sign claim waivers in exchange for future passage on another McCracken ocean liner. One passenger, Macy's salesclerk Nan Spencer, refuses to sign, because she has saved for years for the vacation and cannot take it at any other time. When Nan hints that she is aware of the captain's negligence in the accident, Jay accedes to her demand that the company ensure her an enjoyable vacation in Havana. Nan refuses to sign the waiver until after her vacation is completed, so McCracken orders Jay to accompany her, even though he is soon to be married to McCracken's snobbish daughter Terry. Upon reaching Havana, Nan is delighted with the scenery but bored with Jay, who is too stodgy to provide the romance she craves. When charming fortune hunter Monte Blanca comes across Nan, he believes that she will be the solution to his gambling debts. Monte takes Nan to a casino run by Boris, who threatens Monte upon discovering that Nan is a simple salesclerk who cannot make good on the losses she believed Monte himself was going to pay. Jay, who has followed the couple, offers to pay off Monte's debts if he will romance Nan, thereby making sure she has a good time and will sign the waiver. Monte readily agrees, despite the jealousy of his tempestuous girl friend, Rosita Rivas, a singer whom Monte manages. In order ... +


When his cruise ship, the Cuban Queen , runs aground near Florida on its way to Havana, New York ocean liner magnate Walter McCracken sends his vice-president, Jay Williams, to the site to forestall any legal action. Jay gets the passengers to sign claim waivers in exchange for future passage on another McCracken ocean liner. One passenger, Macy's salesclerk Nan Spencer, refuses to sign, because she has saved for years for the vacation and cannot take it at any other time. When Nan hints that she is aware of the captain's negligence in the accident, Jay accedes to her demand that the company ensure her an enjoyable vacation in Havana. Nan refuses to sign the waiver until after her vacation is completed, so McCracken orders Jay to accompany her, even though he is soon to be married to McCracken's snobbish daughter Terry. Upon reaching Havana, Nan is delighted with the scenery but bored with Jay, who is too stodgy to provide the romance she craves. When charming fortune hunter Monte Blanca comes across Nan, he believes that she will be the solution to his gambling debts. Monte takes Nan to a casino run by Boris, who threatens Monte upon discovering that Nan is a simple salesclerk who cannot make good on the losses she believed Monte himself was going to pay. Jay, who has followed the couple, offers to pay off Monte's debts if he will romance Nan, thereby making sure she has a good time and will sign the waiver. Monte readily agrees, despite the jealousy of his tempestuous girl friend, Rosita Rivas, a singer whom Monte manages. In order to forestall Rosita's tantrums, Jay agrees to be her new manager, but regrets his decision when it becomes apparent that she wants romance as well as advice. One evening, Rosita meets Jay at a secluded inn, but Monte and Nan are already there, and during an ensuing argument, Monte reveals that he accepted Jay's proposition in order to repay Rosita money he owes her. Nan is furious at both men for the deception, and when Jay tries to follow her after she leaves, his car is accidentally wrecked. While walking back to town, Jay and Nan discover that they are genuinely attracted to each other. The next morning, happy that her vacation is going well, Nan gives Jay a signed waiver, but tears it up when Terry appears and intimates that Jay's behavior has been strictly business. Heartbroken, Nan signs another waiver and accepts from Terry a check for $1,000, which Terry says came from Jay. When Jay sends her a check for $150, however, Nan realizes that Terry was trying to bribe her without Jay's knowledge. Terry's scheming soon becomes apparent to Jay as well, and after he angrily sends her back to New York, he finds Nan in the nightclub where Rosita is performing. As Rosita and Monte dance together, Jay and Nan are reconciled, and everyone sings the praises of their weekend in Havana. +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.