Musical numbers
  • North America Meets South America 
  • I Congratulate You, Mr. Cowboy 
  • Contrappunto (Dropped before the film was released) 
  • You've Got the Best of Me 
  • Amarillo 
  • Lolita 
  • Cutting the Cane 
  • Never Go to Argentina 
  • Simpatica 
  • We're on the Track (Unused) 
  • Encantado (Unused) 
  • Back to Texas (Unused) 
  • Bury me no (Unused) 
Lyrics by Lorenz Hart
Music by Richard Rodgers
Produced by Lou Brock For R.K.O. Radio Picture
Directed by Leslie Goodwins and Jack Hively
Starring: Maureen O'Hara and James Ellison
A Texas oil millionaire after failing to secure oil lands in Argentina seeks out a famous race horse in Buenos Aires and order his representative(James Ellison) to buy the nag at any price. Ellison has an love affair with Maureen O'Hara, the beautiful daughter of the prize horse's owner.
 Overview    Rodgers and hart wrote a dozen of songs for They met in Argentina; the producers in Hollywood showed how impressed they were by dropping five of them from the finished print. Maybe they were smart, at that; certainly those that remained, including "Simpatica", "Lolita", "North America Meets South America" and "Amarillo", were no better than they had to be. But neither was the picture, directed in black and withe by Leslie Goodwins, who later specialized in "Mexican Spitfire" nonsenses featuring Lupe Velez, and R.K.O. all-purpose director Jack Hively. 

It was the sole Rodgers & Hart offering for the spring of 1941, or indeed for over a year. "The reason, I'm afraid, was Larry" said Rodgers.

A dismal effort at trying to make a film that would appeal to both South American and U.S. audiences. Hardly anyone cared too much for it, as it barely made half of the $500,000 sunk into it. Yarn centers around the efforts of Ellison, as a representative of a Texas oil baron, to secure a prize Argentine race horse; instead, he winds up falling for the horse-owner's daughter, O'Hara. The result is turbulent romance and a headache for the audience. Vila, a popular star in Argentina, was relegated to a small, subordinate role, which may have been a serious mistake as far as South American reception was concerned. Choreographer Veloz--of the well-known cinematic dance team of Veloz and Yolanda--should have stuck to performing. Producer Brock, who bore much of the credit for the successful south-of-the-border film FLYING DOWN TO RIO (1933)--the first film to pair Fred Astaire and Ginger Rogers--never again worked for RKO after this flop. The film was plagued with production problems; codirector Hively had to fill in for the originally assigned Goodwins, who became ill after production began. That a South American market existed for U.S.-made pictures was certain; Walt Disney's four-part cartoon feature SALUDOS AMIGOS (1943) beat GONE WITH THE WIND (1939) as Argentina's biggest box-office winner only two seasons after this one. Three-fourths of all the films shown in Argentina were imports from the U.S. during 1941. RKO was dilatory in its approach to this potential market; of the eight big studios, it was tied with United Artists for the fewest releases screened in Mexico, for example. Financial mogul Nelson Rockefeller, the power behind the scenes at RKO during this period, was determined to open up the market; he had many other interests in the region. This film, with probably the worst of Rodgers and Hart's musical offerings, was neither commercially nor culturally acceptable.

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