There is a major new sensation that is about to take Broadway by storm – a brand new musical review entitled Swinging the Muses is about to open. The production is the brainchild of Danny Miller (Larry Parks), a young and promising playwright and actor, who is about to make his debut on stage with this musical, in which he tells the story of the nine muses of Greek mythology falling in love with a pair of luckless airline pilots, who don’t quite know what to do when they’re surrounded by the guardians of art and culture. The only person that is upset with this production is one that most don’t even know exists – Terpsichore (Rita Hayworth), who views the rehearsals from her home in the clouds of Mount Parnassus, and grows weary with the direction that Danny is taking the production. In a last-ditch effort to ensure the ancient culture she protects isn’t tarnished by cheap lyrics and catchy music, she descends to Earth, with the help of Mr Jordan (Roland Culver), the physical embodiment of the Almighty, as well as Messenger 7013 (Edward Everett Horton ), the pernickety guide to the mortal world that helps Terpsichore navigate the perilous avenues of 1940s New York City. Rebranding herself as Kitty Pendelton, and taking on the part of a chorus-girl, Terpsichore manages to get noticed by Danny, who instantly takes an interest in this gifted but obscure performer – and it isn’t long before “Kitty” is given the leading role – that of Terpsichore. Slowly, she starts to guide the production by giving the writer advice on how to authentically represent this story – unfortunately, the combination of Danny’s hubris and Terpsichore’s refusal to allow any kind of humour, creates a delicate situation that neither is willing to move past and resolve – and it certainly doesn’t help that, layered atop these simmering tensions, they’re both falling deeply in love with one another, which only serves to complicate their professional relationship even more. 

There’s a certain delight that comes from viewing any of the various romantic comedies produced during the Golden Age of Hollywood – they might not all be particularly great, but they’re all united by a warmth and sincerity that makes them the perfect kind of diverting viewing that we occasionally need, a necessary distraction from the follies of reality. One of the more endearing examples of this comes in the form of Down to Earth, Alexander Halls’s sequel to his previous work, Here Comes Mr Jordan, another beloved film from a few years prior that blended fantasy and romantic comedy to create something quite memorable. Less of a direct sequel, and more a spiritual successor insofar as it shares a couple of characters and a particular fantastical atmosphere, Down to Earth is an absolute delight of a film, and one that doesn’t deviate from being as original as it is heartwarming, which is something that defines this era of romantic comedy, and a quality that the vast majority of works produced in the genre have since attempted to replicate, to varying degrees of success. Undeniably a product of its time, but still one that has a particular resonance that is refreshing, despite being produced nearly eight decades ago, Hall crafts a wonderfully effervescent comedy that may stay well within the expectations we have going into it, but still manages to win us over and surprising us with a few well-placed twists and turns, which eventually turn into an outrageous, hilarious and absolutely adorable comedy that is perhaps slightly better than we anticipated it to be, not necessarily on the virtue of its themes, but rather the execution of some ideas, both narratively and visually, that were somewhat unprecedented for this particular period.

As was conventional at the time, Down to Earth was produced as a starring vehicle for its leading performer, in this case the ethereal Rita Hayworth, one of Hollywood’s most magnetic actresses and someone who is still able to command the screen in a way that many later actresses struggle. Coming only a year after her astronomical breakthrough with Gilda, this film offers Hayworth the chance to briefly shed the femme fatale persona, and instead exercise her comedy skills, in the form of an irreverent romantic comedy that places her front and centre, in order to determine whether she can roll with the punches. Not only does she do just that, she essentially turns this barrage of obstacles around and begins to define this film all on her own, delivering a spirited performance that is so much more complex than we’d expect based on the general premise, but still well within the confines of what we have grown accustomed to seeing from major stars in studio films at this film. Produced during the latter stages of the studio era, Down to Earth is built almost entirely on Hayworth’s charisma and talent, and she provides exactly what those involved in the creation of this film required in the part of the feisty Greek muse, who descends to the world of mortals to correct what she sees to be a great injustice to the history she and her fellow guardians of the art have been so intent on preserving. It’s a magnificent portrayal that may not do anything we haven’t seen before, whether from Hayworth or any of her contemporaries, but still one that takes on an abundance of meaning when put in comparison with some of the areas in which she rises above paltry material and gives a performance that demonstrates her immense gifts as a comedic actress, as well as one that can do romance and more dramatic work just as well – and its in this trinity of skills that we continue to learn what a vivid, interesting performer she was, even if her legacy has faded over time.

The elements that make Down to Earth so compelling are those that occur between how the film sticks to the conventions of the genre, as well as deviating in creative ways, which forms an exceptionally interesting film that feels a lot more authentic than anything else we’re likely to come across. As a standalone sequel to the aforementioned Here Comes Mr Jordan, there was a degree of needing to live up to the promise of what was a well-liked film that has subsequently not held much relevance, instead being the subject of a few remakes and other loose adaptations that use the idea of someone being given a “second chance” at life after they die prematurely. Down to Earth has had its fair share of adaptations (most notably 1980s camp masterpiece, Xanadu, which was directly inspired by this film), but taken on its own, it’s still an absolute delight, and a firm reminder of how thoroughly entertaining this era of romantic comedies could be, and how high-concept stories could be transformed into outrageously fun films that viewers can breeze through without needing to commit too much to what is being conveyed on screen, since there isn’t anything necessarily revolutionary about this premise. Where this film gains its wings (no pun intended) is in how it takes something that could’ve easily devolved into an incoherent, inappropriately flippant premise, and instead turns it into a thrilling, funny and heartwarming romp that employs elements of history and culture in its endeavour to be a lot smarter than your garden-variety romantic comedy. It makes an enormous difference, and results in a film that is as thrilling as it is irreverent, which it is in absolute abundance.

In the years since its release, Down to Earth hasn’t faded from memory so much as it has been overtaken by other similarly-themed works, all of which employ an element of fantasy in how they present the romances or other lighthearted situations at the core of their stories.  It would be foolish to suggest that this is the best of them, since its a sub-genre that has found many interesting angles over the years, with several notable works being derived from the foundation set by this film and its predecessor, which essentially helped launch this idea of supernatural romantic comedies (along with Topper about a decade before). However, there’s very little reason to not seek this film out and consume it with fervent passion, since there’s something truly magical about this film – whether it be the gorgeous Technicolor cinematography by Rudolph Maté (the use of colour is imperative to the film, just as much as the witty dialogue), the wonderful songs composed by Doris Fisher, or simply the overall sophistication brought to the production by Hall and his wonderful ensemble of actors, Down to Earth is an absolute triumph, a hilarious and irreverent romance that has as much heart as it is intelligence, and takes us on a thrilling journey into the past in a way that feels beautifully entertaining, while still conveying a particular message that may not provoke much thought, but instead gives us a sense of appreciation of life’s smallest pleasures, of which this film is certainly one.