Miranda's ambition was to play a lead role showcasing her comic skills, which she set out to do in "Copacabana" (1947, an independent production released by United Artists starring Groucho Marx). Although her films were modest hits, critics and the American public did not accept her new image. Although Miranda's film career was faltering, her musical career remained solid and she was still a popular nightclub attraction. From 1948 to 1950, she joined the Andrews Sisters in producing and recording three Decca singles. Their first collaboration was on radio in 1945, when Miranda appeared on ABC's "The Andrews Sisters Show". Their first single, "Cuanto La Gusta", was the most popular and reached number twelve on the "Billboard" chart. "The Wedding Samba", which reached number 23, followed in 1950. After "Copacabana", Joe Pasternak invited Miranda to make two Technicolor musicals for Metro-Goldwyn-Mayer: "A Date with Judy" (1948) and "Nancy Goes to Rio" (1950). In the first production MGM wanted to portray a different image, allowing her to remove her turban and reveal her own hair (styled by Sydney Guilaroff) and makeup (by Jack Dawn). Miranda's wardrobe for the film substituted elegant dresses and hats designed by Helen Rose for ""baiana"" outfits. She was again fourth on the bill as Rosita Cochellas, a rumba teacher who first appears about 40 minutes into the film and has little dialogue. Despite MGM's efforts to change Miranda's persona, her roles in both productions were peripheral, watered-down caricatures relying on fractured English and over-the-top musical and dance numbers. In her final film, "Scared Stiff" (1953, a black-and-white Paramount production with Dean Martin and Jerry Lewis), Miranda's appeal was again muted. Returning full-circle to her first Hollywood film, "Down Argentine Way", she had virtually no narrative function. Lewis parodies her, miming badly to "Mamãe Eu Quero" (which is playing on a scratched record) and eating a banana he plucks from his turban. Miranda played Carmelita Castilha, a Brazilian showgirl on a cruise ship, with her costumes and performances bordering on self-parody. In April 1953, she began a four-month European tour. While performing in Cincinnati in October, Miranda collapsed from exhaustion; she was rushed to LeRoy Sanitarium by her husband, Dave Sebastian, and canceled four following performances.