Mexikanische Nächte

If you can accept the notion that ESTHER WILLIAMS and RICARDO MONTALBAN (his American film debut) are twins and that Esther could substitute for him in the bull ring--well, then you can sit back and enjoy a few of the other perks of FIESTA. It's more a drama than a musical, but the dance numbers are what give it whatever zest it has as entertainment.

It's primarily a showcase for the talented Ricardo, seen here as a man who would rather be a composer of serious music than a bullfighter. He even gets to play his "Fantasia Mexicana" (actually Aaron Copland's "El Salon Mexico") in an exciting piano arrangement that has Montalban looking as though he's actually executing the piece. And colorful too is his dance number with CYD CHARISSE, who was then a rising young star on the MGM lot and got to do some specialty dance numbers in a variety of musical films.

Frankly, Esther became a much better actress in later films. FIESTA is actually one of her weakest dramatic performances and fans only get to see her take a dip in a pool once, and briefly. Her flat reading of most lines does little to advance the notion that she was a star, even when she wasn't wet.

Despite all the trimmings, it's just not on the level with other MGM musical dramas of the era and looks and plays more like a programmer than anything else. But, oh that music!

Don Antonio Morales (Fortunio Bonanova) is a bullfighting legend who is thrilled by the birth of twin children. His daughter Maria (Esther Williams) grows to be a beautiful, headstrong woman, while his son Mario (Ricardo Montalban) becomes a gifted musician and promising matador. Their father insists that Mario concentrate on bullfighting, but Maria knows that Mario's heart is in his music, so she tries to help her brother follow his dreams, going to extremes to do so.

I was a bit torn on this one. The cast is generally likable, although I find John Carroll to be a bit weaselly. Montalban gets an "introducing" credit, and he has a lot of screen presence, and he shares a terrific dance scene with Charisse at the film's halfway point. Williams still finds a way to show up in a bathing suit, while Mary Astor is terribly wasted in a nothing role as the twins' mother. Bullfighting was still socially acceptable at this time, so it went over. Today it seems like a feature film built on the declawing of cats. The movie earned an Oscar nomination for Best Score (Johnny Green).

I've just seen "Fiesta" for the first time. I was especially intrigued by Montalban's piano playing, wondering if he was really playing. If he was, he was outstanding. But what really had me wondering was: in the scenes in the bullring, someone was really 'lidiando' (leading) the bull...who was it? I've seen many bullfights in Mexico around the time that this movie was filmed, and those were excellent 'faenas' (the actual movements with the cape while leading the bull) being executed, not fake. Whoever the real matador was, he deserved to be credited. Also, in one scene there was a group of singers who were dressed in clothing typical of 'estudiantinas' (university students whose specialty is singing in a particular Spanish style)...I wondered which group was performing and couldn't find them in the credits.

I've viewed this film over and over and my piano training says there's no trick photography in the scenes where Montalban plays Green's adaptation of El Salon Mexico. I'm sure the beat-up old piano is not the actual sound source, but Montalban is hitting all the right keys at the right time! His technique is well above average, and anyone who could even fake that well would have to be able to play well too. Yet there's no mention of musical skill or training in any of his bios, nor does he play in any later films. Can anyone shed some light on this mysterious aspect of the multi-talented Senor Montalban?

Twins who grow up to be Esther Williams and Ricardo Montalban are born to Mexico's top matador Fortunio Bonanova and wife Mary Astor. Of course it's the father's dream that Montalban succeed him in the ring, but Ricardo is interested in music and is a pianist and composer. But Esther's something of a tomboy and she likes showing off in the bull ring every now and then. That is the basis for the plot of Fiesta which introduced Ricardo Montalban to the American cinema.

Though Esther takes only a small dip in the water and barely gets wet, Fiesta is a decent enough film for her even though her specialty is not really promoted. What's really promoted is Cyd Charisse who plays Montalban's girlfriend and who does some fine dancing. Also promoted is a piano concerto by Aaron Copland, Montalban's masterpiece which convinces music maestro Hugo Haas that Montalban belongs behind a piano not in front of a bull. When he's in the latter position his head's just not in the game and that can be fatal for a matador.

Since Fiesta is classified as a musical I was disappointed that John Carroll who plays a scientist and is courting Williams was not given a song in the film. Doubly disappointed because in another Latin role in Rio Rita Carroll did get to sing in that opposite Kathryn Grayson. He had a good baritone and should have sang more often in films. Possibly a number for him was cut.

Though it's hardly in the front rank of Esther Williams films, Fiesta is a good programmer for MGM and for her as well.