Féerie à Mexico

This movie is burdened mostly by poor pacing. The first half of the film is a long string of diverse musical numbers connected by a few lines of dialog. Then the director seemed to realize that some kind of plot development was necessary, so the musical numbers are few and far between in the second half of the movie, which is dedicated to getting the flimsy plot moving. Then there's the grand finale with Jane Powell delivering a beautiful rendition of "Ave Maria."

Not once did I feel like I was in Mexico City. Believe it or not, you will see more keffiyehs than sombreros in this movie! Maybe the director thought it was Holiday in Morocco. However, some of the costumes are beautiful - especially some of Jane Powell's dresses.

Walter Pidgeon, who I usually like, is only fair in his role as the US Ambassador to Mexico and an all-wise, empathetic and loving, but somewhat condescending father. Jane Powell has a beautiful voice, but her acting is erratic and bordering on manic in some of the early scenes. Jose Iturbi never was an actor, but had a film career based solely on his being an excellent pianist. Ilona Massey is, likewise, not a great actress, but she is beautiful and hot. Roddy MacDowell has such a high-pitched, soft voice, it is hard for me to ever find him very convincing as a serious love-interest, even as a teenager. At the end of the day, every minute of this film seems like it is populated not by real people, but by actors playing roles.

If you like a fairly wide range of music, then the first part of this movie will delight you. I personally wanted to come up for more air between musical numbers. The two best scenes are in the second half. The funniest scene is between Pidgeon and the parents of one of his daughter's girlfriends. It is the cleverest plot device in a plot riddled with every cinematic cliché of the era, and it is quite ironic, with Pidgeon discovering he is the object of the affections of the young daughter of one of his ambassadorial colleagues.

The penultimate scene in which Pidgeon talks frankly with Powell, his daughter, about facing up to life after you've made a fool of yourself is worth wading through the trite plot, clichés and front-loaded music. And her response, as depicted in the climactic scene is suitably uplifting.

Spreading the musical numbers more evenly throughout the film, and developing the plot in a more even manner, too, would have improved this film quite a bit. As it is, it is more like sitting through two performances - first, a short concert, followed by a short film.

I'm a bit late to this discussion, but the reviewer who kept harping on Powell not being an actress makes no sense. She carries herself quite well; of course she can act. Geez--she's charming and handles the role well. Someone who can't act would come across as a clueless amateur. Powell did just fine here and elsewhere. Look at SEVEN BRIDES FOR SEVEN BROTHERS.

Oh yeah, and ROYAL WEDDING. Powell did well opposite many a Hollywood star.

Anyway, even though this movie is hardly among the classics, it's a fine showcase for Powell.

Randall Brandt is exactly right. This is a "Holiday in Mexico"? Produced by MGM at the height of its power, glory, not to mention financial resources, and yet the darned thing never gets outside a Culver City sound stage? Couldn't they at least have sent a camera crew to Mexico City to film some establishing shots in the major thoroughfares, parks, museums, etc.? Very disappointing.

This might just as well have been titled "Holiday in Burbank."

As to the story, it's flimsy at best. In its favor is the rich Technicolor photography which has never been equaled, plus some good musical numbers. The cast is good, with Walter Pidgeon in his most ambassadorial form as the father of the spunky young Jane Powell. Jose Iturbi and his sister play some great piano, as well!

Worth viewing, though at 128 minutes it's a bit long. "Holiday in Mexico" is an example of how Hollywood used to view (or didn't view) other countries.

This is my favorite all time Hollywood musical. I saw it in 1946 at the age of 15 and was stunned by the talent of newcomer Jane Powell. MGM knew how to create a star and they pulled out all the stops in this film. From the opening scene where Jane sings "Italian Street Song," you knew this was a unique talent. Young, attractive, bubbly with a golden voice. When she sings "Ava Maria" in the final scene, you knew MGM had a new star. The musical selections were excellent throughout. They utilized Jose Iturbi perfectly by having him play two of the most popular piano classics: Rachmaninoff's 2nd Piano Concerto and Chopin's Polonaise. Beautiful Ilona Massey sang the familiar Hungarian Czardas. Walter Pigeon was perfect as Jane's father and Roddy McDowell was her poor confused beau. The plot was trite and dragged at times but it was the music that made it all worth while. Jane also sang "I Think of You" which was adapted from the same Rachmaninoff concerto. This film made me a lifelong fan of Jane Powell and I lament the fact that Hollywood no longer makes musicals like that. There is one current performer who reminds me of Jane Powell and that is Kristin Chenowith. Unfortunately, Hollywood doesn't make films anymore that would showcase her talent.

HOLIDAY IN Mexico is filmed in bright and lush MGM Technicolor, but looks as though the filming never strayed far from the Culver City lot. It's the trite story of a teen-ager (JANE POWELL) with a crush on a much older man (JOSE ITURBI), and having frequent heart-to-heart talks with her sophisticated father (WALTER PIDGEON).

The first half of the film at least gets away from the trite plotting with a bunch of musical numbers that are attractively staged and presented in the way MGM always managed to do. Iturbi, ILONA MASSEY and others get a chance to shine. But the second half spends too much time straightening out the problems of RODDY McDOWALL and Jane, as they deal with the central problem--Jane's crush on Iturbi which has to be cured before the final reel.

It's a chore sitting through some of the syrupy scenes between Jane and Walter Pidgeon, but at least there's a good song for the finale--Schubert's "Ave Maria" which Powell sings beautifully. Didn't Deanna Durbin's IT'S A DATE wind up with the same Schubert song?

Pidgeon shows a good flair for comedy in some of his scenes, but none of the film seems to have an air of reality about it. You watch actors go through their paces and that's it.

It's strictly fluff for fans of Powell and Pidgeon, nothing more, saved by a few choice musical numbers, and the running time is too long.