User Reviews

Movie designed to introduce Ricardo Montalban to American audiences. It's a drama--NOT a musical. There are a few musical numbers but that's it. This takes place in Mexico and has Montalban and Esther Williams playing twins. No--I'm not kidding! If you can swallow that you might like this. Their father is a great bullfighter and expects his son to be the same. However his son Mario (Mantalban) wants be a musician. His sister Maria (Williams) is better at bullfighting then him. You can probably guess the rest.

EXTREME PLOT SPOILER IN THIS PARAGRAPH!!! Pretty forgettable as a drama. The situations are just silly, the dialogue pedestrian and you just KNOW how this is going to end. Also Williams isn't much of a dramatic actress. This film could have ended after an hour but this drags it out and gets REAL stupid during the second act. Williams has to bullfight in place of her brother--but nobody notices the difference! Seriously--everybody thought Williams was her brother???? Even for a 1940s movie that's pushing it.

Still it's not completely terrible. It's done with the usual MGM gloss and is shot in bright Technicolor. Montalban, Williams and Cyd Charisse are so young and beautiful and so full of life that it rubs off on the audience. The dance sequences with Montalban and Charisse are just incredible--I never knew he could dance! Williams even has a (brief) swimming scene. There's also some good acting from Akim Taminoff as Chato and Mary Astor as Williams and Montalbans mother. So it's silly but enjoyable as a no brainer. The dancing scenes alone make this worth seeing. I give it a 6.

Although it was sold as a musical, this is a very borderline entry. It has no songs except for a couple of perfunctory Mexican numbers, sung in Spanish by a chorus. The one real piece of music is Copland's "El Salon Mexico" which is presented in both an extracted and condensed version by Montalban/Iturbi at the piano. And Esther Williams' fans will be likewise disappointed by her very brief dip into the water. In fact, for the most part, what we have here is a rather boring twins' impersonation plot, complete with endlessly tedious dialog from John Carroll. For some unknown reason, Carroll gives his vocal chords a rest in this entry and sings not so much as a single note! While Carroll clutters up the scenery as a straight lover for Miss Williams, Akim Tamiroff contributes a lot of hammy and totally witless comic relief. The actual star of the film, judged by who has the largest role, is Fortunio Bonanova -- and never was he more ham-fisted and boring! He doesn't sing either. Mary Astor has a thankless, long-suffering wife/mother role. It must be admitted that the director -- Thorpe himself? -- makes the most of his Mexican locations, although obvious stock footage, stunt doubles and process screen effects are still employed -- especially in the bullfighting sequences.

Although Esther Williams is top-billed, "Fiesta" is really a vehicle for the musical talents of Ricardo Montalban; his dancing duet with a young Cyd Charisse is a definite highlight, but you don't have to sit through the entire film to see it, you can find it on Youtube. There is also some good bullfighting footage (though obviously not involving the main actors, but stand-ins), and an unusual for a Hollywood musical Mexican flavor. But the "plot" is so exceedingly lame (and tiresome) that it buries an interesting theme underneath (tradition & father pressure vs. personal choice & creativity): are we supposed to believe that entire arenas full of people can't tell the difference between Ricardo Montalban and Esther Williams?! Less plot and more music were needed in this case. ** out of 4.

"The emotion I felt in walking over the ancient grounds of Knossos was so superabundantly rich, so embroiled with life and death, that I find myself unable to analyze it clearly.... I gazed at the bullfights painted on the walls: the woman's agility and grace, the man's unerring strength, how they played with the frenzied bull, confronting him with intrepid glances. They did not kill him out of love...or because they were overcome with fear and dared not look at him. Instead they played with him obstinately.... Perhaps with gratitude. For this sacred battle with the bull whetted the Cretan's strength.... Thus the Cretans transubstantiated horror, turning it into an exalted game...conquering without annihilating the bull... considered not an enemy but a fellow worker. As I regarded the battle depicted on the walls, the age-old battle between man and bull (whom today we term God), I said to myself, such was the Cretan Glance."

~Nikos Kazantzakis

Mario Morales finds himself the heir to this rich legacy of confronting life with courage, grace and self mastery. He is the twin son of a renowned bullfighter, Antonia Morales, as played with regal regard by Fortunio Bonanova, who has longed for son to follow in his footsteps. He is blessed with two children from the womb of Senora Morales at the same time. First comes a daughter, Maria Morales, represented in childhood and young adulthood by Jean Van and Esther Williams. Moments later comes Mario Morales, performed as a child and as an adult by Joey Preston and Ricardo Montalban. The father welcomes his daughter's appearance into the world with pride, but absolutely dotes upon his son as the embodiment of his dream.

This story is a sly satire about the virtues and limitations of machismo. The Senior Morales is so intent to have his son become the next step in his creation of a dynasty, that he fails to give a proper evaluation of what exactly are his only son's hope and dreams. He also does not give much consideration to the fact that his daughter, Maria, has developed an aptitude for handling the cape and charging bulls in such a way as easily rivals Mario's own skill. While Mario from youth up to now has demonstrated a skill formed for a destiny in the bull ring, he comes alive even more for the thrill of music and composing. We sense through the narrative that in actuality there are two men who are serving as twin fathers to Mario's growth and development. There is Antonia Morales, his biological father, who sees him as one the greatest products of his manly virtue he can give to the future, and Maximino Contreras, the Maestro who sees in him the seeds of a great musician and artist capable of creating without dedicating himself to cruelty, violence and death.

The positive and negative qualities pertaining to the subject of Machismo is a fascinating study. It would be unfair to suggest that this little light comedy is a comprehensive examination of such a complex matter, anymore than to offer up the political satire of the film STARSHIP TROOPERS (1997) as the last word on Fascism. No, what we have here is a romance with a good heart, that delicately treads on the duties and responsibilities that siblings have to themselves and to each other and to the concept of family, both biological and spiritual. Oddly enough, this is all touched upon in an intense passionate swirl of song and dance and music and familial humor that drolly walks with its partner away from the dance floor. This movie teaches no particular lessons except that it can be great fun to follow the beat of your own drummer.

Just as there is more than one way to skin a cat, there is also apparently more than one way to know what it feels like to be a man. Perhaps The Cretan Glance can be found behind the rippling keys of a piano as much as it can be found in death in the afternoon. It could well be that Aaron Copland's 'El Salon de Mexico' has a power to strike fire in the heart, and lift spirits in a way that rivals even the most famous toreador marshaling his sword behind his muleta. Beyond that, it might even be possible for a woman to wield a cape with as much eloquent courage as a man. Unlikely, but not entirely beyond the realm of possibility when dealing with twins.

Ricardo Montalban is ably assisted in his debut by a more than worthy ensemble sporting the likes of Akim Tamiroff as Chato Vasquez, Mary Astor as Senora Morales, and Cyd Charisse as Conchita among others. John Carroll as Jose 'Pepe' Ortega adds more than a knife and a fork to the party while Alan Napier lends an unflappable dignity to the festive affairs. The music of Johnny Green brings us both the tantalizing flavor and breathtaking soul of the Latino experience. Director Richard Thorpe, casting not a few Americans in roles perhaps more deserving for those of Mexican heritage, yet and still gives us a rousing homage to its ethos. Esther Williams proves she can be more than pretty when wet, and despite the vicissitudes of production, cuts a mean figure in a traje de luces suit.

This film introduced Ricardo Montalban to the screen. He is with his twin sister, played by Esther Williams. You can see from childhood that Ricardo loves music more than the bull ring. His father is passionate about the latter and literally demands that Mario, Montalban, follow his career into the ring as well.

Of course, we have the inevitable showdown between father and son. To lure Montalban back, sister Maria goes into the ring herself to fight the bulls.

The music, while lively, is the typical Mexican dance routines. Mary Astor plays the mother of Mario and Maria, and she has one dramatic scene where she tells of her fear of the ring both for her husband and son.

The ending is a bit silly, but these kind of pictures generally have that air about themselves anyway. Note a young Cyd Charisse, as Mario's girlfriend. She does little dancing, but Esther Williams is not in the water either.

This early Ricardo Montaban movie shows his early acting/ dramatic talents. We knew he could dance, and dance he did with one of the best Female Dancers every Cyd Charisse. So great Together they did four More dance films. Many of My favorite performers are in this movie; Fortunno Buonanova, Born In Spain a Great Opera Singer whom sang Baritone & Tenor Perfect as the Mexican Padrone former Great Matador whom had to quit early owing to injury.. Basic Plot of movie. Years Later wife Mary Astor, over rated actress,(I guess if you believe She is Mexican not too much stretch that Esther Williams is the Mexican Daughter/Twin of Ricardo's Character. Although they used makeup for Astor to enhance the 'Mexican' look, none is used for Esther & Both speak American, even some slang.A better actress would have been Rita Hayworth, although born in NYC was Mexican and can dance which would enhance the Matador Movements.This would be very unusual for Aristocratic Mexican Family even today.. The Padrone is head Master and everything he says,YOU Do.

John Carroll another one of my favorites, although born in Louisianna as Julian LaFaye could effect many accents, none were utilized here, again leaving authenticity back stage. Public likes to see acting and if you are non-ethnic however can act the role it makes for a better movie. I like Akim Tamiroff as Faithful Friend of Don Antonio and he does effect the accent. I believe a better Performer such as J.Carol Naish would enhance the role, as we all know his expertise in languages. AS Lon Chaney Sr was man of 1000 faces, Naish would be man of 1000 accents,(exaggerated). The Costumes are very well done. Sequences in bull ring are above average and obviously done by professional Matadors. A little spoiler alert; When they use Esther to perform in the ring as brother Mario; come on her Bosoms especially in the Short Matador jacket and high waisted belt only further enhanced them. Ricordo always had good Physique, but not Bosoms. Even the bull was excited..THe Piano scenes in wayside tavern by Ricardo are as accurate and obviously show he can perform with piano as well.

With all flaws this is a good movie, very entertaining. Imagine if the main actors had been utilized to their expert potential.