Starring Esther Williams, Ricardo Montalban, Cyd Charisse, and Fortunia Bonanova
Directed by Richard Thorpe
Music and Lyrics by various
The other major event this weekend takes us south of the border to celebrate Mexico's victory over the French Army in 1862. Cinco Del Mayo is really more of a celebration of Mexican culture here in the US, which brings us to this movie. South and Latin American settings and culture were also popular in American films of the 30's and 40's after the market for US movies in Europe closed due to World War II. Studios responded with movies like this one that celebrated Latin American culture and heritage...including bullfighting, a major sport in Spanish-speaking countries. How well does MGM do in representing that culture? Let's begin with the birth of the twin son and daughter of famed bullfighter Antonio Morales (Bonanova) and find out...
The Story: Morales hopes for his son Mario (Montalban) to follow in his footsteps, but his real interest is music. Mario's twin Maria (Williams) is the real bullfighting protege, but her father largely ignores her. Maria is more understanding about her brother's love of music. She sends a copy of his symphony to famous conductor Maximino Contreras (Hugo Haas). Contreras is impressed and visits the family right before Mario's first bullfight. Morales doesn't want to distract his son and dismisses the musician.
Mario is so furious when he finds out, he walks out of the bullfighting ring after his second fight and vanishes. Hoping to save face and her family's name, Maria takes his place. Contreras has his composition played on the radio to draw him out. It does the trick...but his return to see his sister play in his place nearly ends in disaster.
The Song and Dance: This may be Williams' most unique vehicle. MGM took many pains to make this as authentic to Mexican culture as possible, including location shooting in the real Mexico. The Mexican landscapes glow in brilliant Technicolor. This was Montalban's debut as a leading man and Williams' with her name over the credits, and he in particular isn't bad as a driven musician. Actual Mexican Bononova adds authenticity and lots of bluster to his role as the father who is so determined that his son follow in his footsteps, he ignores his real talents...and that his daughter is even more talented in the ring. Mary Astor is lovely as the concerned mother, too. (I also appreciate that Maria and Mario already have committed relationships when the story begins. The real focus is on their family and ambitions, not romance.)
The Numbers: Mario's big composition that we hear throughout the film is called "Fantasia Mexicana," but it's actually based on the Aaron Copeland piece "El Salon Mexico." If "La Bamba" sounds familiar, it's today best known for the 1958 version performed by Richie Valens and the later 1987 remake. Charisse and Montalban have a fiery dance routine with her swirling in a white gown with a stunning contrasting coral red petticoat. We also get "The Mexican Hat Dance" and "La Raspa."
What I Don't Like: MGM's drive for authenticity didn't extend to the actors. Only Bononova and Montalban are actual Mexicans. Despite being a vehicle for her, Williams is about as Mexican as a hamburger and seems a bit out of place. She only gets a very brief swimming sequence, making this one of her few vehicles where she doesn't spend a ton of time in the water. John Carroll as Williams' love interest has far less to do than Cyd Charisse as Montalban's sweetheart and comes off as so bland, you can understand why Maria is reluctant to go off with him.
The Big Finale: This wound up being far better than I thought it would from the fairly absurd premise. Fans of Montalban or Williams who want to see her in a different light will want to give this one a look.
Home Media: DVD only from the Warner Archives.