This Movie Can Only Be Described With One Word.

Plot so thin, it passes unnoticed.

Excellent characters with emotional depth. My wife, daughter and granddaughter all enjoyed it...and me, too! Very good movie! You won't be disappointed.

The film may be flawed, but its message is not.

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.

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.

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?