Masquerade in Mexico
Director: Mitchell Leisen
Year: 1945
Rating: 5.5
More often than not Dorothy Lamour had to play
second fiddle to her male co-star or in the case of Crosby and Hope, she
was the third banana. But in this slight comedy she dominates it with those
large sullen, seductive, soppy eyes that often fill the entire screen. A
slight comedy but one directed by Mitchell Leisen, a master of stylish, elegant
comedy, camp and melodramas. Leisen at the time was one of Paramount's top
directors working and showcasing top actresses like Carole Lombard (Swing
High, Swing Low), Claudette Colbert (Midnight -which this is a remake of
only 6 years later), Jean Arthur (the divine Easy Living), Ginger Rogers
(Lady in the Dark), Paulette Godard (Hold Back the Dawn), Marlene Dietrich
(The Lady is Willing) and Barbara Stanwyck (Remember the Night). In his films
the ladies came first while their male co-stars were generally emasculated
polite men - Don Ameche, Fred MacMurray, Ray Milland (multiple times). That
probably speaks to Leisen's sexuality. Leisen began in the business as a
costume and set designer and his films always have a classy look to them.
His sexuality as a gay man carrying on a long-term affair with dance choreographer
Billy Daniel (who choreographs this film) was well-known. Interesting that
Cukor and Leisen who were both gay were considered female directors. He is
largely forgotten now but his series of fine films in the 1930s and 40's
hold up well. This one is far from his best - a weak script and weaker musical
numbers don't help but Lamour is always worth a look. Those eyes.
A famous diamond has been stolen and Lamour
realizes that the package she is carrying for her lover has the diamond in
it. She realizes this on the plane and slips it into the pocket of the man
sitting next to her. This is Patric Knowles who is a pleasant presence in
many films but never made it to starring roles. He is arrested at the airport
in Mexico and Lamour slips out in a taxi and goes looking for a job in a
nightclub where she sings a few so-so songs. Knowles turns out to be some
multi-millionaire with money falling out of his eye-sockets and so is let
go. He turns up at the nightclub, spots Lamour and entices her into doing
a job for him.
His wife (the sharp-faced sharper voiced
Ann Dvorak) seems to be falling for a bullfighter played by Arturo de Cordova.
De Cordova was an interesting guy. He was a huge success in Mexico and South
America and came to Hollywood to give it a go. He co-starred with Betty Hutton,
Lamour, Joan Fontaine and Luise Rainer in a series of films but they didn't
do well and so he went back home to ever greater success. He is billed here
second to Lamour. The studio was hoping to turn him into another Latin lover
that were popular at the time. From his performance here, I am surprised
he lasted till this film. He is all hands and smarm as he tries to seduce
Lamour. Knowles tells Lamour he will set her up as a Countess from Spain
(who speaks no Spanish - but thankfully no one else in Mexico does either)
and have her romance the bullfighter and he will get his wife back. Well,
one look at Dvorak and then at Lamour it isn't hard to know where this will
land. Easy going, a few amusing mild screwball moments, lovely female fashions
and 90-minutes.
