SOMBRERO

US, 1953, 103 minutes, Colour.
Ricardo Montalban, Pier Angeli, Vittorio Gassman, Yvonne De Carlo, Cyd Charisse, Rick Jason, Nina Foch, Kurt Kasznar, Walter Hampden, Thomas Gomez.
Directed by Norman Foster.

Sombrero is an exotic concoction by MGM – and filmed in Mexico with exotic Mexican atmosphere. It is a romance story, with leading ladies and gallant men, falling in and out of love – with touches of jealousy.

Mexican actor Ricardo Montalban is at home in this role and his rival is played by Italian actor, Vittorio Gassman, who appeared in a number of American films at this time. Italian actress who also moved to Hollywood, Pier Angeli, is the leading lady but there are two exotic ladies in the background: Yvonne De Carlo and Cyd Charisse – who also gets the opportunity to dance.

An exotic matinee entertainment.

The film was co-written and directed by Norman Foster, an actor, producer and director. He made six of the Peter Lorre Mr Moto films in the 1930s as well as three Charlie Chan movies. From 1956 after directing two Davy Crockett films he worked in television.

1. How entertaining a film? How interesting? Its impact in the fifties and now?

2. Audience expectations of the film and their fulfilment?

3. The presentation of the stars, the colourful backgrounds, Mexico and its way of life, melodrama, romance and comedy?

4. How well did these ingredients blend? How credible the events? How plausible the characters? The novelettish overtones of their presentation? Did this detract from the impact of the film or not?

5. Pepe and his introduction to the film? The introduction to his world? The conventions of his talking to the audience?

6. The presentation of Mexico? The love and hatred, the village life style, Mexican ways, the modern Mexico, old Mexico and superstitions? Village rivalries and battles? The way of life in the city, cars and bullfights? How important was the Mexican flavour? As influencing the characters and the plot?

7. What kind of man was Pepe? A congenial conman? His relationship with Eufemia? Their meeting in the cemetery? Eufemia as a heroine? Her relationship with her father? Pepe’s tricking of the father with the cheese? Love and a feud? The Romeo and Juliet overtones of the solving of the feud? The battle of the fighting cocks? How enjoyable this romantic aspect of the film?

8. The melodrama of Ruben and Lola? The length to which Ruben went to meet Lola? Lola’s fear and imprisonment? The intense relationship with her brother? His superstition? The reason for his death in the bull-ring? The significance of Lola’s dance? Her freedom? The satisfactory happy ending?

9. Alejandro? The contrast of the rich classes with the poor? The nature of his illness and facing it? The discussion with Maria about the marriage and the heir? His marriage, his fidelity and infidelity? Maria and her self-sacrifice? The drama of his death? The melodramatic behaviour of his wide? Maria’s reconciliation with the father? How credible this story? How moving emotionally?

10. The contribution of the minor characters: Don Carlos, the priest?

11. What values are assumed and explored in this kind of popular entertainment?