I agree that it's melodramatic. One hopes the plot will continue the initially triumphant story of the brothers as they take Manhattan and America, but that wasn't what Hijuelos wrote. Assante was as over-the-top as his character - I thought it was a wonderful performance - and one can feel the ultimately fatal difference between the brothers right from the start.

One thing I appreciated about this film (besides the music) was that the sex was presented as goofy. Films so often present sex as fraught with tension or guilt or some such, and here, two sex scenes have people giggling like fools. Much closer to my experience.

The soundtrack has the signature song sung in Spanish and IMO is better than the version used in the film.

The events in this sharply stylized period film take place in the nineteen fifties, at the height of the mambo dance craze. Two young Cuban musicians, brothers Cesar (Armand Assante) and Nestor Castillo (Antonio Banderas), flee Cuba after a love triangle takes a potentially deadly twist. The love sick Nestor leaves behind the love of his life, the beautiful Maria Rivera (Talisa Soto), now married to his romantic rival.

The brothers arrive in New York, where Cesar meets the lushly sensuous, blonde bombshell, Lana Lake (Cathy Moriarty). They eventually marry, while Nestor, still carrying a torch for Maria, meets the sedate and quietly pretty Delores Fuentes (Maruschka Detmers), whom he eventually marries. Given a helping hand by fellow Cuban, Desi Arnaz, Sr. (Desi Arnaz, Jr.), Cesar and Nestor shortly become stars of the dance halls and clubs they play, where they are christened the "Mambo Kings".

Unfortunately, Cesar's dreams are not necessarily Nestor's dreams and conflicts arise. The brothers also run into trouble when Cesar's arrogance pits him against a musical syndicate that rules the clubs and dance halls with an iron hand, derailing their careers for a time. Moreover, Nestor's marriage is seriously troubled, because of his obsession with his lost love. Still, no matter what, there is always the music.

Armand Assante gives an over-the-top, manic performance as Cesar, the older brother whose arrogance and single-minded ambition nearly alienates his brother. He over-acts the part, making his character almost cartoonish, at times. It is as if he were drowning in his own machismo. Still, he infuses the role with a certain energy that makes him strangely compelling. Moreover, the guy can really dance!

It is the bittersweet performance by Antonio Banderas, however, that takes one's breath away. Antonio Banderas infuses the role of the artistic, younger brother, Nestor, with a poignancy, sensitivity, and sensuousness that is remarkable. He handles the role with a delicacy that nearly brought tears to my eyes. Banderas makes the viewer feel Nestor's pain, so palpable is his anguish over his lost love, Maria. When he sings his ode to her, ""Beautiful Maria of My Soul", the viewer is transfixed, so beautifully does he sing it.

Look for a cameo by the late Tito Puente. The late Celia Cruz also appears in this film, cast as Evalina Montoya, a popular club singer. The viewer is in for a treat with these two salsa greats doing what they do best. It was also somewhat eerie to see the role of Desi Arnaz, Sr. played by his real life son, Desi Arnaz, Jr., as the resemblance is so remarkable, right down to the accent. Special note should also be taken of Roscoe Lee Brown's silky performance as club impresario Fernando Perez.

The film captures the flavor of the nineteen fifties, when night clubs were synonymous with night life, and big bands still held sway. I particularly enjoyed this film, because my parents emigrated from Cuba. Having grown up in New York City during the nineteen fifties, this film holds a certain amount of nostalgia for me.