María Guadalupe Villalobos Vélez (1908-44) was one of a small group of Mexican actors–others included Ramon Novarro and Dolores del Rio–to become stars during Hollywood’s Golden Age.
Velez started out by performing in Mexico’s version of vaudeville, before moving to the United States and appearing in a Hal Roach short with Charley Chase when she was eighteen. Her first feature film, The Gaucho (1927), in which she had a starring role, was made in the same year.
Velez had started learning English as a young teenager during a period living in Texas, and had no problem in transitioning to sound films. Habitually cast in Hispanic roles, she often exaggerated her very slight accent when acting. Velez developed a stereotyped reputation as a fiery, volatile character both on and off the screen, which led to her starring in a series of eight pictures about Carmelita Lindsay, the Mexican Spitfire.
The private life of Lupe Velez was of great interest to sections of the press, and she had highly-publicized relationships with, amongst others, Gary Cooper, Guinn ‘Big Boy’ Williams, and Johnny Weismuller, whom she married.
Velez starred in two MGM musicals, The Cuban Love Song and Hollywood Party.
She took her own life at a young age, while pregnant, during what is now believed to have been a period of serious mental illness.
1917. In San Francisco’s Chinatown, three marines–Terry, Romance and O O Jones–are on shore leave and getting tattoos [Tramps at Sea]. O O, who refuses to tell his friends what the initials stand for, is unhappy with the tattoo of his girlfriend Elvira. He is taunted by his friends, they fight and, as always, end up in the brig.
Romance (Ernest Torrence) and O O (Jimmy Durante), with Terry (Lawrence Tibbett) at the wheel, out to see the sights in Havana
Just before their ship leaves for Cuba, Terry’s brother John brings Terry’s fiancee Crystal on board to say goodbye. Crystal pretends to be happy with Terry’s wandering life, but cries after he leaves her.
In Havana, Terry and his friends are escaping by car from the husbands of three married women when they hit a peanut vendor’s cart. Romance and O O flee the scene. The owner of the cart, Nenita Lopez, causes a fuss and is outraged when Terry kisses her.
At the police station, Nenita wants to press charges until she discovers Terry could get 20 years. With Terry’s help, she runs away to get help, and Terry is freed when his crewmates, led by Romance and O O, arrive en masse outside the station.
Terry tracks down the cabin where Nenita lives with her aunt and uncle. She tries to be standoffish, but succumbs to Terry’s charm.
Nenita (Lupe Velez) gets to know Terry
Later, Terry and his friends join Nenita at a picnic where she dances seductively [Spanish Song]. Terry and Nenita walk together and she explains the meaning of a lullaby [El Manisero (The Peanut Vendor)].
On Carnival Day, Terry and Nenita meet again. He helps her sell her peanuts [El Manisero], then they spend the rest of the day together [The Cuban Love Song]. They arrive back at Nenita’s home in the middle of the night. Terry follows Nenita into her room and tries to force himself on her, but she resists. Terry leaves after Aunt Rosa almost catches him, having decided not to force Nenita into anything. Nenita follows him outside and they make love in his car.
Later, Terry receives a letter from Crystal, gently complaining that he has not written to her. All the crew going on shore leave have to provide details of where they are going, because the ship is on a war footing. Terry finds Nenita has left home after quarreling about him with Aunt Rosa. She wants to follow Terry wherever he goes. Terry advises her to go back, but she refuses.
Terry spends his furlough with Nenita, but war is declared while he is away. O O and Romance lead an expedition up the river to bring back Terry [The Cuban Love Song]. Nenita realizes what is happening and packs her bags, saying she will go back home. She tries to pretend everything is fine, but finally she cries in his arms.
Terry, Romance and O O are sent to France, and Terry is seriously injured.
Back in America, Terry is cared for by his brother and Crystal. He despairs of ever getting better and tells Crystal he cannot marry her. When she refuses to listen, he tells her about Nenita and says he would go back to her if he could. Crystal says that is okay, but she is the one he needs right now.
Ten years later, Terry is in a nightclub celebrating his tenth anniversary with Crystal. The band plays the song Nenita used to sing [El Manisero] and he becomes thoughtful. Finally, Terry walks out of the nightclub.
The reunion of OO, Romance and Terry
Walking down the street, Terry comes across Romance, whom he has not seen for many years. Together, they go to the apartment where O O lives with Elvira and their many children. Elivira reveals that O O’s initials stand for Oswald Obadiah.
They all get drunk and make so much noise that the police are called. When they are released from the police station, Romance calls it a night. Terry and O O find themselves by the docks and O O goes to find a drugstore. Left alone, Terry’s guilt about not returning to Nenita grows [The Cuban Love Song] and he boards a ship bound for Havana. O O follows him, under the impression it is the Hoboken ferry.
In Havana, Terry searches for Nenita, and eventually learns that she is dead. He visits her grave and meets a young boy who turns out to be Nenita’s son, and whose name is also Terry. The boy has never met his father, but Nenita always said that he would come back one day. Terry takes his son back to New York, where Crystal meets them off the boat. She is happy to become a mother to young Terry. Terry and Crystal kiss.
Sanford Lewton Rothenberg (1887-1943) started out as an actor in some of Harold Lloyd’s Lonesome Luke pictures, and had a very minor career in occasional roles until 1933.
Roth arguably made a much greater mark as an assistant director at Metro-Goldwyn-Mayer, working on a number of the studio’s musicals. He first carried out that role in 1922, and went on to support Buster Keaton and Charles Reisner on Steamboat Bill Jr (1928). He was also AD on Frank Borzage’s The Mortal Storm (1940).
Roth’s Metro musicals were The Hollywood Revue of 1929, Flying High, Student Tour, Everybody Sing, Go West, The Big Store, This Time for Keeps, Thousands Cheer and Bathing Beauty.
The birth name of Busby Berkeley William Enos (1895-1976) is something of a mystery since, according to his biographer, his birth certificate’s ‘name of child’ section was left blank. Busby may have been a nickname.
IMDb declares that Berkeley “was one of the greatest choreographers of the US movie musical”. Technically, this is only true in part. He was certainly a great dance director, but choreographers usually know something about dancing, and Berkeley actually knew very little. As Jerome Delamater points out, Berkeley “used very little dance as such in his films”. He did not understand dance, but he did understand movement; specifically, the movement of human bodies in geometric patterns and shapes. As the artist Glen Baxter suggested, Busby Berkeley sequences were surrealism in action.
In the 1920s, Berkeley became a celebrated Broadway dance director, staging around twenty shows and becoming celebrated for his tightly regimented routines. Florenz Ziegfeld invited him to go to Hollywood to work on the film version of the Eddie Cantor hit Whoopee! (1930), and he began honing the camera techniques that made his most famous numbers to stand out. It is important to recognize that these techniques were not necessarily of Berkeley’s devising. The overhead shot, for example, which is seen virtually as his signature, had been used in 1929 in MGM’s The Hollywood Revue of 1929, and the Ziegfeld idea of using a plethora of chorus girls was emulated by Larry Ceballos in Warner’s The Show of Shows (1929). But Berkeley used these techniques with more creativity and greater discipline.
Berkeley’s reputation rests largely on the numbers he staged for the series of Warner Bros musicals that began with 42nd Street (1933). A couple of years earlier, however, he had staged the big number in MGM’s Flying High.
Berkeley returned to Metro in 1939, to direct Babes in Arms, and did a lot of work for the studio thereafter. He directed the Garland-Rooney follow-ups Strike Up the Band and Babes on Broadway, as well as For Me and My Gal and Take Me Out to the Ball Game. He was the original director of Annie Get Your Gun, but most of his footage was scrapped when George Sidney took over. He was one of a number of directors who worked on Till the Clouds Roll By, and worked without credit on Swing Fever.
Berkeley also arranged musical numbers for The Wizard of Oz (though most of his footage was left out), Cabin in the Sky (uncredited), Lady Be Good, Ziegfeld Girl, Born to Sing, Girl Crazy, Two Weeks With Love, Million Dollar Mermaid, Small Town Girl, Easy to Love, Rose Marie and Billy Rose’s Jumbo.
These entries usually start with the subject’s birth name and dates, but that is problematic with George White. Some sources claim he was Eassy White (1892-1968), born in New York. Others say he was George Weitz (1892-1968), born in Toronto. All we know for sure is that the dates are pretty certain.
White started out as a dancer in burlesque theatres, and worked his way up to the Ziegfeld Follies on Broadway. This inspired him to become a producer at the age of 27, launching his own Follies knock-off, George White’s Scandals in 1919. He continued with the format until 1939.
White also produced book-based Broadway shows, including Flying High (1931). It was typical of the early days of sound that MGM invited him, someone with no background in or knowledge of films, to go to Hollywood and produce a screen version of the hit musical comedy.
He continued working in Hollywood from time to time, even directing an eponymous musical based around his Broadway show.
White’s career took a downturn in the late thirties, culminating in a prison sentence in 1947 for being the driver in a fatal hit-and-run incident.
Thomas Aloysius Kennedy (1886-1965) had a face that bore testament to his first career as a heavyweight boxer. It was a face that brought him a fifty-year career as a character actor and appearances in more than 400 films and television programmes.
Kennedy made his first screen appearance in 1915 in The Lamb, a Douglas Fairbanks comedy-western. He later played First Officer Gibson, in hot pursuit of the Marx Brothers in Monkey Business (1931). He was the gangster Slim Murphy in 42nd Street and appeared regularly as Gahagan in the Torchy Blane series (“What a day! What a day!”).
Right at the end of his career, Kennedy was one of Spencer Tracy’s colleagues in the Santa Rosita Police Department in It’s a Mad, Mad, Mad, Mad World (1963).
Kennedy made two uncredited appearances in Metro musicals in the 1930s: Flying High and Hollywood Party.
