Like many another child actor, the career of Philip Finis Cooper (1920-88) was short and sweet. He worked with top Hollywood directors, including Howard Hawks, Victor Felming and William A Wellman, but was in only six pictures, and only two credited roles.
Cooper made his debut as the son found by Lawrence Tibbett at the end of The Cuban Love Song.
Hale Rice Hamilton (1880/83-1942) made his Broadway debut alongside James K Hackett in 1901. After making a couple of short films in 1915, he appeared in his first feature, The Winning of Beatrice (1918), for Metro Pictures. Until 1929, he maintained a dual career, on Broadway and in films. He was also an occasional dramatist.
Hamilton was a character actor, usually credited in a featured role. His most notable appearance was probably as Tom Buchanan in the first screen version of The Great Gatsby (1926). He was also in I Am a Fugitive from a Chain Gang (1932), playing Paul Muni’s brother.
Hale Hamilton appeared in one MGM musical, The Cuban Love Song.
Actors who started out in silent comedies of the 1910s tended to accumulate a lot of titles in their IMDb entries. Louise Marie Fazenda (1895-1962), after one appearance in a western, made her first comedy short for Universal in 1913, and went on to accumulate over 260 credits.
Fazenda moved to Mack Sennett at Keystone in 1915, where she came to specialize in slapstick country girls and rubes. She ran Mabel Normand a close second as the studio’s top female comedian, moving to the top when Normand left. Fazenda did a lot of work with Roscoe Arbuckle, Ben Turpin and Ford Sterling.
Fazenda herself left Keystone in 1921 and spent some time in vaudeville. After returning to Hollywood, she worked for various studios and combined more serious films with comedies, rarely the star but always in prominent supporting roles. She did star, alongside W C Fields, in the 1928 production of Tillie’s Punctured Romance, and played Hilda in Michael Curtiz’s Noah’s Ark (also 1928).
Fazenda married the Warner Bros executive Hal B Wallis in 1927 (his nickname around the lot became ‘the Prisoner of Fazenda’) and much of her work in the sound era was for the Warners. Her last film was The Old Maid (1939).
Louise Fazenda made only one appearance in an MGM musical, but it was an excellent piece of work, as Jimmy Durante’s wife Elvira in The Cuban Love Song.
The Hollywood career of Mildred Linton (1909-2003) is a cause for both anger and celebration. It was ended suddenly by the wickedness of the House Un-American Activities Committee and its stool pigeons. But it was carried out on her own terms by a person of great integrity.
Morley dropped out of UCLA to begin acting on the stage. This led to a job offer from MGM director Clarence Brown, and then a contract with the studio. She played a variety of roles, in films good and bad, working on eight pictures in 1931 alone, one of which was the understanding fiancée/wife in The Cuban Love Song. In a very different type of role, she was a big hit as the slinky and opportunistic Poppy in Scarface (1932).
Socially and politically progressive, Morley sought out, as best she could as a contract player, roles that interested her, such as Pendie in Gabriel Over the White House (1933), and Mary in King Vidor’s Our Daily Bread (1934). She also refused parts she considered to be offensive.
Morley was not cut out to be chattel at a studio and, declining the amorous inclinations of Louis B Mayer, she broke her contract with MGM and never signed another. It would be fair to say that the quality of her roles suffered.
She spent some time away from Hollywood, working with the progressive Tobacco Workers’ Union in North Carolina. After returning to film work, she became one of the few progressive activists in the Screen Actors Guild. This, more than anything else, made her an obvious target for HUAC.
At a hearing in 1952, Morley invoked the Fifth Amendment, refusing to confirm or deny that she had been a member of the Communist Party. Her career was then over. She never made another film, and even struggled to find stage work in the East. In 1954, much to her own amazement it would seem, she found herself the American Labor Party’ candidate for Lieutenant Governor of New York.
Karen Morley lived to an advanced age, maintained her principles and, to the last, considered Elia Kazan a fink.
James Francis Durante (1893-1980) had what in Britain might be called a Marmite personality: some people loved him, others hated him. For some, a little went a long way. (Personally, I’m a fan.) But what is undeniable is that Jimmy Durante had the longest career of any performer starring in Metro-Goldwyn-Mayer musicals. It began in 1931, ended in 1962, and included eleven pictures across all four decades.
Durante started out in show business playing ragtime piano, and developed humour out of the musical performance. This led to vaudeville, and then radio, with time spent as part of a three-man comedy act.
He made his film debut in 1930, at Paramount’s New York studios. By the following year he was in Hollywood, working for Metro. Jimmy Durante, throughout his career, moved seamlessly between films, Broadway, radio, records and, later on, television. In 1934, for example, he made films in New York because he was appearing on Broadway in Jumbo, which he would film twenty-eight years later.
Durante was sometimes the leading man in films; for instance, Palooka (1934), where he got top billing over Lupe Velez. More often, however, he was third or fourth billed, providing comic support.
Durante’s first MGM musical, this time billed below Lupe Velez, was The Cuban Love Song. This was followed by Broadway to Hollywood and Hollywood Party (playing versions of himself), then Student Tour, Two Girls and a Sailor, Music for Millions, Two Sisters from Boston, It Happened in Brooklyn, This Time for Keeps, On an Island with You and, finally, Billy Rose’s Jumbo.
Durante’s last big screen appearance was in It’s a Mad, Mad, Mad, Mad World (1963), but he continued to work on television.
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.
The Cast
| Lawrence Tibbett | Terry |
| Lupe Velez | Nenita |
| Ernest Torrence | Romance |
| Jimmy Durante | O.O. Jones |
| Karen Morley | Crystal |
| Louise Fazenda | Elvira Jones |
| Hale Hamilton | John |
| Mathilde Comont | Aunt Rose |
| Philip Cooper | Terry Jr. (as Phillip Cooper) |
| Ernesto Lecuona and the Palau Brothers’ Cuban Orchestra | Themselves |
| Agostino Borgato | Cuban Telling Terry Nenita Was Gone (uncredited) |
| George Davis | Soda Jerk (uncredited) |
| John George | Beggar on Street (uncredited) |
| George Kuma | Tattoo Artist (uncredited) |
| Harry Strang | Marine Sergeant (uncredited) |
| Purv Pullen | Monkey voices (uncredited) |
| Jayne Shadduck | Baby voices (uncredited) |
The Numbers
| Tramps at Sea | Herbert Stothart, Dorothy Fields, Jimmy McHugh | Lawrence Tibbett |
| Buche y pluma na’ ma | Rafael Hernández | Lupe Velez |
| El Manisero [The Peanut Vendor] | Moïse Simons | Lupe Velez; Lawrence Tibbett; Ernesto Lecuona and the Palau Brothers Cuban Orchestra |
| The Cuban Love Song | Herbert Stothart, Dorothy Fields, Jimmy McHugh | Lawrence Tibbett, Lupe Velez |
The Synopsis
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.
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.
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.
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.
