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MSS 286
Latinos in Film Collection

Table of contents

Contact Information:

Special Collections
Michigan State University Libraries
100 Main Library
East Lansing, MI 48824
517.884.6471
E-mail:spc@mail.lib.msu.edu
URL: http://specialcollections.lib.msu.edu

Date Received:

Unknown

Date Processed:

November, 2006 – March 2007

Acquisitions Information:

This collection was acquired by MSU Special Collections in 2006.

Preferred citation:

Researchers wishing to cite this collection should include the following information:
Box number, Folder number and/or title, Latinos in Film Collection , MSS 286, Special Collections, Michigan State University Main Library

Copyright Notice:

Copyright is retained by the author of the items in this archive, or their descendants, as stipulated by United States copyright law.

Usage Restrictions:

None

Photoduplication Restrictions:

Contact Special Collections

Collection Summary:

Approximately 590 pieces of rare ephemera – promotional photographs, posters, lobby cards, photoplay book editions, campaign books, press kits and television/movie scripts – dating from the silent film era to the turn of the millennium.

Historical Background:

Latinos are acknowledged to be the fastest growing population group in the United States, and this sizeable collection allows us to study the varying ways in which Latinos have been depicted in film over the past ninety years, and how Latino stars were marketed and promoted via Hollywood’s public relations machine.

Even in the silent era, there were major Latino stars, such as Lupe Velez and Dolores Del Rio (both strongly represented in this collection). In the nineteen-thirties and early nineteen-forties, actors such as Cesar Romero and Carmen Miranda often portrayed Latino characters, usually in lighter comedies and musicals. In the post-World War II era, Latino actors such as Ricardo Montalban and Fernando Lamas emerged as legitimate stars in a wide range of films, some of which (like BORDER INCIDENT, in this collection) attempt a more realistic view of social problems. Early television icons like THE CISCO KID of the nineteen-fifties gradually yielded to the gentle but more reality-based character of Chico in the nineteen-seventies’ CHICO AND THE MAN.

The collection is focused primarily on portrayals of Latino characters in film. However, many of the great Latino movie stars in Hollywood films – Rita Hayworth, Anthony Quinn, Lupe Velez, Cesar Romero, for instance – portrayed many different kinds of roles during their long careers, and this collection reveals some of the diversity of their work. Although the bulk of the items here are associated with Hollywood movies, there are some examples of Cuban, Mexican, and South American film, as well as a collection of campaign sheets and posters from Britain, Italy, Mexico, Cuba, and other countries (based on Hollywood releases).

Processing Note:

This collection was processed November, 2006 – March 2007 by Anne-Marie Rachman, Special Collections, Michigan State University Main Library, based on an earlier inventory of the collection.

Explanation of terms used in this inventory:

SCRIPT. The collection has a number of important original film and television scripts. All of them were studio-generated and almost all were mimeographed.

LOBBY CARD. A lobby card is a cross between a poster and a photograph, usually 11 by 14 inches. Lobby cards were often made in sets of eight. Many of the sets would include a “title” lobby card, which had a more elaborate design and was more like a miniature poster. Primarily made in the U.S.

PHOTOPLAY EDITION. These are tie-in editions of books that are tied to the release of a film adapted from the book. Very often, books have many reprint editions, of which only one or two contain movie tie-in elements. It is not uncommon for libraries to mistakenly believe that they have a photoplay edition, when what they actually have is one of the common non-film reprint editions. We have provided bibliographic information about each of the photoplay editions included here.

PRESS BOOKS AND PRESS KITS. Press books and press kits are substantial campaign books. They contain detailed information about every aspect of a film. They were never for sale. They were entirely ephemeral pieces that were sent to theater owners and members of the media, after which they were most often discarded. Press books and press kits are the heart of this collection.

Arrangement:

The inventory lists items chronologically by their film release date. Films in a single year are listed alphabetically. Entries usually include a synopsis of the film, information about a particular star, and descriptions and other information about the items. Individual items have been physically arranged and housed based on their size. All books have been assigned call numbers and are housed in the Special Collections stacks.

DAUGHTER OF THE DON. (1916)

RAMONA. (1916) 

DESERT GOLD. (1919) 

BULL THROWER, THE. (1920) 

DIVORCE OF CONVENIENCE, A. (1921) 

 

CYTHEREA. (1923)

 

DON Q SON OF ZORRO. (1925) 

 

LUPE VELEZ IN “THE GAUCHO”

LUPE VELEZ was born near Mexico City in 1908. As a young film actress, she played roles of various ethnicities, but always maintained a very thick Mexican accent. She was born in poverty, her mother a prostitute. Lupe was sent to a convent school in Texas until age 13, then went home to work and assist her family.  She saved money for dancing lessons and with her huge personality worked on the Mexican stage and then moved to Hollywood, was seen by Max Sennett, placed in a Laurel and Hardy short and then cast by Mary Pickford and Douglas Fairbanks in THE GAUCHO. She played dramatic roles in late silent and early talkies, then moved on to comedy in 1933 with HOT PEPPER. From that time on she was a top Hollywood film comedian, utilizing her Latino persona, this led to her own series of films, cast as “the Mexican Spitfire”. The series ran between 1939 and 1943. Her career was somewhat overshadowed by personal stormy relationships, and she committed suicide at 36. She was one of four actors born in Mexico who made a huge impression in early Hollywood, the others being Dolores Del Rio, Ramon Navarro and Gilbert Roland.

GAUCHO, THE. (1927) 

ROSE OF THE GOLDEN WEST. (1927) 

ROUGH RIDERS, THE. (1927)  

DOLORES DEL RIO AS “RAMONA” (1928)

DOLORES DEL RIO was born in Mexico in 1905. She was the first Mexican movie star with international appeal and had a meteoric career in 1920s Hollywood (an extraordinary accomplishment for an Hispanic female in those years). She came from an aristocratic family in Durango. In the Mexican revolution of 1916, however, the family lost everything they had and emigrated to Mexico City, where Dolores became a socialite. In 1921 she married Jaime Del Río (also known as Jaime Martínez Del Río), a wealthy Mexican, and the two became friends with Hollywood producer/director Edwin Carew.  Unusual for the time, the couple moved to Hollywood where they expected to launch careers in the movie business (she as an actress, he as a screenwriter). They divorced in 1925 as her film JOANNA premiered. The film was a success. Her career rose until the arrival of sound in 1928.  She had some success in talkies, musical films for a few years, including FLYING DOWN TO RIO and some of the early 30’s Warner Brothers musicals.  She returned to Mexico in 1942.  Mexican director Emilio Fernandez offered her the lead in his film FLOR SILVESTRE (1943), with a wholly unexpected result: at age 37, Dolores Del Río became the most famous movie star in her country, filming in Spanish for the first time. Her association with Fernández' team (cinematographer Garbriel Figueroa, writer Mauricio Magdaleno, and actor Pedro Amrendariz) resulted in what has been called the Golden Era of Mexican cinema. With such pictures as MARIA CANDELARIA  (1944), ABANDONADAS, LAS  (1945) and BUGAMBILIA (1945), Del Río became the prototypical Mexican beauty in foreign countries. Her career included film, theater and television. In her last years she received accolades because of her work for orphaned children. Her last film was THE CHILDREN OF SANCHEZ  (1978).

RAMONA. (1928) 

 

THE FIRST LATINO FILM FRANCHISE

IN OLD ARIZONA. (1929) 

BAD ONE. (1930)

CALL OF THE FLESH. (1930) 

 

LUPE VELEZ AT HER ABSOLUTE PRIME

HELL HARBOR. (1930)

IN GAY MADRID. (1930)

UNDER A TEXAS MOON. (1930)

BORDER LAW. (1931) 

 

WARNER BAXTER AS “THE CISCO KID” (1931)

CISCO KID, THE. (1931)

 

CREATED THE CRAZE FOR RUMBA DANCING

CUBAN LOVE SONG. (1931) 

TRAPPED IN TIA JUANA. [sic] (1932) 

IT’S GREAT TO BE ALIVE. (1933) 

STRICTLY DYNAMITE. (1934) 

VIVA VILLA. (1934) 

Wallace Beery plays Mexican avenging bandit turned revolutionary general Pancho Villa in fictionalized biography. Cast includes Leo Carrillo.

WONDER BAR. (1934)

IN CALIENTE. (1935) 

WANDERER OF THE WASTELAND. (1935)

RITA HAYWORTH AT THE AGE OF 17

Born in New York of Latino ancestry in 1918, Margarita Carmen Cansino was raised as a dancer in her fathers troupe, was noticed by Fox studios at 16 and cast in supporting roles, usually as a dancer.  She won a contract at Columbia Pictures, where she became a favorite of studio head Harry Cohn and slowly rose to star status. This process included some major cosmetic work, much of which took away her ethnicity and she became one of the most glamorous and iconic stars of Hollywood history. She achieved legendary status with her performance in GILDA (1946). Though she maintained an often highly successful film career between 1935 and 1972, she possessed a shy personality and desire to have a stable family life, which unfortunately she was not able to maintain. Throughout her film career, she did play several characters of Latino ancestry, including the role in her last film THE WRATH OF GOD (1982).

DANCING PIRATE (1936) 

MESSAGE TO GARCIA. (1936) 

ROSE OF THE RANCHO. (1936) 

BORDER CAFÉ. (1937) 

SING COWBOY SING. (1937) 

CITY STREETS. (1938) 

LITTLE MISS ROUGHNECK. (1938) 

CESAR ROMERO’S FIRST PORTRAYAL OF THE CISCO KID

Cesar Romero was born in New York City in 1907 of Cuban parents and often called “the Latin from Manhattan.” He famously appeared as the Cisco Kid in a series of late 1930’s films and was instrumental in presenting Latin music and dance in musical films of the World War II era which played a large part in the good neighbor policy between the United States and Latin America.

CISCO KID AND THE LADY. (1939) 

GIRL AND THE GAMBLER. (1939) 

GIRL FROM RIO. (1939) 

JUAREZ. (1939)

KANSAS TERRORS, THE. (1939)

RETURN OF THE CISCO KID. (1939) 

DOWN ARGENTINE WAY. (1940)   

Carmen Miranda, with her huge hats laden with wax fruits, was a great star during the years of World War II, in a series of massively popular musicals.

KIT CARSON. (1940) 

MARK OF ZORRO. (1940)

MEXICAN SPITFIRE OUT WEST. (1940)

BAD MAN, THE. (1941) 

FIESTA. (1941) 

GAUCHOS OF EL DORADO. (1941) 

RIDE ON VAQUERO. (1941) 

THAT NIGHT IN RIO. (1941) 

CESAR ROMERO. (1942)

IN OLD CALIFORNIA. (1942) 

RIO RITA. (1942)

SALUDOS AMIGOS. (1942) 

TORTILLA FLAT. (1942) 

BATAAN. (1943) 

MEXICAN SPITFIRE’S BLESSED EVENT. (1943) 

ANTHONY QUINN IN “THE OX-BOW INCIDENT” (1943)

Anthony Quinn was born in Mexico in 1915, but was brought up in the Echo Park area of Los Angeles. As a young actor in Hollywood he met and married Cecil B. DeMille’s daughter Katharine and became part of a royal Hollywood family. During his early years in film, he played supporting characters of vastly different ethnicities from American Indian to Italian, Spaniard and even Asian. His true ancestry was featured in THE OX-BOW INCIDENT, though his most famous role would be that of Alexis Zorba, in ZORBA THE GREEK (1964)

OX-BOW INCIDENT. (1943) 

BRIDGE OF SAN LUIS REY, THE. (1944)

Based on story set in 1800’s Peru, by Thornton Wilder.

 

SOMETHING FOR THE BOYS. (1944) 

Film stars Portugal born Carmen Miranda presenting Latin style 1940’s song and dance.

 

THREE CABALLEROS. (1944)

CUBAN MADNESS. (1945) 

GAY SENORITA, THE. (1945) 

IN OLD NEW MEXICO. (1945)

MEXICANA. (1945)

ROMANCE OF THE RANCHOS. (1945)

SAN ANTONIO (1945) 

SOUTH OF THE RIO GRANDE (1945) 

CALIFORNIA. (1946)

(see also, CALIFORNIA. (1963))

DUEL IN THE SUN. (1946) 

RITA HAYWORTH AS “GILDA”. (1946) 

STRANGE VOYAGE. (1946) 

ADVENTURES OF DON COYOTE. (1947) 

COPACABANA. (1947) 

RICARDO MONTALBAN IN “FIESTA” (1947)

Ricardo Montalban was born in Mexico in 1920. He married Loretta Young’s much younger sister Georgina in 1944 (a marriage still maintained) and was welcomed into a Hollywood family. His older actor brother Carlos brought Ricardo to LA while still a teen, and he learned English and got into Fairfax High, where MGM talent scouts noticed him in a school play. He slowly worked his way up through the training process, which the old Hollywood contract system allowed and by the late 1940’s became a leading man. He maintained that status through the 1950’s and was one of the very few Latino leading men working in Hollywood films during these decades. His career included television in the 1970s and 80s. Today he makes public appearances and, though a permanent resident of the United States, he retains his Mexican citizenship.

FIESTA. (1947) 

FUGITIVE, THE. (1947) 

RITA HAYWORTH AS THE " LADY FROM SHANGHAI." (1947)

RIDE THE PINK HORSE. (1947) 

WEST TO GLORY. (1947) 

Western set at a border town with Mexican characters, including Dolores Castle as Maria, a representative of the Mexican government.

3 GODFATHERS. (1948) 

KISSING BANDIT. (1948) 

Story set in 1830 California of timid son of a Mexican bandit (Frank Sinatra as Ricardo) who is encouraged to follow in his father’s footsteps.  He becomes the romantic kissing (and singing) bandit.

RED RIVER. (1948) 

SILVER TRAILS. (1948) 

TREASURE OF THE SIERRA MADRE. (1948) 

BATTLEGROUND. (1949) 

World War II story of the American 101st Airborne Division squad including Mexican American Pvt. Johnny Roderigues played by Ricardo Montalban.

BORDER INCIDENT. (1949) 

Very important role for star Ricardo Montalban as Mexican Federal agent Pablo Rodriguez who is investigating illegal Mexican citizens smuggled into California to be farm workers.   Very possibly the first Hollywood studio film dealing with the plight of illegal aliens.

DARING CABALLERO, THE. (1949)

Story in the Cisco Kid film series with Duncan Renaldo and Leo Carrillo.

GAY AMIGO. (1949) 

SATAN’S CRADLE. (1949)

WE WERE STRANGERS. (1949)

John Huston thriller about a group of revolutionaries trying to overthrow the brutal right wing Cuban Regime in 1933. Jennifer Jones plays China Valdez. Latino actors include Ramon Navarro, Gilbert Roland, Pedro Armendariz, Jose Perez and Tito Rinaldo.

BANDIT QUEEN, THE. (1950) 

BELLE OF OLD MEXICO. (1950) 

FURIES, THE. (1950) 

Psychological Western story set in New Mexico territory of the 1870s with Mexican American characters including Gilbert Roland as Juan Herrera, Thomas Gomez as El Tigre and Movita as Chiquita.

RIGHT CROSS. (1950) 

Using boxing as a vehicle, the movie deals with fidelity, racism, and the struggle in post-WW II USA between those achieving the American Dream and those blocked out by class and ethnicity. Ricardo Montalban is starred.

TORCH, THE [LA TORCHA]. (1950) 

A revolutionary and his band take over a small Mexican town. The townspeople begin to take sides over whether to fight him, join forces with him or just try to get along with him. Film set and made in Mexico with American star Paulette Goddard playing Maria Dolores and directed by Mexican-born Emilio Fernandez, and featuring Pedro Armendariz, Gilbert Roland, Jose Torvay and several other Mexican actors.

APACHE DRUMS. (1951)   

Story set in 1880 New Mexico town of Spanish Boot, with Mexican-American characters.

BRAVE BULLS (1951) 

Story set in the village of Cuenca, Mexico concerning bull fighting.  Cast includes Mexican and Latino actors Anthony Quinn, Eugene Iglesias, Jose Torvay, Charlita, Jose Luise Vasquez, Alfonso Alvirez, Alfredo Aguilar, Francisco Balderas, Felipe Mota, Pepe Lopez and Mose Meza. Leading actor Mel Ferrer plays bullfighter Luis Bello. Photos are of Ferrer and Miroslava Stern, who had lived and would die in Mexico a few years later.

BULLFIGHTER AND THE LADY. (1951) 

CUBAN FIREBALL. (1951)

RHYTHM INN. (1951)

Armada appears as a specialty dancer.

FABULOUS SENORITA. (1952) 

Comedy film featuring Cuban star Estelita Rodriguez and also featuring early role for Rita Moreno.

LONE STAR. (1952)  

Set on Mexico/Texas border at time of Andrew Jackson’s presidency.

ONE BIG AFFAIR. (1952) 

THIEF OF VENICE. (1952)

TROPICAL HEATWAVE. (1952) 

JOHN STEINBECK'S "VIVA ZAPATA!" (1952)

WAY OF A GAUCHO. (1952)

YO SOY MEXICANO DE ACA DE ESTE LADO. (I AM MEXICAN) (1952)

Mexican 27- by 39-inch poster, on linen. Remarkably designed Mexican film poster for film with an all-Mexican cast, made in Mexico. Map Case, Folder #3A.

APPOINTMENT IN HONDURAS. (1953) 

FIRST TELEVISION SHOW WITH LATINO THEME [CISCO KID]

This collection contains a number of examples from films featuring the character of the Cisco Kid.  The Kid made it to the television screen in 1950 and flourished there, only going off the air after seven successful years.  Clearly, this was the first television show with a Latino theme.  Scripts from this very early part of television history are VERY rare, and we are especially pleased to be offer two scripts from this trailblazing show, both with extensive MS annotations by people who worked on the show.

CISCO KID (1953) 

BLOWING WILD. (1953) 

“FLAMMER OVER MEXICO.”

Story of oil digging in South America, with Anthony Quinn as Ward ‘Paco’ Conway.

MEXICAN MANHUNT. (1953) 

RIDE VAQUERO! (1953) 

RITA HAYWORTH (1953)

SANGAREE. (1953) 

SHARK RIVER. (1953) 

THUNDER BAY. (1953) 

TREASURE OF THE GOLDEN CONDOR. (1953)

Story of a treasure hunt is set in the hills of Guatemala.

PASSION. (1954) 

UNTOUCHED. (1954)

VERA CRUZ. (1954) 

Story of two men who escort a countess across a hostile territory of Vera Cruz during time of Emperor Maximillian. Cast includes Cesar Romero.

AMERICANO. (1955)  

Glenn Ford is an American worker in the Brazilian Amazons. Filmed on location and includes Latin actors Caesar Romero as Manuel Silvera, Rodolfo Hoyas Jr. as Christino, Salvador Baguez as Captain Gonzalez and George Navarro as Tuba.

APACHE AMBUSH. (1955) 

FURY IN PARADISE. (1955) 

KISS OF FIRE. (1955)

Set in Mexican California of the early 1700’s.

LITTLEST OUTLAW, THE. (1955) 

MAGNIFICENT MATADOR, THE. (1955) 

NAKED DAWN. (1955) 

SEVEN CITIES OF GOLD. (1955) 

SILENT FEAR. (1955)

TREASURE OF PANCHO VILLA. (1955) 

Western saga from time of Mexican revolution. In 1913, an American soldier of fortune joins the ranks of Mexican patriot Pancho Villa. Cast includes Gilbert Roland.

TRIAL. (1955) 

Important film dealing with racism. Story of Mexican teenager Angel Chavez (Rafael Campos) who is accused of murder. Katy Jurado plays his mother.

BANDIDO. (1956) 

BRAVE ONE. (1956) 

BROKEN STAR, THE (1956) 

BURNING HILLS. (1956) 

CHA-CHA-CHA BOOM. (1956) 

CROWDED PARADISE. (1956) 

DESERT WARRIOR. (1956) 

GIANT. (1956) 

Subplot of classic George Stevens Texas epic involves mistreatment of Mexican Americans.

GINA. (1956)

JAGUAR. (1956) 

LEATHER SAINT. (1956) 

MAN FROM DEL RIO. (1956) 

MASSACRE. (1956) 

SERENADE. (1956) 

THUNDERSTORM. (1956) 

EIGHTEEN AND ANXIOUS. (1957) 

GUN BATTLE AT MONTEREY. (1957) 

Western adventure with Mexican characters.

GUNS OF FORT PETTICOAT. (1957) 

PANAMA SAL. (1957) 

RAIDERS OF OLD CALIFORNIA. (1957) 

RIDE BACK. (1957)  

Western story takes place in Mexico with Anthony Quinn playing an outlaw who is being brought back to the United States.

STOWAWAY GIRL. (1957) 

TIJUANA STORY, THE. (1957) 

Tijuana is a city ridden with crime, vice and corruption, with the local Mexican mob stopping anyone who attempts to clean up the city. However, the mob meets its match when a brave newspaper editor challenges it. Cast includes Rodolfo Acosta.

BADLANDERS. (1958) 

LITTLE ANGEL. (1958) 

MACHETE. (1958) 

OLD MAN AND THE SEA, THE. (1958)

SIERRA BARON. (1958)

SIGN OF ZORRO. (1958) 

ORSON WELLES "TOUCH OF EVIL". (1958)

An automobile is blown up as it crosses the Mexican border into the United States. Mike Vargas (Charlton Heston), a high ranking Mexican narcotics official on honeymoon with his bride Susie (Janet Leigh) is drawn into the investigation because a Mexican national has been accused of the crime.  Classic Orson Welles film noir, which investigates corruption on both sides of the U.S.-Mexican border.

VILLA. (1958) 

BATTLE FLAME. (1959) 

CUBAN REBEL GIRLS. (1959) 

Errol Flynn, playing himself as a war correspondent, helps Fidel Castro overthrow Cuban dictator Batista. The film was shot, with Castro's cooperation, while he was fighting Batista. Several Cuban actors are in the cast. Flynn died within months of finishing this film.

HOLIDAY FOR LOVERS. (1959) 

PIER 5 HAVANA. (1959) 

ALAMO, THE. (1960)

John Wayne directed this film, which does not attempt to portray the Mexican viewpoint of this historical event.

FACTS OF LIFE. (1960) 

GO NAKED IN THE WORLD. (1960) 

PEPE. (1960) 

THIS REBEL BREED. (1960)

LONG ROPE, THE. (1961) 

ONE-EYED JACKS. (1961) 

PUSHER, THE. (1961)

WEST SIDE STORY. (1961)

Musical story based on “Romeo and Juliet.” Set in late 1950’s New York City, with a feud between rival gangs, one Anglo, one Puerto Rican, as the complication to a passionate romance. One of the classic Hollywood films about Latinos. Amongst the many awards given to the film (including Best Picture) was the first ever to a Latin American actress, Puerto Rican born Rita Moreno, who won the Best Supporting Actress award for her portrayal of Anita. Music by Leonard Bernstein; lyrics by Stephen Sondheim; choreography by Jerome Robbins.

YOUNG SAVAGES. (1961) 

DANGEROUS CHARTER. (1962) 

DAUGHTER OF THE SUNGOD. (1962) 

FIREBRAND. (1962)

A Mexican outlaw begins a one-man war against corrupt California Rangers whom are harassing Hispanic locals during the California Gold Rush. Valentin de Vargas is featured actor.

FOREVER MY LOVE. (1962)

FOUR HORSEMEN OF THE APOCALYPSE, THE. (1962) 

From the classic Ibanez novel, in this version set in Buenos Aires in 1938 just at start of World War II.

GUNS OF DARKNESS. (1962) 

REQUIEM FOR A HEAVYWEIGHT. (1962) 

WE’LL BURY YOU. (1962) 

CALIFORNIA. (1963) 

DIME WITH A HALO. (1963)

Five Mexican street urchins steal a dime from the church's collection box and bet it on a racehorse.

OF LOVE AND DESIRE. (1963) 

GET YOURSELF A COLLEGE GIRL. (1964)

GUNFIGHTERS OF CASA GRANDE. (1964) 

KISSES FOR MY PRESIDENT. (1964) 

KITTEN WITH A WHIP. (1964)

Young female delinquent stabs a staff member at a detention center, sets the place on fire, escapes, kidnaps a politician and forces him to drive her and a wounded accomplice to Tijuana.

NIGHT OF THE IGUANA. (1964) 

Tennessee Williams adaptation, directed by John Huston, takes place at a crumbling beachfront hotel in Mexico.

OUTRAGE. (1964)

Paul Newman plays Mexican bandit Juan Carrasco in story of a murder, told from different views.  MGM remake of Japanese classic “Rashomon,” but set in the Mexican desert.

RIO CONCHOS. (1964) 

TAGGART. (1964) 

GUNMEN OF THE RIO GRANDE. (1965) 

HIGH WIND IN JAMAICA. (1965) 

MURIETA! (1965) 

REWARD, THE. (1965) 

Story set on Mexican border includes actors Gilbert Roland, Rodolfo Acosta, Julian Rivero, Rafael Lopez, and Carmen Rivero.

AND NOW MIGUEL. (1966) 

APPALOOSA, THE. (1966)

BIG GUNDOWN, THE. (1966) 

HILLS RUN RED. (1966)

MONEY TRAP, THE. (1966)  Ricardo Montalban plays Pete Delanos, a Mexican-American policeman who gets caught up in a murderous scheme in this gloomy film noir, which features such other Latino actors as Eugene Iglesias and Teri Sandoval.  Rita Hayworth is starred.

PROFESSIONALS, THE. (1966) 

RAGE. (1966) 

RETURN OF THE SEVEN. (1966) 

TALL WOMEN. (1966) 

TEXICAN, THE. (1966)

ACE HIGH. (1967) 

AMBUSHERS. (1967) 

BLUE. (1967)

CHUKA. (1967)

COVENANT WITH DEATH, A (1967) 

DARING GAME. (1967) 

HOSTILE GUNS. (1967)

UP THE MCGREGORS! (1967) 

VIOLENT ONES. (1967)

BULLET FOR THE GENERAL. (1968) 

DAY OF THE EVIL GUN. (1968) 

LONG RIDE FROM HELL. (1968) 

PETULIA. (1968) 

SOL MADRID. (1968)

TIGER BY THE TAIL. (1968) 

VILLA RIDES. (1968) 

Story involving Pancho Villa, set in Mexico.  Yul Brynner plays Villa and the story involves many Latino characters.

100 RIFLES. (1969) 

BACKTRACK. (1969) 

BIG BOUNCE. (1969) 

CHARRO. (1969) 

EASY RIDER. (1969)

FIVE MAN ARMY. (1969)

Western set during the Mexican revolution about a group of bandits, who plan on robbing a train transporting gold for the Mexican army.

GREAT BANK ROBBERY, THE. (1969) 

Western comedy about a group of Mexican bandits competing with a reverend and his troupe to rob a vault. Larry Storch and Akim Tamiroff play Mexican characters.

GUNS OF THE MAGNIFICENT SEVEN. (1969)

HANG YOUR HAT ON THE WIND. (1969) 

Disney live action story of a valuable horse, which is stolen and taken to Mexico.

MARLOWE. (1969)  

Adapted from Raymond Chandler’s “The Little Sister.”  Film features great performance by Rita Moreno.

MERCENARY, THE. (1969) 

Western with Jack Palance portraying Mexican character Ricciolo.

POPI. (1969) 

Abraham is a Puerto Rican single parent with two boys. He is becoming very worried about them living in their run down neighborhood when one day he notices that Cubans who escape are lionized and given exceptional benefits. He thinks up a plot to have his sons washed ashore as Cuban immigrants who will be adopted by rich Anglos. Alan Arkin plays Abraham. Latin and Latin American actors include Rita Moreno, Miguel Alejandro, Rueben Figueroa and Antonia Rey.

SWEET CHARITY. (1969) 

UNDEFEATED, THE. (1969)  

John Wayne and Rock Hudson play characters traveling through Mexico, each with a mission, at the end of the American civil war.

VIVA MAX. (1969) 

When his girlfriend tells him that his men wouldn't follow him to a house of ill repute, Max, a general in the Mexican army decides to perform some great act of heroism. He takes his men over the border into Texas and re-captures the Alamo. This upsets the Texans greatly. The Texas National Guard is sent to retake the mission. Normally this would be easy as Max's men have left all of their ammunition back in Mexico, but the State department insists that no one be killed and so the National Guard also goes in with unloaded weapons. (Many of the pieces in this collection trace attitudes toward Latino characters as they evolved in American cinema; this film is particularly reprehensible for its portrayal of Mexicans.)

ADVENTURERS, THE. (1970) 

BARQUERO. (1970) 

CANNON FOR CORDOBA. (1970) 

In 1912, a Mexican rebel named Cordoba steals six cannons from the forces of General Pershing who's been sent to bring order to the Texas-Mexico border. Pershing assigns a soldier named Rod Douglas to retrieve the cannons.

COMPANEROS! (1970) 

FLAP. (1970)

MACHO CALLAHAN (1970) 

RIO LOBO. (1970) 

R.P.M. (1970) 

THERE WAS A CROOKED MAN. (1970) 

TWO MULES FOR SISTER SARA. (1970) 

ADIOS, SABATA. (1971) 

BANANAS. (1971) 

BLINDMAN. (1971) 

DESERTER. (1971)

DON’T TURN THE OTHER CHEEK. (1971)

MACHISMO. (1971) 

RED SKY AT MORNING. (1971) 

RETURN OF SABATA. (1971) 

SHOOT OUT. (1971) 

VALDEZ IS COMING. (1971) 

DEAF SMITH AND JOHNNY EARS. (1972) 

LIFE AND TIMES OF JUDGE ROY BEAN. (1972) 

MAGNIFICENT SEVEN RIDE. (1972) 

STEPMOTHER, THE. (1972) 

ULZANA’S RAID. (1972)

WRATH OF GOD (1972) 

PAT GARRETT AND BILLY THE KID. (1973) 

SHOWDOWN. (1973) 

BRING ME THE HEAD OF ALFREDO GARCIA. (1974) 

GROUNDBREAKING TELEVISION SERIES

CHICO AND THE MAN. (1974-1978) Three television scripts, from groundbreaking television series. Ed Brown is a cantankerous old widower who owns a car servicing station in Los Angeles. He hires cheery young Chicano, Chico Rodriguez (Freddie Prinz), to help him run the place. Chico also lives in the garage and, though they bicker constantly, they come to a greater understanding of each other's generation and culture.    These scripts are of great historical importance if one wants to study evolving images of Latinos on the big and small screen.  Prinz was an authentic Latino star; unlike earlier actors like Rita Hayworth and Anthony Quinn, he made his ethnicity a crucial part of his onscreen identity.

FREEBIE AND THE BEAN. (1974) 

MR. MAJESTYK. (1974) 

SPIKES GANG, THE. (1974)

TIMBER TRAMPS, THE. (1975) 

RITZ, THE. (1976)

SMALL TOWN IN TEXAS, A. (1976) 

TRACKDOWN (1976) 

SORCERER. (1977)  

Story set in South America at an oil drilling operation, with Latino characters.  Roy Schneider plays Dominquez.  William Friedkin, director of such classics as “The Exorcist,” shot this film in South America, under very difficult conditions.

CHILDREN OF SANCHEZ. (1978) 

MUJER, UN HOMBRE, UNA CIAD, UN. (A MAN, WOMAN AND A CITY) (1978) 

UP IN SMOKE. (1978) 

RICH KIDS. (1979) 

WARRIORS, THE. (1979) 

FAME. (1980) 

EVITA PERON. (1981) 

NICE DREAMS. (1981) 

BORDER, THE. (1982) 

THINGS ARE TOUGH ALL OVER. (1982) 

AGAINST ALL ODDS. (1984) 

CORSICAN BROTHERS (1984) 

LATINO. (1985)

OLD GRINGO. (1989) 

ROMERO. (1989)

BOUND BY HONOR. (1993) 

MONEY TRAIN. (1995) 

XVIII FESTIVAL INTERNACIONAL DEL NUEVO CINE LATINO AMERICANO. (1996) 

EVITA. (1996) 

JACK. (1996) 

ANACONDA. (1997) 

HOODLUM. (1997) 

NIGHT FALLS ON MANHATTAN. (1997) 

ANTZ. (1998)

DESPERATE MEASURES. (1998) 

MASK OF ZORRO, THE (1998) 

VERY BAD THINGS. (1998) 

TRAFFIC. (2000) 

ANGEL EYES. (2001) 

SCOOBY DOO. (2002) 

MONSTER IN LAW. (2005)

 

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