The Girl from Mexico

Lupe Vélez was the greatest! A staggering natural talent.

Only goof I found in the movie is near the beginning when he throws the towel slower than it actually hits her.

The Girl From México is not only a classic, but essential, because without it, despite being one of the great female comics of all time, Lupe Vélez would be forgotten about ( especially because too many of her films are unavailable (Wolf Song with Gary Cooper is one of the films I am looking for the most. East as West with her and Edward G. Robinson is another)). Her fiery temper, her dancing, her impressions and the ability to do physical comedy really work here. For anyone who has heard of Lupe Vélez, but has never seen her, this movie is where to start ( if you have seen her before and have not seen The Girl From Mexico what are you waiting for?). Was Lupe beautiful? Oh yea. Did she have screen presence? Without a doubt. But so did many actresses who have been forgotten about ( Betty Grable, Elsa Martinelli ( one of my favorites), Elke Sommer and Delores Del Rio ( who Lupe despised) are examples of this). But Lupe ( like Clara Bow and Jean Harlow ( other actresses from her era) she lives on. 10/10 stars.

It's almost unheard of a low-budgeted movie becoming so popular it spawned a series of feature films produced by a major Hollywood studio. That's what happened to RKO Pictures when it witnessed an unexpected phenomenon at the box office in actress Lupe Velez's June 1939's "The Girl From Mexico." Originally planned as a one and done Grade B film, the 'Mexican Spitfire' emerged as a blockbuster hit over the summer for the South of the Border singer comedian, spurring the studio to produce seven additional movies based around her fiery, yet magnetic personality.

As one of the first Mexican actresses in Hollywood, Velez broke into film in 1927, and transferred her success from silents, co-starring with Douglas Fairbanks in 1927's "The Gaucho," to sound. In one of the best skits in 1933's "Hollywood Party," she bested Laurel and Hardy in their classic egg-busting scene. Velez sang in several Broadway shows, raising her popularity while she paid a visit to her native country in 1938 to make the Mexican film "La Zandunga."

In "The Girl From Mexico," Velez is Carmelita Fuentes, a talented singer from a small Mexican town who Dennis Lindsay (Donald Woods), a scout from a New York talent agency, discovers and escorts her to the states for an audition. Dennis, who's engaged to catty Elizabeth Price (Linda Hayes), is unavailable to chaperone Carmelita around town on her first day in New York City. His uncle Matt (Leon Errol) fills in as tour guide and bends to her demands to take her to both a baseball game and a wrestling match. Carmelita yells so much at the sporting events she loses her voice, ruining her audition. While Dennis is heavily involved planning his upcoming wedding, he develops the hots for Carmelita, causing his fiancé to become jealous.

RKO used Valez's nickname, the 'Mexican Spitfire' in the titles for her next seven movies, ending with 1943's 'Mexican Spitfire's Blessed Event.' Comic Leon Errol did double duty beginning in the second in the series, 1940's 'Mexican Spitfire,' playing two characters, Uncle Matt as well as the eccentric Lord Epping, a British distiller. Director Leslie Goodwins encouraged his actors to ad lib, especially Velez and Errol, who loved to entertain the film crew with their off-the-cuff jokes. "The Girl From Mexico" contained one of Hollywood's first interracial couples. Woods remained Carmelita's on-screen husband for the first three Spitfire movies, followed by Charles 'Buddy' Rogers (Mary Pickford's husband), then actor Walter Reed. One of cinema's more fascinating trivia questions is what movie front-ended the double feature to the 1941 debut release of Orson Welles' "Citizen Kane?" Answer: 'The Mexican Spitfire's Baby,' the fourth movie in Velez's repertoire.

Once the series ran its course by 1943, Velez returned to Mexico to be in an adaptation of Emile Zola's 'Nana.' On December 13, 1944, Velez swallowed 75 Seconal pills and a glass of brandy in her Los Angeles home. She left a suicide note to her ex-boyfriend Harold Ramond, claiming she was distraught about her unwed pregnancy. The Los Angeles coroner dropped a pending investigation after her death because of the note. Ramond denied his involvement, setting off rumors on the person responsible for getting Velez pregnant, with actor Gary Cooper's name dropped in the mix. Pallbearers at her funeral included her ex-husband Johnny Weissmuller of Tarzan fame.

Wooden American publicity agent Dennis Lindsay (Donald Woods) meets loud and feisty Mexican singer Carmelita Fuentes (Lupe Velez) and brings her to the States. Carmelita quickly falls for Dennis but he only seems to have business on his mind. Plus he's engaged to a snobby socialite (Linda Hayes). So Carmelita conspires with Dennis' uncle (Leon Errol) to make Dennis jealous and win his affections. The first movie in the Mexican Spitfire series, although it wasn't intended as such. This was a surprise hit which led to the sequels. It's not a series I particularly love but I think this is my favorite of the bunch, primarily because it feels less formulaic and it's the only one where Lupe Velez actually feels like the star. In the subsequent movies Leon Errol's role would increase where he would basically become the real star, often playing more than one role in each film. Velez would just go through the motions in the subplot, which was usually a variation of the same thing: Carmelita gets angry and leaves Dennis but eventually the two reunite.

Velez is an acquired taste for sure. She's basically a combination of Ricky and Lucy Ricardo (predating I Love Lucy, of course). I like her in this movie, though. Maybe it's because in the sequels she seemed to be repeating lines and routines in every movie but here she hadn't perfected her persona yet so it feels a bit more natural. She also sings and dances in this one, which is a nice plus. For his part Donald Woods plays to his strengths (?) as a stiff wooden leading man. It somehow works contrasted with Velez screaming half her lines. Leon Errol's Uncle Matt is fun and easily the most likable person in the movie. Linda Hayes and Elisabeth Risdon round out the main cast. Hayes is OK playing a villainess but Risdon is a tough pill to swallow. Her character is just the worst. Ward Bond has a small role as a wrestler named Mexican Pete.

It's an enjoyable lightweight B comedy. I can see why they thought it would make a good series but it really didn't. They had no ideas and basically repeated plots and relied heavily on vaudevillian Errol to provide laughs. This first one is the best because it feels the most fresh. Still nothing exceptional.

Singer Lupe Velez (Carmelita) is brought over from Mexico by Donald Woods (Dennis). I'm not sure why - he needs a Mexican singer for a contract of some sort. Anyway, he is given the role of her "protector" whilst she is in the USA and, of course, Velez doesn't play ball. She is, after all, the "Mexican Spitfire" and you will understand why she is called this whilst watching the film. She seems a coarse version of Carmen Miranda, though not as talented. Woods has a fiancée in Linda Hayes (Elizabeth) who does not approve of the new arrival, whilst Velez spends the whole film disobeying instructions with the help of Leon Errol (Uncle Matt). Love is also in the air.

There are many opportunities for misunderstanding in this film as well as the play on the Mexican accent and poor English grammatical structure which provides the bulk of the comedy. It can be funny in parts but that whirlwind of constant energy gets very tedious and Velez is not someone you would wish to keep company with for very long. All the shouting, etc - just stop it and do some proper acting with subtle dialogue, please!

I wish Errol had taken Velez on various evenings out to 'kick the gong around' as she had requested, ie, smoke opium. I've tried it and it is great. It would have calmed her down and possibly added some depth to the film.