Picture Play Magazine (Mar-Jul 1929)

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74 Spanisk — vtfitk Englisk Reserve Expecting to find a Latin youth determined to be romantic, the interviewer discovered Don Alvarado to be gently circumspect and disinclined to talk about himself. B$ Madeline Glass WHEN Hernando Cortez conquered Mexico, he started something. It was he and his formidable warriors who blazed the way for the Spanish invasion that swept the conquered territory, pushed on into the great Southwestern areas of the United States, and left for American posterity, even as the Aztecs left for their conquerors, a heritage of romantic history and tradition. Of more tangible importance is the fact that the Spanish invaders left descendants of such charm and beauty and talent, that many of them have in turn conquered America's amusement stronghold, and endeared themselves to millions of once hated gringos. In the front rank of these velvetvoiced emissaries of peace is Don Alvarado, who is three quarters Spanish and one quarter English. Don's excellent performances in recent pictures have made him an actor to be reckoned with. He is essentially a romantic type, and it begins to look as if he will become one of the most spectacular gallants of the screen. Don's technique is more intense than Cplman's, more subtle than Gilbert's. He glows where others glower. From such gay and sophisticated roles as the French husband, in "Breakfast at Sunrise," to the polished and palpitating Spaniard, in "Drums of Love," his work has be come increasingly impressive. Un Don Alvarado wants to exchange his screen name for Paige, his real one. fortunately, directors usually depict romantic love in terms of physical embraces, rather than by acts of kindness and sacrifice. Much as I deplore this stupid tendency, it must be said for Don Alvarado that he at least invests such amorous demonstrations with poignant allure. In "The Scarlet Woman," one of the worst pictures of 1928, '29, and '30, he managed to retain some measure of human appeal, in spite of the Russian revolution and Lya de Putti. Recently he completed another Spanish characterization, that of one of the twin brothers in "The Bridge of San Luis Rey." Judging Mr. Alvarado by his hectic screen roles, I had pictured him as being a man in his late twenties, determinedly romantic, and so imbued with Latin fire as to be on the verge of spontaneous combustion. Although I was genuinely interested in him as an actor, I must admit that curiosity had much to do with my desire to talk with him. Possibly, I figured, he would have acquired a fine collection of complexes, doubtful philosophies and flapdoodle notions, that would make interesting reading for the Picture Play clan. But, hang it all, I never seem to have any luck in such matters. The impeccable Novarro himself could not have been more gently circumspect. The day Mr. Alvarado called to take me to lunch he was suffering from a cold, a misfortune that was not improved by the drizzling rain and chill wind. From the window beside our table we could look down on drenched and lovely Westlake Park, which has seen service in many a film. "I didn't have any breakfast," said he, in a somewhat husky voice, "and I am starved." He began to study the menu. The appearance of this twenty-four-year-old actor is so extraordinary as to cause even well-bred people to stare. He is, by all odds, the handsomest man I have ever seen. His hair is as black as the proverbial raven's wing. His complexion is olive, and of the finegrained, flawless texture peculiar to certain types of brunettes. Although he has long worn a mustache, he is now cleanshaven — thank Heaven ! Considering his exceptional good looks, it was rather a surprise to learn that he was once an amateur prizefighter. I immediately began asking for details. It required a good bit of probing to get at this phase of his life. In fact, it requires much probing and cross-examining to get him to talk about himself at all. Although he is by no means diffident or introspective, he has, I think, a broad streak of English reserve. It seems that Don took up boxing, not with the intention of permanently identifying himself with the cauliflower-ear industry, but for the sport of it. When about seventeen years of age, he conceived the not entirely unique idea of running away from his home in New Mexico. So, accompanied by a pal, he set out with the intention of taking Hollywood by storm. At San Bernardino, Don failed to get aboard their private freight-car when it pulled out. Stranded and without money, he was wandering dejectedly along; when he stopped a stranger to ask for a match. The stranger turned out to be a professional pugilist. When he learned of Don's misfortune, he arranged matters so that the runaway was matched to fight. Don won the decision and the munificent sum of twenty dollars, which enabled him to reach Los Angeles and pay the rent of a room. Failing to get work at the studios, he did the practical thing — got a job in a candy factory and kept it for a year. Through the interest of a friend, he met Robert Leonard, who was directing "Mademoiselle Midnight." Leonard thought he had possibilities, and gave him extra work in the picture. Later he went to the Warner studio, where they gave him a job and changed his name from Paige to Alvarado, his mother's maiden name. "An actor," explained Don, "is like a turtle ; treat him kindly, and he comes out of his shell, but treat him badly, and he closes up." [Continued on page 109]