Lady of the Pavements (United Artists) (1929)

The Art of Becoming ^famous Overnight lUPE VELEZ’S CAREER PROVES PERSONALITY ONLY REQUISITE TO ATTAIN FILM STARDOM Heroine of D. W. Griffith’s "Lady of the Pavements” Landed in Hollywood Without Friends, Money or Prospects; A Stellar Light in Two Years By ETTA EATON {A glimpse into the life cf the little Mexican favorite who appears and sings in D. W. Griffith’s first sound production “Lady of the Pavements” noiv shozving at the ... theatre .) Vivid, dark, vivacious, with clear olive skin; Hashing black eyes, fringed with long lashes; scarlet lips, ever beautiful teeth; slender, ex¬ pressive hands that are never still; a slim figure, perfectly moulded, that bends and sways in rhythm to every passing mood—a splash of color, a burst of golden melody—this is Lupe Velez, madcap from Mexico. As frank and naive as a child, full of tempestuous moods, bubbling over with the joy of living, generous to a fault, saucy, mischievous, lazy and glad of it-still this is Lupe. The Screen Proqre^ofM&e^fe,Heroine ol-D.W.Griffith’s *fatty of the.fkvemenis 18 —Two Col. Velez Feature (Mat 10c; Cut JOc) A girl only nineteen years old, but already far up on the ladder of success. A daring little girl who, on a long chance of getting the cov¬ eted role in Richard Bennett’s “The Dove” came all alone from Mexico City to a strange country among strangers, and by the compelling force of her captivating personality and accomplishments, made good— and still we speak of Lupe. Lupe Velez was born in San Luis Potosi, a day’s run from Mexico Qky. Her mother, Jesephine Velez, was an opera singer and her father was Colonel Villalabos of the Mex¬ ican army. She went to school in San An¬ tonio to Our Lady of the Lake con¬ vent. Here she studied English but not using it at home, did not be¬ come very proficient in that tongue. However, she is now a fluent talker in the language of the country in which she has gained fame and rec¬ ognition. She also studied typewrit¬ ing, but sitting still before a ma¬ chine for hours on a stretch had no charm for such an active girl, and she did not keep up her practice. Her father was wounded in battle when Lupe was about fifteen years old. Now there was a good reason for the girl to do something to help out the family pocketbook. Her mother finally yielded to her en¬ treaties to be allowed to apply for work in a musical comedy then run¬ ning in Mexico City. The name of the show was “Rataplan.” Lupe was by now an excellent danc¬ er. She had had practically no training but danced spontaneously. After an exhibition of her steps, she was given a try-out and, to her delight, was accepted. Instantly she became the rage of Mexico City. Her youth and beauty coupled with the originality and in¬ spired abandon of her dancing, gained admirers far and wide. An American and his wife, trav¬ elling in Mexico, saw the tempestu¬ ous child in “Rataplan” and recog¬ nized unusual talent. They told her she would make a hit in the United States. But Lupe loved her own country and did not care to leave her father and mother. So she made no attempt to follow the sug¬ gestions of the Americans. She continued to dance in “Rataplan” and enjoy her sensational triumph. Her American admirers returned to Los Angeles and discovered that Richard Bennett was about to pro¬ duce “The Dove,” a play with a beautiful Spanish girl in the title role. They at once wrote Lupe to come to Los Angeles, but when she arrived she found that Mr. Bennett had cast the title role. It might have seemed to one less independent and courageous that the only thing to do was to go back home—pronto. Not so Lupe—the thought of acknowledging defeat never occurred to her. Instead she looked for work elsewhere. She se¬ cured a part with Fanchon and Mar¬ co in one of their “Ideas’* for the West Coast Theatres, at seventy- five dollars a week. She was seen in Glendale at a local theatre by Mr. McClune of The Music Box Re¬ vue. He recognized unusual talent in the little Mexican madcap, and offered her a part with his organ¬ ization. And he gave her two hun¬ dred dollars a week—a very nice sum for a seventeen year old girl. She made a hit in “The Music Box.” Fannie Brice, the star of the play took the girl under her friendly wing. She would take her by the hand and introduce her to the audience, saying “Watch this little girl. She’s going to be a big bet.” Lupe was most grateful to Miss Brice and they became fast friends. One night Harry Rapf, executive at M. G. M. Studios, at Culver City, attended the “Music Box Revue.” He saw Lupe Velez dance and he knew she would be a great bet in motion pictures. He went back- stage and met the little Mexican girl and suggested that she come out to the Hal Roach Studios, where comedies for release through his organization are made, and have a screen test. The result of that screen test was a contract for Lupe to make come¬ dies under the Hal Roach banner. Douglas Fairbanks, of United Art¬ ists was preparing to make a pic¬ ture of South America, called “The Gaucho,” and one of the leading roles was that of a wild Spanish mountain girl. He saw Lupe's work on the screen and sent for her. Her tests were satisfactory and her personality was exactly suited for the part he had in mind. She was signed to play opposite one of the greatest stars of the screen. When “The Gaucho’’ was given its premier performance at. Grau- man’s Chinese Theatre in Holly¬ wood, everybody inquired, “Who is the girl?’ What vivacity, what beauty, what an arresting person¬ ality.” Lupe Velez had “arrived” with certainty. Then Joseph M. Schenck, head of United Artists, decided here was a girl who was destined to go far in motion pictures and signed her to a long-term contract with his organization. She was loaned to M. G. M. for a picture, “Stand and Deliver” playing opposite Rod La Rocque. Meanwhile D. W. Griffith was making every effort to find a suitable star who could sing for “Lady of the Pavements” and very shortly Lupe faced the camera for this pioneer director. Pink Page Feature /