Silver Screen (Jun-Oct 1940)

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Receive free, chart * analysis of your eyes and how to make the most of them Address I | Color • Eyes_ She adjusted the comb skilfully, tossed lace over it, got a red rose mixed up in the concoction and the Rio Grande River flowed right in through the star's dressing room high on 44th Street in New York City. "Dorothy Mackaill, without padding, took over the job with Mr. Bennett and I got work dancing. Then Douglas Fairbanks {senior) saw me and gave me a chance to try out — along with 300 others — for the part opposite him in 'The Gaucho.' I got the part, but only because of Gene Pallette, who didn't know me at all." It seems that Fairbanks looked at the Velez girl standing there with a Chihuahua under her arm and dismissed her because she seemed too placid for the role. Which bothered her not at all since she was movie-celebrity mad and was radiantly happy over the fact that Mr. Fairbanks had even looked at her. So she set the dog down while she patched up her makeup before leaving the studio. This was the chance for which Pallette had been waiting half an hour — he stole the tiny dog and rushed off to play a joke on Fairbanks. When Doug saw the ferocious drubbing Pallette got from Lupe he signed her up on the spot. "He found out I am not placid also, later on, too, when he told me to take my shoes off. I will not do that, I have feet like a, a peacock bird!" Her secretary, Miss Kinder, came in with a beauteous Mexican dancer-friend of Lupe's. This Kinder woman not only secretaries, she makes all of the costumes Lupe wears — take a costume, Miss Kinder! The two Mexicans went into a linguistic huddle. "Mon Dieu!" exclaimed Lupe in its Spanish equivalent, "does not thees girl look like Dolores Del Rio?" Then they went off into yards of violent Spanish again. "She said 'goodbye,' " explained Lupe. "When I was working in "The Gaucho,' " she went on, "they all make fun of my age. 'Why are you not in school, babee?' they ask. 'Where are your peeg tails?' they say. Well, I show them. I have the very first date of my life with the director of the movie. I loved him desperately, even eef he deed pat my head like a leetle girl on the movie lot. "I spent all my money on two white fox furs and I started out on my first date weeth the man I love — to a movie around the corner! He delivered me home at ten and he wanted to know why I was crying when he left me — with a pat on my head!" She made a nation-wide hit in "The Gaucho." and the studios fell all over themselves in their efforts to hire her. The list of her movie leading men reads like a Hollywood Who's Who. "Congo," with Walter Huston, "Wolf Song," with Gary Cooper — work with Lon Chaney, the master of disguise — hundreds, almost, of others equally well known. She also made a turkey called "Laughing Boy," with Ramon Novarro. It was no laughing matter. . . . It's her stage background, though, that makes the ad-libbing she does all through her recent pictures possible. And the natural-sounding lines that result from this off-the-cuff dialogue are probably sixty percent of the reason back of her successful return to the ranks of the Hollywood money-makers. "I am a Ziegfeld girl," she lit a cigaret; adding as an afterthought, "and I smoke too much." She is a member in good standing of that diminishing group of glorified people, the Ziegfeld girls. To her measure "Hot Cha" was done in the Ziegfeld manner and Bert Lahr ("7 love heem!") played opposite her. Here the ad-lib reigned supreme and a favorite trick of Lupe's was to chew cheap gum and let it drool out of the corner of her mouth so that Lahr could see it, but the audience couldn't. It broke him up every time — but what he did in return she didn't say. She also toiled with Jimmie Durante in "Strike Me Pink," and "You'll Never Know," with Clifton Webb and Libby Holman. When this show went on the road the Shuberts decided to invest more money in it for scenery and whatnot. Lupe was against this as a needless expense and she was proven right, in spite of the fact that the show was able to play eleven months on the road. One reason that might possibly have affected her pictures in the fairly recent past could have been her marriage to Johnny Weissmuller, Hollywood's Tarzan. Lupe laughed and said, "Everybody says, 'Why don't you learn better English, Lupe deeah?' So I answer, T was married to a guy who can only say, "Me Tarzan, you Jane!'" How can I learn English from heem?" The newspaper boys have been inclined to blame Lupe for the highly-exaggerated stories that were rife concerning the pair's knock-down, drag-out fights. It was Lupe's fault, they said, every time a fight came off. It wasn't always. . . . "Because I am supposed to be nuts everyone blames me entirely for the divorce," she complained. "In some of my movies I act crazy, sure. That's all right for my work, but off stage I am not tem. peramental — I am very easy to get along with, yes?" She turned to her secretary. The secretary, with a look of devotion in her eyes, assured her that she was. "I'll tell you right now that I was not to blame for what happened. You know what? I love the newspaper men, the press, but some of them have been very mean to me. Like the time Johnnee and I were flying East." The phone rang and she spent several minutes talking, meanwhile absentmindedly sniffing at a scallion. The photographer snapped her at her sniffing. She grinned good-naturedly. "I had taken a pill to help me sleep. Johnnee won't take them, but anyway, I was sleeping in my chair — they didn't have berths then— when a book from the lack above fell down and hit me right on