Under the Pampas Moon (1935)

78 mins | Western | 31 May 1935

Director:

James Tinling

Cinematographer:

Chester Lyons

Production Designer:

William Darling

Production Company:

Fox Film Corp.
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HISTORY

The working title of this film was The Gaucho . According to MPH , this marked the screen debut of the noted broadcast favorite, Tito Guizar. Under the Pampas Moon also marked the feature film debut of actress Rita Hayworth (1918--1987), who was credited under her real name of Rita Cansino until the 1937 Columbia production Criminals of the Air . Some scenes were filmed thirty-five miles east of Bakersfield, CA, according to a DV news item. According to a HR news item, the vacations of Warner Baxter and Ketti Gallian were cut short to film a few insert scenes in mid-May 1935 to build up the closing sequence. According to his obituary, Carlos Montalbán was a dance double in this ... More Less

The working title of this film was The Gaucho . According to MPH , this marked the screen debut of the noted broadcast favorite, Tito Guizar. Under the Pampas Moon also marked the feature film debut of actress Rita Hayworth (1918--1987), who was credited under her real name of Rita Cansino until the 1937 Columbia production Criminals of the Air . Some scenes were filmed thirty-five miles east of Bakersfield, CA, according to a DV news item. According to a HR news item, the vacations of Warner Baxter and Ketti Gallian were cut short to film a few insert scenes in mid-May 1935 to build up the closing sequence. According to his obituary, Carlos Montalbán was a dance double in this film. More Less

BIBLIOGRAPHIC SOURCES
SOURCE
DATE
PAGE
Box Office
1-Jun-35
---
Daily Variety
21 Feb 35
p. 3.
Daily Variety
22 Feb 35
p. 2.
Daily Variety
12 Mar 35
p. 12.
Daily Variety
18 May 35
p. 5.
Film Daily
1 Jun 35
p. 4.
HF
6 Apr 35
p. 8.
Hollywood Reporter
25 Feb 35
p. 3, 4
Hollywood Reporter
8 Apr 35
p. 3.
Hollywood Reporter
10 May 35
p. 2.
Hollywood Reporter
18 May 35
p. 3.
Motion Picture Daily
21 May 35
p. 12.
Motion Picture Herald
27 Apr 35
p. 42.
Motion Picture Herald
25 May 35
p. 52.
MPSI
1 May 35
p. 11.
New York Times
31 May 35
p. 11.
Variety
5 Jun 35
p. 15.
CAST
NAME
CREDITED AS
CREDIT
Soledad Jimenez
Jack La Rue
Rita Cansino
Philip Cooper
Chris Martin
Harry J. Vejar
Francesco Maran
Sam Finn
Jacques Venaire
+
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
PRODUCTION TEXT
A B. G. DeSylva Production
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
WRITERS
Orig story
Addl dial
Contr on spec seq
Contr on spec seq
Contr to trmt
PHOTOGRAPHY
Photog
Cam op
Asst cam
Asst cam
ART DIRECTOR
Art dir
COSTUMES
Gowns
MUSIC
Mus dir
Musician
SOUND
Sd cable man
Stage sd man
DANCE
Dance dir
PRODUCTION MISC
Carpenter
Stock man
STAND INS
Stand-in for Warner Baxter
SOURCES
SONGS
"Querida mia," words by Paul Webster and Lew Pollack, adapted from a Spanish California folk song by Lew Pollack
"The Gaucho," words by B. G. DeSylva, music by Walter Samuels
other song(s) by Harry Akst.
DETAILS
Alternate Title:
The Gaucho
Release Date:
31 May 1935
Production Date:
25 February--6 April 1935
inserts taken mid May 1935
Copyright Claimant:
Fox Film Corp.
Copyright Date:
31 May 1935
Copyright Number:
LP5597
Physical Properties:
Sound
Western Electric Noiseless Recording
Black and White
Duration(in mins):
78
Length(in feet):
6,998
Length(in reels):
8
Country:
United States
PCA No:
848
SYNOPSIS

The day before the big race matching horses belonging to the gauchos on the Argentine pampas ranch of Don Bennett, ladies' man Cesar Campo bets his fellow gaucho Bazan six months pay that his horse, Chico Lindo, will beat Bazan's horse. After Cesar makes a date to go to the dance following the race with Rosa, whom his pal Tito is smitten with, Cesar meets French singer Yvonne Le Marr, whose airplane had to make a forced landing on the pampas, and decides to give up Rosa to Tito. Bazan surreptitiously cuts Cesar's saddle, and during the race, Cesar nearly falls off, but he manages to win riding bareback. When Tito presents evidence that Bazan cut the saddle, Don Bennett fires Bazan. Yvonne's manager, Gregory Scott, wants to buy Chico Lindo, and after Cesar refuses to sell, he pays Bazan to steal the horse. That night, Cesar romances Yvonne and forces a kiss from her by entangling the two of them in his bola, a rope with weights attached. The next day, he finds his horse missing and sees Yvonne's plane flying away. Cesar searches the pampas on Tito's horse for Chico Lindo and, two weeks later, learns that Bazan left with Chico Lindo for Buenos Aires. Cesar has no luck finding the horse in the big city, where his unrefined gaucho dress and manner is out of place, until he goes to a racetrack and sees his horse. After he creates a disturbance, the police take him away, but he sees Yvonne with Scott, who says he will help. Scott then reveals to Yvonne that he bought the horse from ... +


The day before the big race matching horses belonging to the gauchos on the Argentine pampas ranch of Don Bennett, ladies' man Cesar Campo bets his fellow gaucho Bazan six months pay that his horse, Chico Lindo, will beat Bazan's horse. After Cesar makes a date to go to the dance following the race with Rosa, whom his pal Tito is smitten with, Cesar meets French singer Yvonne Le Marr, whose airplane had to make a forced landing on the pampas, and decides to give up Rosa to Tito. Bazan surreptitiously cuts Cesar's saddle, and during the race, Cesar nearly falls off, but he manages to win riding bareback. When Tito presents evidence that Bazan cut the saddle, Don Bennett fires Bazan. Yvonne's manager, Gregory Scott, wants to buy Chico Lindo, and after Cesar refuses to sell, he pays Bazan to steal the horse. That night, Cesar romances Yvonne and forces a kiss from her by entangling the two of them in his bola, a rope with weights attached. The next day, he finds his horse missing and sees Yvonne's plane flying away. Cesar searches the pampas on Tito's horse for Chico Lindo and, two weeks later, learns that Bazan left with Chico Lindo for Buenos Aires. Cesar has no luck finding the horse in the big city, where his unrefined gaucho dress and manner is out of place, until he goes to a racetrack and sees his horse. After he creates a disturbance, the police take him away, but he sees Yvonne with Scott, who says he will help. Scott then reveals to Yvonne that he bought the horse from Bazan and that he will return it after the big race in three weeks. At the Cafe El Paraiso, where Yvonne sings, Scott tells Cesar that a Parisian countess bought his horse and that she will be in town for the race. With money Scott gives Cesar to mollify him, he gets an expensive room in the hotel where Yvonne is staying and enjoys the services of the barber, manicurist and tailor. He also sends for his mother, who is skeptical at first of the big city amenities but soon becomes enamored of them. When he sees in the newspaper that Chico Lindo is to be shipped to France after the race, Cesar confronts Scott, who disclaims responsibility. Cesar plans to steal the horse back and return to the pampas, so he contacts Tito, who rounds up gauchos for a meeting the night before the race. Yvonne is about to explain to Cesar that she was not involved in Scott's scheme, when they kiss and she is unable to tell him. Tito finds Bazan and brings him to the meeting of the gauchos, where he confesses that Scott paid him to steal the horse. Cesar then charges Yvonne with complicity in Scott's scheme by keeping him occupied in Buenos Aires so that he would not take his horse back to the pampas. During the race, Cesar throws his bola and knocks Chico Lindo's jockey off the horse, so that Scott, who has bet on the horse, loses his bet. Cesar then hides from the police, and after he sees Chico Lindo loaded into a truck, he follows on another horse and holds up the driver. Yvonne drives up in a cab and says that she had nothing to do with Scott's plan, but Cesar drives off. Later, however, Cesar returns to the pampas on a freight train with Mama, Chico Lindo and Yvonne. +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.