Las fronteras del amor (1934)

82 mins | Romance, Musical | 1934

Director:

Frank R. Strayer

Producer:

John Stone

Cinematographer:

Arthur Martinelli

Editor:

Ernest Nims

Production Designer:

Duncan Cramer

Production Company:

Fox Film Corp.
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HISTORY

The plot summary was based on a screen continuity in the Twentieth Century-Fox Produced Scripts Collection, and the onscreen credits were taken from a screen credits sheet in the Twentieth Century-Fox Records of the Legal Department, both of which are in the UCLA Arts--Special Collections Library. The running time listed above was calculated from the footage given in NYSA records. Bernice Mason's original story was entitled "Enamorado" or "The Love Flight." The working titles of the film were En alas del amor and El vuelo del amor . The film was shown in Mexico under the title ¡Viva mi tierra! According to information in the legal records, a Kellett Auto-Gyro flying machine was filmed at a location at or near Chatsworth, CA. In 1936, Twentieth Century-Fox remade this film as Under Your Spell , which was directed by Otto Ludwig Preminger and starred Lawrence Tibbett and Wendy ... More Less

The plot summary was based on a screen continuity in the Twentieth Century-Fox Produced Scripts Collection, and the onscreen credits were taken from a screen credits sheet in the Twentieth Century-Fox Records of the Legal Department, both of which are in the UCLA Arts--Special Collections Library. The running time listed above was calculated from the footage given in NYSA records. Bernice Mason's original story was entitled "Enamorado" or "The Love Flight." The working titles of the film were En alas del amor and El vuelo del amor . The film was shown in Mexico under the title ¡Viva mi tierra! According to information in the legal records, a Kellett Auto-Gyro flying machine was filmed at a location at or near Chatsworth, CA. In 1936, Twentieth Century-Fox remade this film as Under Your Spell , which was directed by Otto Ludwig Preminger and starred Lawrence Tibbett and Wendy Barrie. More Less

GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
CM
Nov 34
p. 614.
Film Daily
5 Dec 34
p. 10.
New York Times
4 Dec 34
p. 23.
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Dirección [Dir]
Asst dir
Asst dir
PRODUCER
Prod, Prod
WRITERS
Original de [Orig story]
Adaptación cinematográfica [Scr]
Versión española [Spanish version]
PHOTOGRAPHY
ART DIRECTOR
Art dir
FILM EDITOR
COSTUMES
Cost
MUSIC
Dirección musical [Mus dir]
SOURCES
SONGS
"La donna è mobile" from the opera Rigoletto , music by Giuseppe Verdi, libretto by Francesco Maria Piave
"Te quiero dar mi vida," "¿Recuerdas?" and "La bola," music by Troy Sanders, lyrics by José Mojica
"Las mañanitas" and "Cielito lindo," folk songs, traditional lyrics adapted by José Mojica
+
SONGS
"La donna è mobile" from the opera Rigoletto , music by Giuseppe Verdi, libretto by Francesco Maria Piave
"Te quiero dar mi vida," "¿Recuerdas?" and "La bola," music by Troy Sanders, lyrics by José Mojica
"Las mañanitas" and "Cielito lindo," folk songs, traditional lyrics adapted by José Mojica
"Estoy cantando," music by Troy Sanders, lyrics from the poem "Vida retirado" by Fray Luis De León
"Andar," music and lyrics by Ernesto Lecuona and Gustavo Garralaga
"The Minstrel," music by Easthope Martin, lyrics by Helen Taylor, Spanish translation of English lyrics by José Mojica
"Blanca palomita," composer undetermined.
+
DETAILS
Alternate Titles:
¡Viva mi tierra!
El vuelo del amor
En alas del amor
Release Date:
1934
Premiere Information:
New York opening: 30 November 1934
Production Date:
June--July 1934
Copyright Claimant:
Fox Film Corp.
Copyright Date:
7 November 1934
Copyright Number:
LP5080
Physical Properties:
Sound
Black and White
Duration(in mins):
82
Length(in feet):
7,355
Length(in reels):
9
Country:
United States
Language:
Spanish
PCA No:
198
Passed by NBR:
No
SYNOPSIS

The famous and much-loved opera singer, Miguel Segovia, has grown tired of the publicity tricks and the tour that his manager Harry has planned for him, so he returns to his ranch in Mexico. The ranch hands greet him excitedly, and the morning after an all-night party, he rides a horse to the cabin of the ranch's sheepherder José López. José, who has never met Segovia, tells the stranger that he needs to become a cowpuncher in order to marry his girl friend María, the daughter of the ranch's groom. Looking to get away from people, Segovia tells José to take his horse and promises to tend the sheep while José fulfills his wish. While Segovia is playing in a nearby field, a plane, sputtering from lack of gas, lands, and the pilot, Alice Harrison, of the high-society Harrisons in California, steps out. She tries to get Segovia, who says his name is José, to obtain fuel for her plane because her family will be worried if she does not return soon. He refuses but offers to let her stay in his cabin, which she declines, because it is too filthy, and walks back toward the plane. The real José, having been told who the stranger is, returns to his cabin only to be sent back for fuel by Segovia. Frightened by an animal's howling, Alice returns to the cabin, where she spends the night sleeping in a chair. The next day, Alice tries to bribe Segovia to go for fuel by offering him her Victrola. He is unimpressed until she tap-dances to one of her records. José returns with ... +


The famous and much-loved opera singer, Miguel Segovia, has grown tired of the publicity tricks and the tour that his manager Harry has planned for him, so he returns to his ranch in Mexico. The ranch hands greet him excitedly, and the morning after an all-night party, he rides a horse to the cabin of the ranch's sheepherder José López. José, who has never met Segovia, tells the stranger that he needs to become a cowpuncher in order to marry his girl friend María, the daughter of the ranch's groom. Looking to get away from people, Segovia tells José to take his horse and promises to tend the sheep while José fulfills his wish. While Segovia is playing in a nearby field, a plane, sputtering from lack of gas, lands, and the pilot, Alice Harrison, of the high-society Harrisons in California, steps out. She tries to get Segovia, who says his name is José, to obtain fuel for her plane because her family will be worried if she does not return soon. He refuses but offers to let her stay in his cabin, which she declines, because it is too filthy, and walks back toward the plane. The real José, having been told who the stranger is, returns to his cabin only to be sent back for fuel by Segovia. Frightened by an animal's howling, Alice returns to the cabin, where she spends the night sleeping in a chair. The next day, Alice tries to bribe Segovia to go for fuel by offering him her Victrola. He is unimpressed until she tap-dances to one of her records. José returns with the fuel, but Alice fears it is too late in the day to leave, so she stays another night and falls in love with Segovia; however, because she believes that they are from different social classes, she leaves at dawn before Segovia can stop her. In Los Angeles, an old beau, Otto Van Ritter, who does not know how to enjoy himself, proposes marriage, which Alice refuses. She confides to her Uncle Fred, who advises her to follow her heart. Meanwhile, Harry, having located Segovia, talks him into returning to the tour. Alice, having sent a letter to "José," receives an angry letter from María telling Alice of José's engagement to her. Otto proposes again and this time Alice accepts. Segovia reads about her engagement and goes to Alice's house, where he is told by her that it is none of his affair. Later, she overhears a radio broadcast of his concert and believing the voice to be José's, rushes to Mexico to follow her heart. Alerted to her trip by Uncle Fred, Segovia manages to delay her flight and reaches Mexico before her. When she arrives, he proposes to her; she accepts and José sings happily at their wedding. +

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.