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Laughing Boy
A young Navajo defies tribal custom to marry an outcast.
Release : | 1934 |
Rating : | 4.7 |
Studio : | Metro-Goldwyn-Mayer, |
Crew : | Art Direction, Director of Photography, |
Cast : | Ramon Novarro Lupe Vélez William B. Davidson Chief Thunderbird Nora Cecil |
Genre : | Drama Western Romance |
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So much average
Excellent but underrated film
Best movie ever!
There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.
I enjoyed this excursion into a different time and place in America's history.It was novel to have Indians as the main players in this dusty Western drama, and the characterizations of Slim Girl (the sultry Lupe Velez), Laughing Boy (Ramon Novarro),and several bit players were unusual.The language here is often quite interesting, as if translated from another tongue, i.e., "With you or without you, my life will be the same." Such cruel words...The climactic scene is bizarre, in that Laughing Boy shows none of the anger one might expect -- or did he? Macho man Hartshone (William B. Davidson) shows his true colors and runs. (I had to rewind several times to discern the detail in this sequence.) Adding to the poignancy of this film for me is knowledge of the real-life fates of the two stars. Look them up on Wikipedia and weep.
In viewing Laughing Boy today I counted elements of Camille, Romeo and Juliet and Duel in the Sun in the plot of this Indian love story.Ramon Novarro plays the title role and he's a Navajo from way off in the rural part of the reservation. Lupe Velez is also a Navajo, but an orphan who is the live in mistress of William B. Davidson. It's doomed from the start. Lupe's been living too long in the white man's world and Ramon's family simply will not accept her. It ends bad for both of them.I've got a mixed reaction to the film. I've got to give some credit to MGM at that time for even attempting to make a film showing Indians as three dimensional people. They do in fact include some stereotypes, but give the studio credit for trying.Both Lupe and Ramon were big stars in the silent era and did make the transition to sound. They both had pleasant speaking voices. But both led lives that given the times should have been more discreet. They were both descending into B films at a steady pace. In Ramon's case the vogue for Latin lovers which crested with Rudolph Valentino in the silent era with Ramon as one of his imitators had long passed. MGM had trouble casting him. Laughing Boy might have been a better film if MGM had been trying to build Lupe and Ramon up instead of looking to be rid of both.
The combination of the two dynamic Mexican actors Ramon Novarro and Lupe Velez should have guaranteed a dynamite movie.But someone at MGM, in their wisdom, cast them as Native Americans - a disastrous decision that doomed this film to failure even before it was begun.Both struggle to make their characters even slightly believable, as they try to curb their Mexican passion into some sort of wise aboriginal spirituality. The spitfire in Lupe just can't help but surface, and all Ramon can do is try to maintain some dignity under that terrible wig. His singing is nice but anachronistic, and there is far too much of it.Hard to believe this disaster was directed by Woody Van Dyke, who had made one of Ramon's best silent movies "The Pagan". Novarro was deeply ashamed of this film, and it's no wonder. What is saddest of all about it though is the way it wastes what could have been one of the most exciting star combinations of all time. Just imagine if Novarro and Velez were playing a pair of violently passionate Mexican lovers - what fireworks we would have seen!Shame, MGM, Shame!
LAUGHING BOY loves Slim Girl, but she has lived too long among the white man and cannot fit in with her new husband's traditional Navajo family. What will happen when he discovers she has returned to being a prostitute to make them some extra money?Ramon Novarro & Lupe Velez do the best they can with somewhat embarrassing material. Their performances alone elevate the film above the mundane.Director W. S. Van Dyke, known for his vivid on-location films, tries to interject footage shot in the Southwest to lend authenticity to the plot, but the rear projection backgrounds only detract and annoy the viewer.