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The Gay Desperado (1936)

6.4
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Ratings: 6.4/10 from 206 users  
Reviews: 12 user | 3 critic

Opera singer Chivo is currently playing a singing cowboy, and Mexican bandito Braganza kidnaps him (along with Jane, an heiress) so he can learn to become more like the American movie gangsters he admires.

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Title: The Gay Desperado (1936)

The Gay Desperado (1936) on IMDb 6.4/10

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Photos

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Cast

Cast overview, first billed only:
Nino Martini ...
Chivo
...
Jane
Leo Carrillo ...
Pablo Braganza
Harold Huber ...
Juan Campo
James Blakeley ...
Bill Shay
Stanley Fields ...
Butch
...
Diego
Adrian Rosley ...
Radio Station Manager
Paul Hurst ...
American Detective
Al Ernest Garcia ...
Police Captain
Frank Puglia ...
López
Michael Visaroff ...
Theatre Manager
Chris-Pin Martin ...
Pancho (as Chris King Martin)
Harry Semels ...
Manuel
George Du Count ...
Salvador
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Storyline

Opera singer Chivo is currently playing a singing cowboy, and Mexican bandito Braganza kidnaps him (along with Jane, an heiress) so he can learn to become more like the American movie gangsters he admires.

Add Full Plot | Add Synopsis

Plot Keywords:

opera | bandit | mexico | radio

Taglines:

THE GIANT MUSICAL HIT OF THE YEAR! (original ad - all caps)

Genres:

Comedy | Musical

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Details

Country:

Language:

Release Date:

2 October 1936 (USA)  »

Also Known As:

The Gay Desperado  »

Filming Locations:

 »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

(Western Electric)

Aspect Ratio:

1.37 : 1
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Did You Know?

Connections

Featured in Mary Pickford: A Life on Film (1997) See more »

Soundtracks

Estrellita
Words and Music by Manuel M. Ponce
Adapted by Frank La Forge
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User Reviews

 
A funny, complex and subtle film
7 August 2010 | by (United States) – See all my reviews

This is an excellent film for all the reasons cited in other reviews. However, it is interesting to note that the film could also be interpreted as a social critique of what might be seen as materialism or American values. By so exaggerating all the characters to the point of absurdity, Mamoulian creates a space where this sort of critique can "pass" as zany humor. Yet notice that the Mexican "bandidos" are the only honorable people in the whole film; they live by a code of honor whereas neither the American gangsters NOR the American lawmen could care less what is right and wrong. Also, the American tycoon's son who gets kidnapped is a despicable human being and a spoiled brat - he assumes his daddy's money can buy him out of any trouble and cannot conceive that some things have no price. Finally, the bandidos defend not only the concept of honor and giving one's word, but they also celebrate the inherent value and beauty of art (music). In short, this reviewer believes there is a lot more to this movie than might first be apparent.


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