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Nineteenth century drama-western-musical set in New Mexico. Sounds fun, no?
A still from Motion Picture magazine (April, 1929)
Date of Release: Feb 23, 1929
Studio: Paramount
Director: Victor Fleming
Screenplay: John Farrow, Keene Thompson, Julian Johnson
Music: Al Bryan, Richard Whiting, Harry Warren
Leading Actors: Gary Cooper (Sam Lash), Lupe Velez (Lola Salazar), Louis Wolheim (Gullion), Constantine Romanoff (Rube Thatcher), Michael Vavitch (Don Solomon Salazar), Ann Brody (Duenna), Russ Colombo (Ambrosia Guiterrez), Augustina Lopez (Louisa), George Rigas (Black Wolf)
If I was granted one film to be restored in all its talking and singing glory from 1929, this would be it. A nineteenth century drama-western-musical set in New Mexico, directed by the guy who later directed The Wizard of Oz and Gone with the Wind (1939), Victor Fleming, and written by the guy who penned Around the World in Eighty Days (1956), John Farrow. The lead actors were a real-life couple in the middle of a tempestuous love affair, Gary Cooper and Lupe Velez. The film contained “the most masculine of choruses,” histrionic singing, chest heaving acrobatics, and plenty of risqué-as-possible “love making.” Drama, Spanish-style music, beautiful scenery, period costumes, nudity… The Wolf Song had it all.
Set in the 1840s, The Wolf Song told the story of Sam Lash (Gary Cooper), a Kentuckian rancher who falls in love with Lola Salazar (Lupe Velez), the beautiful daughter of a Spanish aristocrat. The pair quickly marries but the pull of the frontier is too much for the rugged Sam, who abandons his wife for the wilderness. Sam realizes he can’t live without Lola, and on the way back to her is shot by “Indians”. Desperate to be with his love, Sam drags himself all the way to Lola’s doorstep, and she takes him into her loving embrace.
The film was based on Harvey Fergusson’s novel Wolf Song, originally published in 1927. The novel was a best-seller and is now considered to be one of the most important works of “mountain man fiction.” Little was reportedly changed from the book, though New West states that the film switches Lola for Sam in a nude bathing scene.
According to film historian John Howard Reed, The Wolf Song started production as a silent film, and, part-way through, the decision was made to add synchronized sound and songs. Both a silent and talkie version was released.
Studio: Paramount
Director: Victor Fleming
Screenplay: John Farrow, Keene Thompson, Julian Johnson
Music: Al Bryan, Richard Whiting, Harry Warren
Leading Actors: Gary Cooper (Sam Lash), Lupe Velez (Lola Salazar), Louis Wolheim (Gullion), Constantine Romanoff (Rube Thatcher), Michael Vavitch (Don Solomon Salazar), Ann Brody (Duenna), Russ Colombo (Ambrosia Guiterrez), Augustina Lopez (Louisa), George Rigas (Black Wolf)
If I was granted one film to be restored in all its talking and singing glory from 1929, this would be it. A nineteenth century drama-western-musical set in New Mexico, directed by the guy who later directed The Wizard of Oz and Gone with the Wind (1939), Victor Fleming, and written by the guy who penned Around the World in Eighty Days (1956), John Farrow. The lead actors were a real-life couple in the middle of a tempestuous love affair, Gary Cooper and Lupe Velez. The film contained “the most masculine of choruses,” histrionic singing, chest heaving acrobatics, and plenty of risqué-as-possible “love making.” Drama, Spanish-style music, beautiful scenery, period costumes, nudity… The Wolf Song had it all.
Set in the 1840s, The Wolf Song told the story of Sam Lash (Gary Cooper), a Kentuckian rancher who falls in love with Lola Salazar (Lupe Velez), the beautiful daughter of a Spanish aristocrat. The pair quickly marries but the pull of the frontier is too much for the rugged Sam, who abandons his wife for the wilderness. Sam realizes he can’t live without Lola, and on the way back to her is shot by “Indians”. Desperate to be with his love, Sam drags himself all the way to Lola’s doorstep, and she takes him into her loving embrace.
The film was based on Harvey Fergusson’s novel Wolf Song, originally published in 1927. The novel was a best-seller and is now considered to be one of the most important works of “mountain man fiction.” Little was reportedly changed from the book, though New West states that the film switches Lola for Sam in a nude bathing scene.
According to film historian John Howard Reed, The Wolf Song started production as a silent film, and, part-way through, the decision was made to add synchronized sound and songs. Both a silent and talkie version was released.
Real-life lovers Gary Cooper and Lupe Velez in Screenland magazine (May 1929)
The Wolf Song opened at the Embassy Theatre in New York and played to average houses for about a month, a short run by 1929 standards. According to Motion Picture News (March 9, 1929), the box office was affected by rain and snow storms which hit the city during the run. It had better houses around the country, but not by much.
Not only did audiences stay away, the critics absolutely loathed it. They panned the direction, story, acting, and, above all, Lupe Velez’s chest-heaving singing. Cine-Mundial put it most succinctly, stating The Wolf Song was “una mala pelicula” (a bad movie). The prudish Educational Screen (April 1929) described The Wolf Song as “thoroughly unwholesome, with love-making and sex-suggestion made as strong as censors or decency could permit.”
Victor Fleming was harshly criticized for his direction. Mordaunt Hall wrote in the New York Times that Fleming
Not only did audiences stay away, the critics absolutely loathed it. They panned the direction, story, acting, and, above all, Lupe Velez’s chest-heaving singing. Cine-Mundial put it most succinctly, stating The Wolf Song was “una mala pelicula” (a bad movie). The prudish Educational Screen (April 1929) described The Wolf Song as “thoroughly unwholesome, with love-making and sex-suggestion made as strong as censors or decency could permit.”
Victor Fleming was harshly criticized for his direction. Mordaunt Hall wrote in the New York Times that Fleming
endeavors to stress his points by having the players turn their heads or make other movements in an unnaturally slow manner…[He] is also guilty of that indiscretion of prolonging a violent kiss until it becomes more absurd than passionate…"
As mentioned earlier, Fleming went on to become a highly prominent Hollywood director. Adored by women, emulated by men, Fleming was by all accounts incredibly charismatic, and staunchly conservative. A wonderful Guardian article, “Why we should give a damn about Victor Fleming” explains why Fleming is not a household name, despite having directed two of the most well-known films of the twentieth century. He directed some 48 films including Treasure Island (1934), The Wizard of Oz (1939), Gone with the Wind (1939), Dr. Jeckyll and Mr. Hyde (1941) and Joan of Arc (1948). A biography by Michael Sragow, Victor Fleming: An American Movie Master, was published in 2009.
The screenplay, by John Farrow, was deemed unbelievable and ridiculous (despite being lifted directly from the novel). Australian born John Farrow was a prominent writer and director who eventually worked for Paramount and Warner Bros. He was a two-time Academy Award nominee, the first time for Best Director for Wake Island (1942), and the second for Best Writing, Best Screenplay for Around the World in Eighty Days (1956). Farrow was the father of actress Mia Farrow. A fun bit of trivia for my Sydney readers – Farrow went to Newtown Public High School!
The other credited writers, Keene Thompson and Julian Johnson, were screenwriters who saw at the peak of their careers during the silent era.
The screenplay, by John Farrow, was deemed unbelievable and ridiculous (despite being lifted directly from the novel). Australian born John Farrow was a prominent writer and director who eventually worked for Paramount and Warner Bros. He was a two-time Academy Award nominee, the first time for Best Director for Wake Island (1942), and the second for Best Writing, Best Screenplay for Around the World in Eighty Days (1956). Farrow was the father of actress Mia Farrow. A fun bit of trivia for my Sydney readers – Farrow went to Newtown Public High School!
The other credited writers, Keene Thompson and Julian Johnson, were screenwriters who saw at the peak of their careers during the silent era.
Gary Cooper in Screenland (May 1929)
Stars Gary Cooper and Lupe Velez had a real-life love affair which biographer Michelle Vogel described as “long, passionate, tumultuous, and exceedingly complicated." Their chemistry on screen was evident, and the couple toured together to promote the film.
Gary Cooper was a silent film actor who made a successful transition to talkies. His performance in The Wolf Song was rated as average – it wasn’t terrible, but it wasn’t one for the history books either. Already a huge star in 1929, Cooper would go on to greater success. His career spanned over forty years, and he was nominated five times for an Academy Award for Best Actor in a Leading Role, winning twice for Sergeant York (1941) and High Noon (1952). He was also granted an Honorary Academy Award in 1961 for his contribution to the industry. Cooper appeared in over 100 films, including Paramount on Parade (1930), Mr. Deeds Goes to Town (1936) and High Noon (1952).
Gary Cooper was a silent film actor who made a successful transition to talkies. His performance in The Wolf Song was rated as average – it wasn’t terrible, but it wasn’t one for the history books either. Already a huge star in 1929, Cooper would go on to greater success. His career spanned over forty years, and he was nominated five times for an Academy Award for Best Actor in a Leading Role, winning twice for Sergeant York (1941) and High Noon (1952). He was also granted an Honorary Academy Award in 1961 for his contribution to the industry. Cooper appeared in over 100 films, including Paramount on Parade (1930), Mr. Deeds Goes to Town (1936) and High Noon (1952).
Lupe Velez dressed in gowns designed by Edith Head.
right: Motion Picture (March 1929) left: Motion Picture Classic (April 1929)
right: Motion Picture (March 1929) left: Motion Picture Classic (April 1929)
Cooper’s co-star Lupe Velez was not so fortunate. She appeared in over forty films, often playing fiery Latina characters. Despite the awful stereotyping of Velez as “the little Mexican,” or the “Mexican spitfire,” she was noted for her versatility and skills as a comedic actress. Velez tragically committed suicide at age 36.
With a few exceptions, Velez was not well received in The Wolf Song. The Film Daily and New York Times both stated that whenever Lola sang, the film dragged or came to a complete stop. The critics thought Velez was attractive, but relentlessly mocked her singing. Frequent mention was made of her “respiratory acrobatics” and the fact that she sang between her teeth. One or two critics were kinder, stating Velez was beautiful and charming, with a “pleasantly surprising” voice. The Exhibitors Herald World (March 23, 1929) described her as "a robust comedienne, [and] a gal with a lot of zip and uh-huh…”
Velez's stunning costumes were designed by Edith Head. As quoted in Jay Jorgensen’s book Edith Head: The Fifty-Year Career of Hollywood’s Greatest Costume Designers, the wedding dress in The Wolf Song so large one critic lamented, “if there hadn’t been so much dress, there could have been more scene.” Edith Head worked on over 1000 (yes 1000!) films and was one of the most highly regarded costume designers in Hollywood. She was nominated thirty-five times for an Academy Award, winning for The Heiress (1949), Samson and Delilah (1949), All About Eve (1961), A Place in the Sun (1951), Roman Holiday (1953), Sabrina (1954), The Facts of Life (1960), and The Sting (1974).
Several reviewers gave positive notices to bad guy Louis Wolheim. Russian-born Wolheim started out as a mechanical engineer, and thanks to a connection with Lionel Barrymore, went on to work as an actor on stage and screen. Famous for having a rough-looking face, owing to a badly broken nose from an old football injury, he often played thugs and rogue characters. Wolheim appeared in over fifty films including All Quiet on the Western Front (1930), and The Sin Ship (1931).
“Singing Romeo” Russ Colombo (sometimes spelt Columbo) also appeared in The Wolf Song. Colombo was a child prodigy, excelling as a violinist and singer. Along with several film appearances, he toured with Gus Arnheim and his Ambassadors, and hosted his own radio show. He was killed at the age of 26 in a tragic gun accident, and the family kept it secret from his mother until she died ten years later. A sad and touching biography can be found here. A YouTube video containing three minutes of sound from reel 2 claims that Colombo provided the singing voice for Gary Cooper. There is no evidence to support this claim, and given that Colombo was a named character in the film, also unlikely.
With a few exceptions, Velez was not well received in The Wolf Song. The Film Daily and New York Times both stated that whenever Lola sang, the film dragged or came to a complete stop. The critics thought Velez was attractive, but relentlessly mocked her singing. Frequent mention was made of her “respiratory acrobatics” and the fact that she sang between her teeth. One or two critics were kinder, stating Velez was beautiful and charming, with a “pleasantly surprising” voice. The Exhibitors Herald World (March 23, 1929) described her as "a robust comedienne, [and] a gal with a lot of zip and uh-huh…”
Velez's stunning costumes were designed by Edith Head. As quoted in Jay Jorgensen’s book Edith Head: The Fifty-Year Career of Hollywood’s Greatest Costume Designers, the wedding dress in The Wolf Song so large one critic lamented, “if there hadn’t been so much dress, there could have been more scene.” Edith Head worked on over 1000 (yes 1000!) films and was one of the most highly regarded costume designers in Hollywood. She was nominated thirty-five times for an Academy Award, winning for The Heiress (1949), Samson and Delilah (1949), All About Eve (1961), A Place in the Sun (1951), Roman Holiday (1953), Sabrina (1954), The Facts of Life (1960), and The Sting (1974).
Several reviewers gave positive notices to bad guy Louis Wolheim. Russian-born Wolheim started out as a mechanical engineer, and thanks to a connection with Lionel Barrymore, went on to work as an actor on stage and screen. Famous for having a rough-looking face, owing to a badly broken nose from an old football injury, he often played thugs and rogue characters. Wolheim appeared in over fifty films including All Quiet on the Western Front (1930), and The Sin Ship (1931).
“Singing Romeo” Russ Colombo (sometimes spelt Columbo) also appeared in The Wolf Song. Colombo was a child prodigy, excelling as a violinist and singer. Along with several film appearances, he toured with Gus Arnheim and his Ambassadors, and hosted his own radio show. He was killed at the age of 26 in a tragic gun accident, and the family kept it secret from his mother until she died ten years later. A sad and touching biography can be found here. A YouTube video containing three minutes of sound from reel 2 claims that Colombo provided the singing voice for Gary Cooper. There is no evidence to support this claim, and given that Colombo was a named character in the film, also unlikely.
The scenery received universal praise (Screenland, Feb 1929)
The only aspect of The Wolf Song to receive universal praise was the scenery, with the critics describing it as picturesque and beautifully shot.
Apart from Velez’s singing, few critics made mention of the music. The score contained three songs, "Wolf Song," “Yo Te Amo Means I Love You," and the theme song "Mi amado." “Wolf Song” opened the film and was sung by a male chorus, which was described by Motion Picture (April 1929) as "the most masculine of choruses." The frequent repetition of the theme song led Variety (Feb 27, 1929) to believe “the theme song made the feature a great trailer for the number.”
The score was composed by three of Paramount’s leading staff writers, Al Bryan, Richard Whiting, and Harry Warren. The three men were incredibly prolific and between them wrote thousands of songs – many of which are well-known today including “Oui, Oui, Marie,” “Hooray for Hollywood.” “That’s Amore,” “Chattanooga Choo Choo,” and “42nd Street.”
It appears the sound version of The Wolf Song has been lost, though a near-complete recording of the score has been made available on Nitrateville. The silent version has been screened at a couple of film festivals, including Cinefest 31 in Syracuse and Film Forum in New York City.
Hopefully it won’t be long before the complete sound version is re-discovered, restored, and made available for our viewing pleasure! It seems just too awful(ly brilliant?!) to miss!
Apart from Velez’s singing, few critics made mention of the music. The score contained three songs, "Wolf Song," “Yo Te Amo Means I Love You," and the theme song "Mi amado." “Wolf Song” opened the film and was sung by a male chorus, which was described by Motion Picture (April 1929) as "the most masculine of choruses." The frequent repetition of the theme song led Variety (Feb 27, 1929) to believe “the theme song made the feature a great trailer for the number.”
The score was composed by three of Paramount’s leading staff writers, Al Bryan, Richard Whiting, and Harry Warren. The three men were incredibly prolific and between them wrote thousands of songs – many of which are well-known today including “Oui, Oui, Marie,” “Hooray for Hollywood.” “That’s Amore,” “Chattanooga Choo Choo,” and “42nd Street.”
It appears the sound version of The Wolf Song has been lost, though a near-complete recording of the score has been made available on Nitrateville. The silent version has been screened at a couple of film festivals, including Cinefest 31 in Syracuse and Film Forum in New York City.
Hopefully it won’t be long before the complete sound version is re-discovered, restored, and made available for our viewing pleasure! It seems just too awful(ly brilliant?!) to miss!
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