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First published in 2006 by the BRITISH FILM INSTITUTE 21 Stephen Street, London W1 T 1LN The British Film Institute's purpose is to champion moving image culture in all its richness and diversity across the UK, for the benefit of as wide an audience as possible, and to create and encourage debate. Introduction and editorial arrangement © Alastair Pbillips and Ginette Vincendeau 2006 Other chapters © the contributors 2006 Set by Fakenham Photosetting Limited, Fakenham, Norfolk Printed in the UK by The Cromwell Press, Trowbridge, Wiltshire Cover design: Mark Swan Cover images: Marlene Dietrich, Antonio Banderas, Maurice Chevalier, Greta Garbo, Daniel Day-Lewis, Hedy Lamarr Stills courtesy ofBFI Stills, Posters and Designs British Library Cataloguing-in-Publication Data A catalogue record for this book is available fi·om the British Library ISBN 1-84457-124-6 (pbk) ISBN 1-84457-123-8 (hbk) Contents Acknowledgments vi Contributors (key to contributors and notes on contributors) viii PART 1 Film Trade, Global Culture and Transnatioual Cinema: An. Introduction 3 Alastair Phimps and Ginette Vincendeau PART 11 European Actors aud the Hollywood Film lndustry 1 The Long Fade: French Actors in Silent Hollywood 21 Richard Abe! 2 Russian Film Extras in 1920s Hollywood 31 Rashit M.Yangirov 3 GermanActors in Hollywood:The LongView 37 Tim Bergfelder 4 Opera, Theatre and Fihn: Italians in 1920s and 1930s Hollywood 45 Giuliana Muscio 5 The Studio, the Star and International Audiences: Paramount and Chevalier 53 Mm·tine Dm1a11 6 'Star trading':The British in 1930s and 1940s Hollywood 61 Sarah Street 7 In Search of Global Stardom: French Actors in 1990s Hollywood 71 Irene Bessiere PART 111 Emigré Actors, Cultural '!Ypes and Stereotypes 8 Small Victories and Grand Failures: Russian Actors in Hollywood 77 Natalia Noussinova 9 Changing Bodies, Changing Voices: French Success and Failure in 1930s Hollywood 85 Alastair Phillips 10 The 'Foreign Woman' in Classical Hollywood Cinema 95 Christian Viviani 11 The Ultimare Irony:Jews Playing Nazis in Hollywood 103 Joseph Garncarz 12 'Not for Export':Jean Gabin in Hollywood 115 Gínette Vincendeau 13 Louis Jourdan-The 'Hyper-sexual' Frenchman 125 Hilary Radner 14 The Latín Masquerade:The Spanish in Disguise in Hollywood 133 Vicente Sánchez-Biosca 15 Acting Nasty?: British Mal e Actors in Contempora1y Hollywood 141 Andrew Spicer PART IV A Dictionary of European Actors in Hollywood Aims and Conventions 151 A to Z of European Actors in Hollywood Cinema 153 Select Bibliography 473 Index 482 .e Latin Masquerade .anish in Disguise in Hollywood1 Sánchez-Biosca new Spanish star secured her place within Hollywood stardom. Her name was Penélope Cruz*. Her when she was a teenager, hosting a music television programme targeted at youngsters (La quinta Fifth March], 1990), and her first success in the cinema came with Belle époque, Fernando Trueba's 1992 1\n•uc.,,.vAward-winning feature as Best Foreign Language Film. For a decade, her film career was astounding, as her emblematic collaboration with three different, yet all fashionable Spanish directors: Bigas Luna ( [1992]), Pedro Ahnodóvar (Carne trémula/Live Flesh [1997]; Todo sobre mi madre/ All about M y Mother rul.d, finally, enfant terrible Alejandro Amenábar (Abre los ojos/Open Your Eyes [1997); Cruz also starred in the Hollywosd remake ofthis film, directed by Cameron Crowe as Vanilla Sky in2001). In her transition to Holly- woocl,.orib could argue that Cruz simply followed in the footsteps of other Sp:m.ish figures, such as Assumpta Serna*, Victoria Abril* a11d Javier Bardem*. But it is especially in Antonio Banderas* that one finds a mirror image of the Cruz ph~;1omenon, beca use of the level of their success and because of her relationship with actor and producer 'Jbm Cruise (which echoes the marriage ofBanderas and Melanie Griffith). What is striking about Cruz's entrance into the American pantheon is that her first lead role, in the banal Womart (J/1 Top (2000), introduced a new stereotype and brought in a new set of questions about the way in which national idcntities are negotiated today in American culture. Cruz plays a Brazilian woman from the region of [San Salvador de) Bahia who, after finding out about her husband's infidelities, emigrates to Los Angeles and triumphs on tele vision as the exotic hostess of a programme dedicated to her country's cuisine.A foreigner in California, the Span ish actress embodied a Brazilian woman fi·om the most tropical and 'Africanised' region ofBrazil, enabling her to develop her persona into an emblem of'Latin-ness'. This 'Latin' persona was a composite of diverse features: a strong tcmperament, ove1whehning sensuality, fondness for home traditions, the ability to express musical rhytlm1 through her body and primitive religious beliefS. These aspects of the character were incorporated into the production design and the plot of the film, resulting in a wealth of colour, vivacity, fashionable music and exoticism. 2 Cruz's 'tropical' identity, reminiscent of Carmen Miranda, fitted neatly into the lústory of American cinema. Miranda was the first 'Bal1iana' who, thanks to the 'Good Neighbour Policy' between the USA and Latin America, triumphed in Hollywood in 1939 by showing offhyperbolic signs of'the tropical', taking them to the limits of camp. Cruz's case, however, is different in the way the whole operation seems forced: unlike Miranda, Cruz neither carried on her shoulders a musical tradition nor had striking, easily recognisable Caribbean or tropical features. Moreover, unlike Miranda, who was brought up in Brazil, Cruz hailed fi:om Spain, and her native tongue did not cvcn coincide with the language of her character in the fihn. Tlús symptomatic deviation of her identity in Holly wood therefore cannot be explained by either her career or her origins. The explanation has to be sought in Hol lywood, and in particular the production of the 'Latino' stereotype and how it relates to American identity, because thcre is no doubt about it: today 'Latino' is fashionable, and notjust in the movies. The stereotype of the 'Latin', the most durable codification of wlúch was the 'Latin lover', could be seen as a suc cessful, simplified version of the tragic figure of Don Juan. This stereotype has be en decisive in the destiny of many Spanish actors, such as Antonio Moreno*, Valentín Parera, José Crespo*, Julio Pei'ía* and José Nieto*, but also in that of actors fi·om Italy, Mexico and other Latin Alnerican countries. N evertheless, the stereotype has evolved 13 3 Journeys of Desire 13 4 Ethnic smoothness: Antonio Banderas embodies a 'softer' Latino identity in Despemdo (1995) Masquerade time in relation to changing social, ethnic and sexual contexts, which the American cinema, always in with other areas of culture (art, music, dance, fash.ion), was trying to shape. The tenn 'Latín' thus has signifi ¡;¡¡ntly ¡nutated. To its original, Mediterranean origins, Latín American elements have been added. Now, not only ,, • eaning exclusively Latín American but, through a further reduction, it has come to refer to the Caribbean !S liS 11 1 or tropical. Such a transformation, however, is impossible to analyse exclusively in terms of fihTl representations. The Latín lover, the main gateway for Spanish actors in Hollywood, was associated during the classical era with rnen fi'Oll1 che South- dark-skümed, seductive, hot-blooded lovers, but also ruthless with women who succwnbed to d¡dr channs (the ultimate example being the Italian Rudolph Valentino, although the Mexican Ramón Novarro was another good exponent). Today, however, this seems anachronistic, sin ce Latin-ness, while still encom,passing the idea of sensual.ity and seduction, is more readily associated with what the music mdustry la beis. 'Latino music': Caribbean rl¡ythms, whose African rhythmic origins have been sünplified Í11 order to reach a mass audience. This is a step fmward ¡11 a process ofhybridisatíon that, in the 1960s, produced salsa and had its epicentre in NewYork, through Cuban exiles, Puerto Rican musicians and emigrants fi-om Panama, etc.3 Nowadays, women have also assumed an important place ín this new Latin-ness, as the fihn careers of sü1ger Jennifer Lopez and actress Salma Hayek demonstrate. My aim here is to examine how Spanish actors are inscribed m this process and the reasons why they have found d¡cmselves obliged to hide their European origins under a stereotype that was historically considered subordinare in rdation to colonial history. The reasons are not to be found, of course, in the actual relationship between Spain and Lttín America, or between Spain and the USA, but rather in cultural dialectics between the 'WASP' and the 'Other'. The Latino, the Chicano, the African-American or the Oriental are all incarnations of'otherness' that have replaced the old dialectics between Latin American and European identities. Manifestly, the Latino image, into which the Spanish actor or actress has to be subswned, is not that of the aboriginal people fi:om Peru, Bolivia, Mexico or Central Amer íca, in wh.ich American cinema has shown zero interest, but the Caribbean type. And it is worth pointing out the hot spots of this imaginary topography: Castro 's Cuba, the Colombia of drug-dealers, the Central America of the Revol ution and the Contras, a Mexico of a still prü1útive and savage gusto. These topoi generate highly spectacular- if not op¡•nly exotic - narratives, which lúnge as much around the present as the (recent) past. The best incarnation of this n~w Latino personality is Antmúo Banderas, but one could also mention other Latín American actors fi:om the music índustry, such as Rubén Blades and even Chayanne, although they have represented the type in a less systematic manner. In other words, while Hollywood has shown interest in the stereotype of the Austro-Hungarian, the French, thc German and the Russian, often reflected in the choice of actors and actresses, as well as locations, the Spanish , havc not elicited much interest in American popular culture, with the exception perhaps of the myth of Carmen.