Copyright 31 May 1935 by Fox Film Corp. New York opening at the Radio City Music Hall: 30 May 1935 (ran 1 week). Australian release: 14 August 1935. 8 reels. 78 minutes.
SYNOPSIS: A gaucho pursues a horse thief to Buenos Aires.
NOTES: The first feature film in which Rita Hayworth was presented to the picturegoing public.
VIEWER'S GUIDE: Difficult to classify: Not Suitable for Anyone - Suitable for Rita Hayworth Fans, Admirers of Veloz and Yolanda, and Paid-Up Members of the Paul Porcasi Fan Club - Not Recommended for Argentinians - Solidly Endorsed by the Soledad Jiminez Adulation Society. Take your pick!
COMMENT: Yes, this is one for J. Carroll Naish fans too. Old J.C.N. chews up the scenery no end, ably assisted by Warner Baxter, here giving us an unintentional parody of the Cisco Kid. It's easy to pick who is the more embarrassing, simply because Baxter is not only in the picture three times as long but, being the "star", is presented with ten times more opportunities to project himself as an over-ripe ham.
Despite the irredeemably hokey script and Baxter's eye-rolling, sock-it-to-'em caricature - Jiminez is equally grating but her part is mercifully more limited - Under the Pampas Moon is still well worth seeing. Rita dances up a brief storm and then gives tongue-twisting Baxter a lesson in real acting. Miss Gallian makes an attractive sophisticate, whilst John Miljan does the honors as the heavy in grand style.
Technically, the movie benefits from some fine location photography by Chester Lyons - love those billowing clouds! - and no expense-spared production values, whose only flaws are a few unconvincing process screen effects.
OTHER VIEWS: Under the Pampas Moon emerges as a ludicrously dated essay into South American caricature. Warner Baxter, aided by J. Carroll Naish and Soledad Jiminez, - all complete with thickly laid on, pseudo-Spanish accents, - ham it up atrociously. True, the picture does offer a chance to see and hear (she sings twice) the entrancing Ketti Gallian. Smartly costumed and beautifully photographed, she is too! Of course, Rita Hayworth admirers will have their moments as well. Or rather, moment! For the charming Rita has only the one scene in which she dances with brief fire in a cabaret and then sits down with Baxter to offer him a friendly tip on the races. Her voice is attractively soft, the more so compared with Baxter's jangled braying.
Though obviously inexperienced, there is an appealing freshness about Rita that makes one wish her role was much larger. Under the Pampas Moon was in fact her first film to be released, though she had actually filmed a dance number in Dante's Inferno beforehand.
The main dance ensemble in the picture is provided by Veloz and Yolanda, who perform a rather tame tango. Fortunately, this is followed by a guest spot from Tito Guizar, singing a welcome ditty in Spanish. Yes, nothing but the best for pop-eyed Paul Porcasi who has a typical part here as the head shebang of a classy café.
We also admire John Miljan's smooth villainy. His cry, "What happened?", is a gem. Likewise, Ann Codee entertains us by spiritedly enacting one or two agreeable vaudeville turns. Even though some of her dialogue creaks with age, she handles it with vivacity. Also in the support cast, it's nice to spot our old friend Jack LaRue, up to his enjoyably sneaky tricks as a loser in love, - that love interest being the gorgeous Armida, who figures prominently in the movie's early scenes but then, alas, disappears from view completely.
If you're quick, you can catch Chris-Pin Martin as one of the people Baxter questions en route to Buenos Aires. Boring Baxter is searching for his beloved horse, "Chicolino", a name he re-iterates so many times it will make you scream!
Tinling's direction is efficient, without being in any way distinguished, though he does impart a bit of much-needed pace to the proceedings by quickening the tempo of the dialogue.
Production values are surprisingly lavish for such a modest entertainment. The sets and locations provide many a visual delight, though the film editor has done little to build up suspense during the two race sequences, and the songs are unmemorable. JHR writing as George Addison.
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