New LUPE VELEZ Auction at Heritage: The Mexican Spitfire's Baby (1941)

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Friz Freleng, Warner Bros., Speedy Gonzales, Slowpoke Rodriguez and "Mexican Boarders" (1962)

updated 03/07/16     updated 02/28/14     updated: 9/30/14     reposting: 9/15/09     original posting 3/31/07 

It is May or June 1962, and as I frolic in my crib, 6 months old, at my house on Hendricks Avenue, things are happening at The Tivoli Theatre (opposite) in downtown Laredo. There, screening for the first time, is the latest animated short feature out of the genius hands of a crazy cohort of driven, twisted imagineers at Warner Bros. studios.

"Mexican Boarders," directed by Friz Freleng, with Hawley Pratt, and written by John Dunn, tells the story of a visit to Speedy Gonzales by his cousin, Slowpoke Rodriguez.

I am writing about it here on the Tex[t]-Mex Galleryblog as it throws a wrench (perhaps heaves an ACME bomb is better, it is Warner Brothers cartoons I'm writing about) at a key chapter of my University of Texas book, chapter 3, which has the unfortunate distinction of sporting the longest title I've ever published: "Chapter Three. Autopsy of a Rat: Sundry Parables of Warner Brothers Studios, Jewish American Animators, Speedy Gonzales, Freddy López, and Other Chicano/Latino Marionettes Prancing about Our First World Visual Emporium; Parable Cameos by Jacques Derrida; and, a Dirty Joke."

What's remarkable about "Mexican Boarders" is the mise en scène, that old war-horse French term from film criticism that speaks to the setting, background and tableau, if not the "actors" themselves. For in this 1962 classic, Speedy Gonzales is living the highlife in an upper-class Mexican town, "in the fine [bourgeois] hacienda of José Álvaro Meléndez." Most other Speedy shorts from the 60s feature Speedy and his cohorts living in trash ("Cannery Woe," 1961) or falling out of cantinas ("Tabasco Road," 1957)--and the bulk of my argument on Speedy, Autopsy of a Rat, keys on this. "Mexican Boarders" is different. Here, as you can see to your left, Speedy lives the life of a Patrón, in his "Casa de Gonzales." This Speedy is what we call in Laredo, Texas in our licentious and salacious patois, a high sosiégate, which literally means high calm-down, and figuratively means "high get-over-your-own-damn-self" and sounds like "high society."

So this bourgie ratón lives the good life, stealing cheese and such from Sylvester, who is so run down in "Mexican Boarders," that he has to resort to amphetamines to get him through his days.

That's when the key plot twist in this fable occurs and Speedy's country mouse cousin Slowpoke Rodriguez arrives to visit--he is slow-talking, more heavily accented than Speedy (his voice provided not by Mel Blanc, Warner's heralded man of a thousand voices, but by Tom Holland). All the sight gags revolve around Speedy saving his slow, country bumpkin cousin, from Sylvester owing to said bumpkin's obsessive compulsive drive for more food--"Ahhmm, steeeeel hawwwwwwwngreeee" becomes his Godot-like mantra. One particularly cool sight gag fuses the cubist sensibility of Georges Braque and Pablo Picasso.

But what is most striking about "Mexican Boarders" is the intellectual capacity of Slowpoke Rodriguez. Freleng et al capitalize on his largely American audiences expectations not only of a "Mexican," but of a rustic "peon" from the country--an urban/agricultural antagonism that transcends even nationalistic biases. For this slow-talking, slow-moving mouse is nobody's fool. Let him speak for himself: "maybe Slowpoke is pretty slow downstairs in the feet, but he is pretty fast upstairs in the cabeza.” Stopped by Speedy from emerging one evening to feed his ever-present appetite, Slowpoke demures for a second, only to confess resignedly to his perplexed cousin, "it's a far, far, better thing I do than if I starve."

Striking. Freleng ventriloquizes his animated Mexican as a Sydney Cartonesque, Dickens-alluding literati; moreover, in the next scene, Rodriguez emerges as a Svengali-like mesmerist (no, I am not exaggerating!) who converts Sylvester into a fan-bearing lackey.



This ironic and surreptitious re-figuration of the "Mexican" as cunning, mesmerizing subject--not to mention the Machiavellian potentiality embedded in this animated marionette will have to be documented in the second edition of Tex[t]-Mex.


Here's a streaming version of Mexican Boarders via DailyMotion:

09 - Mexican Boarders by ALEXAGORDON28771 

 Here are some recent images I dredged up on a google image search:

A Warner Brothers' animation character style sheet from 1992

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A next-generation 3-d version of Slowpoke:

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NPR on Monstress by Lysley Tenorio!

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for the NPR storylink!

Women in Early Film—an Exhibit with focus on Mexican-American Women

Thought I'd share a fairly thoughtful on-line exhibit from The Women's National History Museum, a particularly germane segment of which focuses on Mexican-American women such as Dolores Del Rio and Lupe Veléz. This little historical showcase speaks to the racial/gendered/integumentary dynamics and strains Mexican and Mexican-American actresses experienced in (the oft cinematic-chauvanistic cesspool that was old) Hollywood. Worth a gander. En la lucha.   —Marc García-Martínez, Ese at large

Eliding Asians, Erasing Latinas/os: The Oscars and Actors of Color

Latinas/os In and OUT of the American Eye

Lupe Velez Movie Poster Auction

Heritage is at it again with an amazing Lupe Velez movie poster auction. Click here for the details and click the image for Hollywood at its graphic deliciousness best!

Nice Piece from the UK on Ricardo Montalban

Eva Mendes, Ethnic Studies Critic, on Rita Hayworth and More...

It's bad news when Latina starlets horn in on an Ethnic Studies turf--profe's gonna lose! In any event, as a fair amount of Tex[t]-Mex dwells on the figuration of Latinas/os in Hollywood, an excerpt from Eva Mendes's conversation, forthcoming from Interview magazine but available in part now from the Huffington Post, seems in order:

DC: I have a question for you that's a little more complicated. Do you find it a challenge being Latin in Hollywood?

EM: I would never call it a challenge. I think being a woman in Hollywood is a big enough challenge. It really is, man. I don't want to be one of those people who complain. But the lack of roles out there--it's unbelievable. I read a lot of scripts. I believe you've got to read one that you know you're not going to do, because you've got to educate yourself on what's out there to make the best decision for you. So it's challenging being a woman. Then there are other kinds of obstacles that come your way, but there are many times that being Latin has actually helped me, being a Cuban-American has helped me.


DC: I think it makes you seem very modern and real.


EM: Absolutely. Because whether you like this next statement or not, we are the future. I mean, we're all just mixing together that much more. We are the future in that sense. I don't mean Latinos, I just mean ethnic diversity. I speak English without an accent, and I speak Spanish without an accent. I really do have the best of both worlds. What makes it frustrating is when a director or a studio head doesn't see me for the same part that they'll see, let's say, Drew Barrymore for. Drew's a great friend of mine. But it's like, "No, we want more of an American type of girl." And it's like, American has opened up. I'm an American girl, born and raised. I mean, I was into New Kids on the Block, just like Drew! Actually, I shouldn't say that. I don't know if she was. I'm going to text her on that one.



DC: I was reading recently about Rita Hayworth.


EM: Oh! Love her film Gilda [1946].


DC: She was half-Latin, and she changed her name to her mother's maiden name. Her mother actually was Irish-American, and her last name was Hayworth. She also plucked her hairline so she would look more aristocratic. A lot has changed in 60 years. Back then, I don't think anybody was really ready for somebody with a Latin last name. Obviously, so much has changed. I was wondering if you feel, like, "Yeah, it's changed, but it hasn't."


EM: No, I feel it's definitely changed. Thank God. We are moving forward. Every time there's another successful Latin actress, that's just better for everyone involved. Now, I want to see more Asian girls. People ask me if it's difficult being Cuban-American in this industry. I say, "You know what? Not as difficult as it is being an Asian girl." We have so many Asian girls in this country, and they're so not represented up on the screen.

The Huffington Post, source.

Enoch Bolles, 1922

In 1922, Enoch Bolles turned his paintbrush and eye South of the Border, or to the border with this winsome lass. Part of the pre-history and history of the eroticization of the Latina/o body in the U.S.

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Spike Lee On Hollywood, Race, and Black Bodies in the World Economy of Cinema

Lupe Vélez: Tales of Suicide, Stardom, Barbituates, and Mexican Food

originally posted 8/09/07 and updated 12/11/07



The essay that appears in Tex[t]-Mex on Lupe Vélez (chapter four) reappears in a slightly different form in a new collection edited by Myra Mendible that has the greatest title for a book that I have seen in a long time: From Bananas to Buttocks!!!!! The book was released in September 2007 by the University of Texas Press. More on Mendible's opus appears here. A direct link to the book at Amazon appears here.

The overweight title of my essay in her collection is: "Lupe Vélez Regurgitated: Cautionary, Indigestion-Causing Ruminations on "Mexicans" in "American" Toilets Perpetrated While Covetously Screening "Veronica". Here's a great clip [ updated Tuesday, December 11, 2007] showcasing the gifted Mexican actor's range:

Dora & Diego Versus Speedy Gonzales

Our August 12, 2007 entry below, wherein AT&T waxes eloquent regarding the beauty of a monolingual world in a 1920 advertisement provides the perfect segue to our next galleryblog installment, wherein a recently-hitched, Hollywood, Tejana celebrities start piling on Speedy Gonzales while giving themselves over to reverie regarding future the issue of rugrats, something like "hope" evanesces on the horizon of tomorrow! Click here for a tale that fuses celebrity, multi-lingualism, procreation, Hollywood, and an animated tag-team match wherein Dora and (Latino Himbo) Diego get medieval on Warner Brothers' ratoncito.