Cast & Crew
After the opening "Showgirls on Parade" dance number in Technicolor, masters of ceremonies Ramón Pereda, Rosita Moreno and Barry Norton introduce themselves. Charles (Buddy) Rogers and Lillian Roth sing "Any Time's the Time to Fall in Love," then Spanish actor Ernesto Vilches demonstrates his versatility in extracts from his characterizations as "Mr. Wu," "Don Juan" and others. Maurice Chevalier and Evelyn Brent investigate the origins of the Apache dance, after which Nino Martini serenades Rosita Moreno from a Venetian gondola in a Technicolor sequence. The Albertina Rasch dancers perform, then Nancy Carroll and Abe Lyman and his band interpret "Dancing To Save Your Sole." Harry Green and Kay Francis follow with "I'm Isadore, the Toreador" in Technicolor, and Juan Pulido sings popular songs in Spanish. Chevalier returns as a French gendarme, partroling in a park, and sings "All I Want Is Just One Girl," after which Ramón Pereda introduces Mitzi Green who impersonates Chevalier and Charlie Mack. Richard Arlen, Jean Arthur, Mary Brian, Gary Cooper, James Hall, Fay Wray, Phillips Holmes and Virginia Bruce are featured in the Technicolor production number "Let Us Drink to the Girl of My Dreams." "La Argentinita," accompanied by guitarist Luis Yance, performs Spanish songs and dances. Clara Bow, Jack Oakie, Skeets Gallaher and a chorus of sailors sing "I'm True to the Navy Now," then Dennis King sings "Nichavo!" directed, onscreen, by Ludwig Berger in Technicolor. After Rosita Moreno performs a fado, Chevalier and the dancers appear as Parisian chimney sweeps in the Technicolor finale, "Sweeping the Clouds Away."
Edwin H. Knopf
Rowland V. Lee
A. Edward Sutherland
Abe Lyman And His Band
Charles "buddy" Rogers
Josep Carner Ribalta
Ernesto De Curtis
G. B. De Curtis
L. Wolfe Gilbert
Richard A. Whiting
Fay Wray (1907-2004)
She was born Vina Fay Wray, in Cardston, Alberta, Canada on September 15, 1907. Her family relocated to Arizona when she was still a toddler so her father could find employment. When her parents divorced, her mother sent her to Hollywood when Fay's eldest sister died in the influenza epidemic of 1918. The reasoning was that Southern California offered a healthier climate for the young, frail Wray.
She attended Hollywood High School, where she took some classes in drama. After she graduated, she applied to the Hal Roach studio and was given a six-month contract where she appeared in two-reel Westerns (25 minutes in length), and played opposite Stan Laurel in his pre-Oliver Hardy days.
She landed her first big role, as Mitzi Schrammell, in Erich von Stroheim's beautifully mounted silent The Wedding March (1928). It made Wray a star. She then starred in some excellent films: The Four Feathers (1929), the early Gary Cooper Western The Texan (1930), and one of Ronald Coleman's first starring roles The Unholy Garden (1931), all of which were big hits of the day.
For whatever reason, Wray soon found herself in a string of thrillers that made her one of the great screamers in Hollywood history. The titles say it all: Doctor X, The Most Dangerous Game (both 1932), Mystery of the Wax Museum, The Vampire Bat (both 1933) and, of course her most famous role, that of Ann Darrow, who tempts cinema's most famous ape in the unforgettable King Kong (also 1933).
Wray did prove herself quite capable in genre outside of the horror game, the best of which were Shanghai Madness with Spencer Tracy; The Bowery (both 1933), a tough pre-Hays Code drama opposite George Raft; and the brutal Viva Villa (1934), with Wallace Beery about the famed Mexican bandit. Yet curiously, the quality of her scripts began to tank, and she eventually found herself acting in such mediocre fare as Come Out of the Pantry (1935), and They Met in a Taxi (1936).
With her roles becoming increasingly routine, the last of which was the forgettable comedy Not a Ladies Man (1942), she decided to trade acting for domesticity and married Robert Riskin, who won two Best Screenplay Oscars® for the Frank Capra comedies It Happened One Night (1934) and Mr. Deeds Goes to Town (1936). When Riskin died in 1955, Wray found herself working to keep busy and support her three children. She landed supporting parts for films like The Cobweb (1955), Hell on Frisco Bay (1956) and Tammy and the Bachelor (1957). She also found work in television on such popular programs as Perry Mason and Wagon Train before she retired from acting all together in the mid-'60s.
To her credit, Wray did remain reasonably active after her retirement. She published her autobiography, On The Other Hand in 1989 and was attending many film festivals that honored her contribution to film, most notably in January 2003, when, at 95 years of age, she accepted in person her "Legend in Film" Award at the Palm Beach International Film Festival. Wray is survived by a son, Robert Riskin Jr.; two daughters, Susan and Victoria; and two grandchildren.
by Michael T. Toole
Fay Wray (1907-2004)
This film was a Spanish-language version of the 1930 film Paramount on Parade (see below). Contemporary sources indicate that the content and running order of the Spanish version was considerably different in the various countries in which it was exhibited. However, the summary above, which was derived from an advertisement that appeared during the film's run in Mexico City, appears to reflect the most complete version.
Paramount made many foreign language versions of Paramount on Parade, but only the Spanish version appears to have been released in the U.S. The foreign versions all used most of the major musical sequences from the English original, but were introduced by onscreen hosts and hostesses speaking the language of the country in which the version was destined to be released. The hosts also performed in sequences that were substituted for most of the English sketches. At Paramount's Hollywood studio, Swedish singer Ernst Rolf and his Norwegian wife, Tutta Berntzen, filmed introductions and sequences for the Scandinavian version and Japanese comedian Suisei Matsui introduced and performed in the version released in his native land.
The majority of the foreign versions were prepared at Paramount's Joinville studio in Paris. Saint-Granier, Marguerite Moreno, Boucot fils and Charles de Rochefort were featured in the French version. De Rochefort directed the additional sequences and also directed Dina Gralla and Eugen Rex in their scenes for the German version. Theo Frenkel, Jr., Mien Duymaer van Twist and Louis Davids appeared in the Dutch version while Mira Ziminska and Mariusz Maszynski hosted the Polish version. Versions were also shot at Joinville for the Czech, Hungarian, Rumanian, Serbian and Italian markets, but the identities of the respective hosts have not been determined. The sequence featuring "La Argentinita" for the Spanish version was shot in New York on April 10, 1930.