Film Review: HONOLULU LU (1941)

"Why the Hell isn't this on DVD/Blu yet?"--Number 101









HONOLULU LU (1941 Columbia) Starring Lupe Velez, Leo Carrillo, Bruce Bennett, Forrest Tucker, Marjorie Gateson, Don Beddoe, George McKay, Nina Campana, Adele Mara, Lloyd Bridges.  Written by Paul Yawitz, Eliot Gibbons and Ned Dandy.  Directed by Charles Barton.


As Consuelo, Velez arrives in the titular town with uncle Carrillo--a confidence man with a penchant for hot checks and wealthy widows.  Tiring of his schemes, Velez ditches her uncle and, with Campana's help, gets a job at the Blue Chip Cabaret with a simple name change to "Lu". The headstrong Latina also inadvertently costs three Navy men (Tucker, Bennett and McKay) their dates for the evening.

The surly sailors attend Lu's show with intent to heckle but are won over by her risqué act of songs, dancing and comedy impressions.  Lu is soon being wooed by Bennett, and her popularity is on the rise.  In fact, Lu is a heavy favorite in the upcoming Miss Honolulu contest, with the new burlesque Queen's likely victory causing great consternation for bluenose Gateson.  Facing exposure for a previous Atlantic City swindle and seeking to win Gateson's favor, Carillo enters his niece in the contest to defeat "Lu".  Without Velez's knowledge, of course, and Carillo is equally in the dark about his niece's alter ego.  So much that, in his attempt to throw the upcoming contest Consuelo's way, Carillo throws shade at Lu by claiming the burlesque beauty is a spy!

HONOLULU LU captures the inimitable Lupe Velez at the height of box office power. Velez was halfway through her highly successful run as RKO's MEXICAN SPITFIRE and headlining comedies for Universal (SIX LESSONS FROM MADAME LA ZONGA, with SPITFIRE co-conspirator Leon Errol) and Columbia in away from her home studio.  HONOLULU LU is the latter and (much) better vehicle for the unique, memorable Mexican-American starlet.

With the dapper Carillo replacing Errol as the scheming Uncle and sticking to a singular characterization, Lupe gets the dual role in HONOLULU LU.  As Consuela's stage persona, the former vedette showcases her varied talents: singing, dancing, and--as she previously demonstrated onscreen in HIGH FLYERS--impressions.  Velez' Gloria Swanson is uncannily accurate, and her Katherine Hepburn equally spot-on.  A distant third is her Dietrich, which is no threat to Madeline Kahn's IMO.  To be fair, Kahn's pastiche was much more affectionate: Velez was Dietrich's contemporary and one-time romantic rival (for Gary Cooper).

Eerily released on the same day that Germany declared war on the U.S. (and just four days after Pearl Harbor was attacked), HONOLULU LU proved prescient by rounding out Lupe's quartet of imitations with you-know-who.  I can't think of a better Fuehrer within Velez' gender, and the predominantly military audience eats it up.

Screenwriters Yawitz and Gibbons were much more at home writing westerns, and it shows, with a distinct lack of truly funny lines.  Fortunately Barton's comedic skill keeps you from noticing too much.  Velez sings two songs, That's the Kind of Work I Do and the title track. The screenwriters (assisted by Ned Dandy) do manage to come up with slightly bawdy lyrics for the starlet in the former.  The titular tune is overused a bit (three times) but with Lupe strutting her stuff, it's all good.

Herman Brix was barely a year into his name change as Bruce Bennett, and the former Olympic medalist (shot put) and screen Tarzan is acceptable (if bland).  Forrest Tucker is five films into his Columbia pictures contract as the more vocal of Bennett's wingmen, and look for his future leading lady Adele Mara, making her second screen appearance at age 18.  She's uncredited (two lines), as are future big names Larry Parks (as a sailor) and Lloyd Bridges (a desk clerk).

There's Adele! (L)

Nina Campana IS credited, for once--the delightful character actress was too often unbilled in her forty-four film Hollywood career.  She's stuck with the most clichéd dialogue, but still stands out in scenes with Velez and Carrillo.  Her best remembered film would be her next one-TORTILLA FLAT (1942) with Spencer Tracy.

Carrillo and Campana

Ultimately, though, HONOLULU LU is mostly a chance to get full throttle, uninterrupted Lupe Velez at her best for 72 minutes.  True, she is elevating unremarkable material again, but like her long-time co-star Leon Errol, she was quite good at that.  One of the unsung greats of the twentieth century's first half, Velez deserves to be remembered for her immense charm and considerable talents--not for the tasteless urban legends surrounding her untimely passing.

So....why isn't this on DVD?

The MEXICAN SPITFIRE series is out on DVD, courtesy of Warner Archive, but Columbia owns the rights to this one.  C'mon guys, you've issued far less notable "B" movies than this one.

Why it should be on DVD:

An all-too-rare solo showcase for its tragic star, who would be dead three years to the month after HONOLULU LU was released at age 36.  We can all wonder what might have been.  It's easy to imagine Velez eventually conquering a television medium that brought Lucille Ball and Joan Davis (among other comediennes) to new career heights just a decade later.  

HONOLULU LU aired on TCM in August during the channel's 24 hour Lupe Velez marathon, so it seems likely it will turn up there again at some point for your DVR space.

Hollywood's Hispanic Heritage Blogathon 2015: Adele Mara

It's Blogathon Time again!  Today's post is The Horn Section's contribution to Hollywood's Hispanic Heritage Blogathon 2015, hosted by Horn Section friend and fellow blogger Aurora of Once Upon a Screen!  Check out all of the other great participating posts by clicking the link above, including Aurora's own contribution on Velia Martinez, co-star of our of our faves, The Big Boodle.  And check out the archives there for more classic film blogging by Aurora.

For my contribution, I'll highlight one of the most beautiful actresses of the 1940's and 1950's, who delighted us for two decades before retiring to raise a family.

Adele Mara was born Adelaida Delgado on April 28, 1923 in Highland Park, Michigan.  Though it was sometimes written that she was half-Irish, Mara stated for the record to western biographer Boyd Magers that she "is adamantly" all Spanish.  Her father was a Ford Motors executive and her brother, Luis Delgado, also became an actor and James Garner's long-time stand-in.

One of the most popular pin-up models during WWII.  No, not the cat

She got her show business start at the young age of six by winning dance lessons as a door prize at a theatre.  Starting with tap, young Adele progressed into adagio and ballet.  By the time Miss Delgado was 15, she was singing and dancing with Xavier Cugat's orchestra.  It was at Cugat's suggestion that she shortened her last name, and the newly billed Adele Mara was spotted by a talent scout at New York's Copacabana.  The result was a contract with Harry Cohn's Columbia Pictures in October 1941--just six months after Adele's 18th birthday.  (Also notably signing with Columbia simultaneously, per UPI: 18 year old dancer Ann Miller and 20 year old big band singer Janet Blair).

with Victor Jory and Joe E. Brown in SHUT MY BIG MOUTH (1942)

By year's end, she was popping up in Columbia "B"s.  Adele Mara's screen career began modestly enough--she was uncredited in her first two films, Navy Blues and the Lupe Velez vehicle Honolulu Lu (both 1941) but she was a leading lady by her fourth, appearing opposite comedian Joe E. Brown in Shut My Big Mouth (1942).  While the film was Brown's vehicle (witness the title) all the way, his brown-eyed co-star with the bright smile attracted a lot of press, and with good reason: you couldn't take your eyes off her.   Subsequently, she was Chester Morris' leading lady in his next BOSTON BLACKIE adventure.

One of the few roles Adele Mara was up for and didn't win: the plum part of Ada in The Moon and Sixpence, which went to fellow Cugat alum Elena Verdugo.  She did have the opportunity to work with the studio's most popular comedy team, The Three Stooges.  Mara appeared in four short subjects during the team's prime years with Curly in 1943 and 1944.

Yes, that's Adele in I CAN'T HARDLY WAIT (1943)

Years later, Mara admitted that she was "a little unhappy" at Columbia: "I wasn't doing things I really wanted to do"--dance.  She wasn't that disappointed when the association only lasted two years.  As fate would have it, her new agent secured an interview with Herbert J. Yates' Republic Pictures in 1944, and they needed an actress to jitterbug with John Wayne (and to teach The Duke how to do the dance) in The Fighting Seabees.

Her 1948 Bowman Movie Stars card.  You shouldn't flip this one!

The auspicious beginning at Republic led to a seven year contract.  At Republic from 1944 through 1951, Mara not only received more opportunities to display her dancing skills (Vampire's Ghost and the Gene Autry vehicle Twilight on the Rio Grande, among others) but a wider range of roles--she proved she could play 'bad girls' as well as sweet, innocent types.  While Adele Mara was most frequently appearing in westerns, she was given opportunities to play choice parts in film noirs, thrillers, mysteries and war films as well.

In Exposed (1947), Adele Mara was top billed as wisecracking P.I. Belinda Prentice.  While the film didn't yield a signature role for the starlet (or even a sequel) it's a must for her fans.

My opinion: we should have had at least one more Belinda Prentice adventure

The daughter of a homicide Inspector (Robert Armstrong), Prentice is hired by Colonel Bentry to investigate his son and heir Bill, who ends up murdered with his butler (Harry Shannon) standing over the body.  There's no shortage of suspects, including the dead man's sister (Adrian Booth).  Adele Mara gets to try her hand at snappy dialogue, and the brisk 59 minute "B" also features William Haade as Prentice's assistant and venerable Bob Steele as a mob enforcer (tougher than his size would indicate, as always).  This watchable mystery is streaming at Epix HD.

Looking stunning as always in Blackmail (1947)

During her stay at Republic, Adele also received top billing in The Inner Circle (1946), memorably supported John Carroll in Angel in Exile (1948) and had high profile supporting roles in John Wayne's Wake of the Red Witch (1948) and Sands of Iwo Jima (1949).  The latter film also gave a breakthrough role to Forrest Tucker, who like Mara had been at Columbia (and appeared with the starlet in Shut My Big Mouth and Honolulu Lu) prior to signing with Republic in the late forties.  Tucker was given his shot at top billing with Ms. Mara as his leading lady for a pair of 1950 films, Rock Island Trail and California Passage (which I wrote about just last month).

In California Passage (1950)

The former was a highly entertaining "A" and one of the studio's most highly promoted films of the year, with Mara singing the title song.  However, it was the lower profile Christmas release California Passage that gave Adele one of her most memorable roles, as an Eastern transplant caught between feuding saloon partners Tucker and Jim Davis in the Sunshine state.  Read the reviews above for more, but suffice to say that I agree with the assessment of Allmovie's Hans J. Wollstein that Mara was "given a chance to shine".  California Passage is also currently streaming at Epix HD.

Unfortunately, it turned out to be Mara's last hurrah at Republic, for her contract was up in June 1951 and Yates, citing studio budget cuts, elected not to renew it.  By then, Adele Mara was engaged to TV writer/producer Roy Huggins (their marriage lasted a half century until Huggins' death in 2002).

Mara most frequently worked in television throughout the fifties; she made only five features after her stint at Republic ended.  As was the case on the big screen, she remained a popular presence in westerns, guesting on BAT MASTERSON, TALES OF WELLS FARGO, LARAMIE and multiple appearances on CHEYENNE, which was produced by Huggins.  She also made multiple appearances on her husband's shows 77 SUNSET STRIP and MAVERICK for Warner Brothers, and the latter contained Adele Mara's most memorable television roles.

Wowing the cowboys in Seed of Deception

The first season MAVERICK finale Seed of Deception (1958) gave her a chance to briefly show off her still-formidable dancing skills (though Mara claimed she was 'a little rusty'), but it was the second season's The Spanish Dancer that gave her a more extensive showcase as well as the titular role. 

While The Spanish Dancer was not included in the series' Columbia House boxed set, it is one of the most underrated installments of the show's legendary second season.  The lengthier dance sequence for its leading lady is especially welcome--director James V. Kern wisely shows the entire routine.  As a bonus for her fans, the memorable flim-flam involving Bart Maverick (Jack Kelly) and Gentleman Jack Darby (Richard Long) also gives Adele Mara her best small screen opportunity to show off her comedic chops.  Robert Bray (LASSIE) is the worthy foil, who, like Bart and Jack, is crazy about 'Elena Grande' .

With Myron Healey in Seed of Deception

She returned for one final MAVERICK in its third season, again opposite Jack Kelly and again playing the title role in The Marquessa (1960).  Semi-retired and raising three children by this time, Adele Mara appeared much less frequently on the small screen, with only two 1970's cameos after the 1962 ALFRED HITCHCOCK episode House Guest.

Adele Mara left quite an impressive body of work in her two decades on film and television, but remained remarkably modest about it when interviewed by Boyd Magers years after her retirement (for his 1999 book with Michael Fitzgerald,  Ladies of the Western).  "It was like make-believe, and I was being paid good money for it.  Except I never thought I was too good at it."

I'm sure I'm not the only fan who begs to differ with her assessment.

ROCK ISLAND TRAIL (1950) and CALIFORNIA PASSAGE (1950): Tuck Becomes a Hero

This post is The Horn Section's contribution to the Republic Pictures Blogathon hosted by two great bloggers: The Hannibal 8 and our longtime friend Toby Roan at Fifty Westerns From the 1950's. Follow Mr. Roan on twitter and keep up with all the great posts on classics from arguably the Western's greatest decade, the 1950's.

ROCK ISLAND TRAIL (1950 Republic) Starring Forrest Tucker, Adele Mara, Bruce Cabot, Chill Wills, Adrian Booth, Grant Withers, Jeff Corey. Written by James Edward Grant.  Directed by Joseph Kane.

ROCK ISLAND TRAIL (based on Frank Nebins' novel Yankee Dare) was announced as one of Republic Studio's upcoming A-listers for the following year in August 1949.  Quite a cast had already been assembled at the time of that initial press release: Adele Mara, Bruce Cabot, Chill Wills and Grant Withers were among the actors announced, and each played a substantial role in the resulting feature.

Adele Mara

Six-foot-five Rod Cameron was considered the initial favorite to play Reed Loomis, but when filming of James Edward Grant's script actually began in Oklahoma, the hero was played by another tall young Republic actor who had made a significant impression in two of the studio's biggest 1949 successes.

After mostly playing bullies and villains his first two years with the studio, Forrest Tucker had the sympathetic supporting role of Marshall Bucky McLean in the Wild Bill Elliott starrer HELLFIRE, then made an even bigger splash butting heads with John Wayne in the Marine tribute SANDS OF IWO JIMA.  With Elliott's expiring contract creating a void near the top of Republic's stable, the thirty-one year old actor nicknamed "Tuck" graduated to top billing by headlining Joseph Kane's Trucolor adventure.

Forrest Tucker

Reed Loomis (Tucker) is President of the Rock Island Trail Railroad Company.  He draws the ire of steamboat operator Kirby Morrow (Cabot), first by winning the stage line's lucrative mail contract, then by wooing away Morrow's intended, Constance Strong (Mara).  Morrow tries to stop Loomis by hook or crook, sensing that the handsome railroader will be taking a lot of business away from his boats.  First Kirby tries bribing Loomis' subordinates, but Loomis' loyal sidekick Hogger McCoy (Wills) thwarts the effort.  After Reed is able to convince Strong's wealthy father (Winters) to invest in his railroad, Morrow turns to direct sabotage.  Meanwhile, exotic French-educated Keokuk Princess Aleeta (Adrian Booth) tries to woo Mr. Loomis away from the banker's daughter.

Wills and Tucker

The role of Loomis was a real breakthrough for Forrest Tucker.  He mostly played snarling, tight lipped villains throughout the 1940's, but ROCK ISLAND TRAIL gave the husky actor a chance to play not only an extrovert, but an unreserved hero.  Tucker's Reed Loomis is persuasive enough to sway investors, quick-witted and skilled at any weapon of choice (more on than in a bit).  Loomis' magnetism attracts both the banker's daughter and the Indian princess, with sufficient charm to keep the latter's loyal friendship even after he sidesteps her pass in favor of the former.  Tucker is forceful and convincing throughout, clearly relishing the opportunity to play a protagonist in an "A" feature (he did receive a few leads in poverty row productions such as Monogram's EMERGENCY LANDING (1941) before achieving more substantial stardom at Republic).  Tuck's image would eventually change dramatically with similarly brash roles as Professor Harold Hill in THE MUSIC MAN and, of course, Sergeant O'Rourke on F TROOP.  But ROCK ISLAND TRAIL was the first real display of his affability on the big screen.

Oh, and that comment about his aptitude with weapons: Loomis puts on an impressive display with his fists (several times) and his firearm, but when Morrow challenges him, he chooses an unconventional weapon: mops dipped in boiling soup.  The resulting duel provides the biggest surprise in this kitchen-sink actioneer, with Loomis proving his point by the end of the conflict: "Dueling is stupid!"

Bruce Cabot (R)

Kane provides a surfeit of action as expected.  In addition to that mop duel, ROCK ISLAND TRAIL gives us train/stage race, an exploding bridge, several fist fights, the inevitable attack from a hostile tribe (instigated by Cabot, of course)....there's even a courtroom trial with Abraham Lincoln (Jeff Corey) representing Loomis' railroad (and winning the case, of course).

Corey, he of the deep, smooth voice (his career would hit an unfortunate roadblock with HUAC a year later) is a fine choice to play the future President.  The offbeat casting of Booth doesn't quite come off without a hitch, though I can't think of anyone else under contract who could have played the role of a French-Indian princess more effectively.  (And yes, that certainly includes Mrs. Yates, Vera Ralston.) Booth's multicultured Aleeta refreshingly takes the high road romantically and has several intriguing character traits, such as enjoying a good cigar. 

Adrian Booth (L)

Surprisingly, the film's major weakness is a mediocre script by the usually reliable James Edward Grant (SANDS OF IWO JIMA).  Dialogue is frequently stilted, and it's simply impossible to believe that Morrow got to the engagement stage with Constance given that neither she nor her father seem to have the slightest warmth for him, even in the beginning.  Another drawback is distractingly obvious use of rear screen projection in a few key scenes, cheapening an otherwise impressive-looking Trucolor production.

These problems notwithstanding, ROCK ISLAND TRAIL is consistently fun, a quintessential example of old school action and a good showcase for its leads with beautiful Mara matching Tucker's work.  Republic had high hopes for the film, providing an ambitious all-out promotion that included its stars (joined by Roy Rogers) traveling by train to the premiere in Rock Island, Illinois on April 27, 1950.  Despite the heavy publicity, ROCK ISLAND TRAIL was something of a box office disappointment, though the chemistry between its stars was undeniable, and Mara was cast as Tucker's leading lady in his next stab at top billing for Republic, CALIFORNIA PASSAGE.

CALIFORNIA PASSAGE (1950 Republic) Starring Forrest Tucker, Adele Mara, Jim Davis, Estelita Rodriguez, Peter Miles, Paul Fix, Iron Eyes Cody, Bob Williams, Charles Kemper, Lee Tung Foo.  Written by James Edward Grant.  Directed by Joseph Kane.

Mike Prescott (Tucker) and Linc Corey (Jim Davis) are uneasy partners in the Golden Bear, a Maricosa saloon circa 1850.  Unbeknownst to Prescott, Corey is involved in another partnership: he's been masterminding stagecoach robberies in cahoots with Bob Martin (Bill Williams).  After Prescott wins the saloon's profits via their business agreement (cutting cards, with winner taking all) for the 17th week in a row, resentment overcomes Martin.  Despite Corey's warning, hotheaded Bob is spoiling for a fight, and Prescott kills him in self-defense in the ensuing skirmish.  A short time later Bob's sister Beth (Mara) arrives from the East with youngest brother Tommy (Peter Miles) in tow.  Mike and Linc are both attracted to the new girl in town, deepening the antagonism between the shaky business partners.  After Prescott gains the upper hand for Beth's affections, Corey frames Mike for the stagecoach robberies, eliminating him from both that contest and the business partnership by forcing him on the lam.  Then Beth Martin uncovers evidence of Corey's guilt.

In contrast to the publicity blitz that accompanied the Trucolor ROCK ISLAND TRAIL, black and white CALIFORNIA PASSAGE was issued quietly in December 1950.  Still, it's the better film for my money.  The key is that screenwriter Grant is in much better form, providing dialogue that is much snappier and funnier, with Tucker and Davis puncturing one another with sharp one-liners frequently enough to require a scorecard.

Grant also throws us more curveballs this time around (that memorable mop duel notwithstanding).  Self-described "irregular, not incompetent" Sheriff Willy Clair (a terrific Kemper) shocks Beth with his passive reaction to a lynch mob.  But he's no coward, nor corrupt--he simply realizes he must pick his fights wisely while "civilizing" Maricosa, one resolved conflict at a time.  After an Indian attack is repelled in the opening scene, hero Prescott is the one who takes a scalp (from uncredited Iron Eyes Cody)!  His explanation to young Tommy?  "He'd have taken yours!"

Trucolor ROCK ISLAND TRAIL presented its hero and villain in straightforward black and white--black and white CALIFORNIA PASSAGE filters its foes through subtler (and changing) shades.   Reed Loomis was gregarious and affable but PASSAGE's Mike Prescott bluntly states: "I don't like people."  As mentioned above, Prescott's barbs are mostly aimed at not-so-beloved partner Linc, but also find their way towards Beth (one of those immigrants who has no idea what she's in for) and wary Sheriff Clair, who is treated to a "short beer" after Mike offers him one "on the house" (Kemper's reaction is priceless).

Likewise, Cabot's Kirby Morrow was unlikable from the get-go, but it's hard not to have some sympathy for Jim Davis' Linc--at first, anyway.  We learn that he's 0 for his last 17 in the "winner take all" method of determining profit sharing--and the most recent loss came after his partner was away for several months.  But Linc proves as unworthy of any sympathy as he is of Mike's reluctant loyalty by the final reel.  Our first impressions of Prescott, Corey and Clair are proven erroneous by film's end, as is Prescott's initial take on those immigrants from back East.  The same fog that exposed the vulnerability faced by Beth and Tommy in the opening scene plays a prominent role in their survival on the mountain later, suggesting they just might be more adaptable than Prescott thinks.

Estelita Rodriguez

CALIFORNIA PASSAGE boasts a typically outstanding Republic supporting cast.  In addition to Kemper, the film also offers an opportunity to enjoy a meatier-than-usual part for starlet Estelita Rodriguez, playing Williams' girlfriend and the saloon's singer,  (She gets two songs,  "Goin' Round in Circles" and "Second Hand Romance"). Rodriguez, only 24 at the time, would lead a sadly troubled adult life. Married four times, she passed away at age 40 from influenza in 1966.  Lee Tung Foo plays his familiar stereotypical Chinese cook, this time insisting repeatedly to Davis that everything is 'kosher'.

Rodriguez, Kemper and Davis (L to R)

The film isn't perfect--Beth's realization about her brother is a bit rushed, and the otherwise sharp Sheriff's suspicion of Prescott in the robberies seems pretty questionable.  (What would Mike's motivation be?  He's been winning the weekly take!)  Still, CALIFORNIA PASSAGE is suspenseful and entertaining.

While neither project catapulted him to A-list stardom, ROCK ISLAND TRAIL and CALIFORNIA PASSAGE established Forrest Tucker as a viable choice for heroic roles, and his ability to seamlessly alternate between friend and foe would make him one of the decade's busiest stars.  Tuck became one of Republic's top male leads (THE WILD BLUE YONDER, JUBILEE TRAIL opposite Joan Leslie) while sprinkling in vehicles with other studios, such as Fox (THE QUIET GUN), UA (COUNTERPLOT) and Hammer (BREAK IN THE CIRCLE) among others.  He continued to play villains effectively as well, most notably in SAN ANTONE (1953, for Republic) and RAGE AT DAWN (1955).  Forrest Tucker's Republic swan song, 1958's GIRL IN THE WOODS, arrived just a year before the studio's demise after a quarter century and nearly 1,000 features.

CALIFORNIA PASSAGE is currently streaming at Epix HD.

MAVERICK Mondays: "The Spanish Dancer" (1958)

MAVERICK Mondays: Number 15







MAVERICK: "The Spanish Dancer" (1958 Warner Brothers/ABC-TV) Original Air Date: December 28, 1958.  Starring Jack Kelly as Bart Maverick, Richard Long as Gentleman Jack Darby, Adele Mara as Elena Grande, Robert Bray as John Wilson, Tony Romano as Raoul Onate, Slim Pickens as Jed, Ben Morris as Harry, Mark Tapscott as Charlie, John Mitchum as Miner.  Directed by James V. Kern.  Teleplay by Robert Schaefer, Eric Freiwald and Robert Smith; Story by Edward Seabrook, Homer McCoy and Oscar Millard.


Dancer Elena Grande arrives to provide entertainment at the New Mexico mining town where Maverick and Darby have teamed to auction supplies to the prospectors.  The temporary salesmen both take a shine to Grande while she cuts a deal to perform at the saloon owned by a third potential suitor, Wilson.  Miss Grande holds a grudge against gringos and prefers to keep the business arrangement platonic (she's raising the money to build her own cantina).  Still, gringos Wilson, Maverick and Darby are undeterred: all three continue attempts to woo her.

In an effort to eliminate his competition, Wilson makes a $5,000 offer for the entire wagon of supplies.  That offer rejected, Wilson next attempts to bankrupt Maverick in a poker game--another failure that ends with Bart and Darby gaining control of Wilson's Blue Rock Mine.  When that mine turns out to be flooded, Wilson appears to have the last laugh--and Maverick's troubles deepen when Darby mysteriously disappears after publicly brawling with his business partner over Elena.

The Spanish Dancer is yet another winner from the landmark second season of MAVERICK.  Six writers collaborated on this twisting tale, which was re-worked as an episode of THE ALASKANS a season later (with future MAVERICK Roger Moore taking the Kelly role).

Efrem Zimbalist Jr.'s availability to play Dandy Jim Buckley became limited after 77 SUNSET STRIP premiered--in fact, he made his final MAVERICK appearance (Shady Deal at Sunny Acres) the month before The Spanish Dancer aired.  In anticipation of the inevitable, Richard Long was introduced as Gentleman Jack Darby, becoming the first and most popular in a long line of Buckley surrogates.

Gentleman Jack's debut, Alias Bart Maverick, established Darby as essentially the same character as Buckley: assuming Bart's identity to escape reward seekers.  It was a script that probably was could have been written for Dandy Jim and Bret and filmed with Bart and Darby by changing only the names.  After briefly (his cameo lasts 20 seconds) assisting Bart in Denver during the Shady Deal, Long is able to establish his own identity as Gentleman Jack in The Spanish Dancer.

Darby's romantic interest in Grande (and stated weakness for the titular "type" in general) is unique to his character--Buckley's mind was always on the money.   Much more honorable in this return trip, Jack Darby is Bart's amicable business partner here, with their friendly cooperation in a remote mining town recalling Bart's arrangement with Buckley in High Card Hangs.  At least, they're completely friendly until Elena's arrival.  Long was popular enough in the role to be the only recurring foil from the Huggins Era to remain after Coles Trapnell took over as producer for the third season (returning for The Goose-Drownder).

The Spanish Dancer was the only series appearance for Bray (LASSIE), who comes across as more of a sore loser than a powerful bully.  Bray's an acceptable adversary, but the real standout in the guest cast is Mrs. Huggins herself, Adele Mara.  Elena Grande is the most intriguing of her MAVERICK characters, and she gets a better showcase for her formidable dancing talents than she had in Seed of Deception.

The episode was the first of three MAVERICKs for both Slim Pickens (amusingly the Judge in the camp's court) and director James V. Kern, who excels at staging Bart's fistfights with Darby and his muddy wrestling match with Wilson.  Kern makes other visually interesting choices (i.e. bookending the episode with Mara's dancing silhouette).  The director would get his chance to stage a deception utilizing both Maverick brothers in the very next outing, Game of Chance.

HOW'D BART DO AT POKER?

A full house beats a flush, and gives him a $5,000 pot in the only hand we see.

WISDOM FROM PAPPY?

No wise fatherly advice this time around, though Bart has a line worthy of Pappy.  "Money can't buy you friends. Money can't buy you happiness. Money can't buy you peace of mind. Confederate money, that is."

THE BOTTOM LINE:

Nicely developed con game almost rivals Shady Deal at Sunny Acres.  The Spanish Dancer keeps the audience guessing about Elena Grande's true affections right up to the explosive denouement, which is one of the show's most memorable.  Bret and Dandy Jim aren't missed--Bart and Gentleman Jack handle this intriguing tale nicely without them, with the always stunning Mara in support and Pickens providing extra laughs.  (***1/2 out of four)

Gratuitous pic of Adele.  You knew this was coming.

MAVERICK currently airs Monday through Friday at 1 PM Central/2 PM Eastern without commercial interruption on Encore Westerns, and every Sunday night at 10 PM Central/11 PM Eastern on COZI TV.