I’ll admit I was expecting an awful lot from The Robin Hood of El Dorado – yet another 1930s William A Wellman film (this one made for MGM rather than Warner or RKO) which isn’t as yet officially available on DVD. I knew that it was a socially-conscious Western which had a high reputation, and also that it starred Warner Baxter. He is an actor I admire though sadly many of his films seem to have disappeared (especially the silent ones, like the very first adaptation of The Great Gatsby) or are very hard to track down. This Western is also the first movie where Wellman was credited as scriptwriter as well as director – coming just a year before he won the Oscar for writing A Star Is Born.
So one way and another my hopes were high, but on first viewing I’ll admit I was a bit disappointed. I was impressed by the film’s powerful indictment of racism and prejudice, but felt as if the drama falls off in the middle after a powerful start. And I was also slightly taken aback to see Baxter playing a Mexican bandit, Joaquin Murrieta, complete with a heavy fake Spanish accent rather than his own expressive voice. There are many scenes where the Mexican characters speak among themselves in accented English, which I find hard to take at times – though there isn’t much option in a film where some of the actors, like Mexican actress Margo as Murrieta’s young bride Rosita, really are from Latin America and others aren’t.
As a gangster film made only the year after The Public Enemy, directed by William A Wellman and starring Edward G Robinson and Loretta Young, this could have been a masterpiece. Sadly, it isn’t. The big problem is that it is supposedly set in the San Francisco’s Chinatown, but almost all the characters are played by Caucasian actors – something which was done in many films in the 1930s, but was criticised even then. I found a contemporary review from The New York Times which pointed out the wild mis-casting of Robinson.
I’m only going to write a brief review of this film, but wanted to say that it does have its moments, as you’d expect from any film directed by Wellman – and Robinson in particular has some powerful scenes despite everything. I also liked the dark, shadowy cinematography by Sidney Hickox, who worked with Wellman on other pre-Codes like Safe In Hell, The Purchase Price and Frisco Jenny – whichalso has scenes in Chinatown. It’s just a shame that the print I saw isn’t very good and so there are some scenes where, amid the darkness, it is hard to work out exactly what is going on.