Viva Hollywood: The Legacy of Latin and Hispanic Artists in American Film by Luis I. Reyes

Both in front of the camera and behind the scenes, Latinos have been a part of the film industry from the beginning. Unfortunately, representation of Latinos in Hollywood has never been particularly good. Worse yet, often their contributions to the history of American film have gone unrecognized. Even today, representation of Latinos in film and television remains low. According to UCLA's Hollywood Diversity Report from 2021, Latinos only accounted for 7.1% of lead roles and 7,7% of all roles.

Viva Hollywood: The Legacy of Latin and Hispanic Artists in American Film by Luis I. Reyes is a comprehensive history of the stars, artists, movies, achievements, and impact of the Latino and Hispanic communities in the history of American film. Luis I. Reyes may be familiar to many classic movie fans as the author of the 1995 book Hispanics in Hollywood and Made in Mexico: Hollywood South of the Border. He has also served as a unit publicist on such films as Remo Williams: The Adventure Begins (1985), American Me (1992), and My Family (1995) and the TV movies The Josephine Baker Story and The Cisco Kid. Viva Hollywood: The Legacy of Latin and Hispanic Artists in American Film includes a foreword by Jimmy Smits, who has starred in such films as Old Gringo (1989), My Family (1995), and three Stars Wars movies, as well as such TV shows as L.A. Law, NYPD Blue, and The West Wing.

The focus of Viva Hollywood: The Legacy of Latin and Hispanic Artists in American Film is on the stars and artists behind the scenes who contributed to Hollywood history. It covers a span from the very beginnings of Hollywood cinema to the present day. As might be expected, it touches upon the major Latino and Hispanic stars in movie history, from such legends as Antonio Moreno and Gilbert Roland during the Silent Era, Lupe Vélez, Cesar Romero, Maria Montez, and Pedro Armendáriz from the Golden Age of Hollywood, and Rita Moreno, Raquel Welch, Raul Julia, and Andy Garcia from later eras. What sets Viva Hollywood: The Legacy of Latin and Hispanic Artists in American Film apart from other books is that Luis I. Reyes not only covers famous Latino and Hispanic actors, but also musicians, screenwriters, directors, and other artists. Mr. Reyes has extensive write ups on such legends as pianist José Iturbi, bandleader Xavier Cugat, and director Robert Ramirez. A whole chapter is dedicated to Latino and Hispanics' contributions to some of the greatest films ever made, including sculptor Marcel Delgado and matte painter Mario Larrinaga's contributions to King Kong (1933); Francisco "Chico: Day's contributions as first assistant director to The Ten Commandments (1956); and choreographer Alex Romero's contributions to Jailhouse Rock (1957), among others. Viva Hollywood: The Legacy of Latin and Hispanic Artists in American Film mentions a large number of movies important in the history of Latinos in Hollywood, including the "Mexican Spitfire" series, Border Incident (1949), The Ring (1957), Zoot Suit (1981), and Stand and Deliver (1988).

Luis L. Reyes recognizes that films are not made in a vacuum, and as a result he addresses some of the historic events that would have an impact on Latinos and Hispanics in film. He devotes a good deal of space to such history as World War II, the Zoot Suit Riots, the Good Neighbour policy, and  the Chicano Movement. Not only can the reader learn a good deal about the history of Latinos and Hispanics in film, but the over all history of Latinos in the United States since the advent of film.

Viva Hollywood: The Legacy of Latin and Hispanic Artists in American Film also happens to be a very attractive book. It has a beautiful red dust jacket featuring Latino and Hispanic screen legends prominently. The interior of the book is also attractive, and features several photos throughout. Amanda Richmond designed both the book's cover and interior, and she is to be commended for a job well done.

Viva Hollywood: The Legacy of Latin and Hispanic Artists in American Film is also very easy to read. Luis I. Reyes writes in a concise, yet readable style that allows him to pack a good deal of information in a relatively small space. What is more, he spares no details. Not only will those new to classic film and particularly those new to the history of Latinos and Hispanics in classic films learn some things, but so too will those of us who already know a good deal about Latino and Hispanic film history.

Over the years Turner Classic Movies and Running Press have published many fine volumes on various aspects of film history, and Viva Hollywood: The Legacy of Latin and Hispanic Artists in American Film is one of their best. It is an in-depth, comprehensive, and loving look at the history of Latinos and Hispanics in classic American films. It will certainly be a welcome addition to any classic film buff's library.