LATINOS GET A FOOT IN STUDIO DOOR

Chicanos--American-born citizens of Mexican descent--have not exactly been invisible on the big screen. There have been leading Chicano characters--or at least a Latino point of view--in features such as the once-suppressed “Salt of the Earth” (1954), “Boulevard Nights” (1979), “Alambrista!” (1980) and the more recent “El Norte,” “Ballad of Gregorio Cortez” and “Crossover Dreams.”

But those were independently made features. With a couple of exceptions--Universal’s low-budget “Gang!” in 1978 (starring Robby Benson as a gang member trying to leave his barrio buddies, later retitled “Walk Proud”), and Universal’s modestly budgeted “Zoot Suit” in 1981--the studios have pretty much relegated Chicano characters to secondary status.

While Universal is about to break ground again with the big-budget “The Milagro Beanfield War,” a survey of the other major and mini-major studios turns up not a single script in production or pre-production with a dominant Latino background.

Nonetheless, Latino actors, writers and producers contacted by Calendar say they feel they’re making progress, however slowly, into Hollywood’s mainstream. They point to a number of indicators:

“Milagro” is seen as a small but significant step in bridging the gap between Latino subject matter and the Anglo-dominated studio system. The partnership of superstar producer-director Robert Redford and co-producer Moctesuma Esparza is considered especially noteworthy.

Luis Valdez’s “Zoot Suit,” because it showcased in one film so much outstanding Latino talent--and the emergence of star Edward James Olmos to such prominence and critical acclaim.

Another partnership--producer-director Taylor Hackford (“An Officer and a Gentleman,” “White Nights”) with writer-director Valdez--on the independent “La Bamba.” Currently in post-production, it’s the story of famed ‘50s pop singer Ritchie Valens (played by newcomer Lou Diamond Phillips), who came from a working-class family and earned perhaps the greatest recognition for a Chicano to that time before dying in the 1959 plane crash that also killed Buddy Holly and the Big Bopper.

The casting of Latino actors in prominent “crossover” roles, or parts not identified by race--notably Rita Moreno in “9 to 5,” Hector Elizondo as Matt Dillon’s Italian-American father in “The Flamingo Kid,” Raul Julia as Jane Fonda’s estranged hubbie in Lorimar’s upcoming “The Morning After.”

The decision of actor Emilio Estevez to retain his Latino name rather than adopt a professional pseudonym, as did his father, Martin Sheen (who was born Ramon Girard Estevez).

The growing economic/political clout of the Latino population (now estimated at about 20 million), its impact on the media and the national consciousness, and its gradual recognition by studio marketing executives as a potent consumer group.

“It’s definitely changing,” says Julie Carmen, who portrays the strong-willed mother of a Chicano family in “Milagro.” “In this piece (“Milagro”), certainly, the writing is different--there’s not a single character who’s stereotypical.”

Her career, she says, has been built on playing the love interest of Anglo male stars--she’s had eight such roles--and adds: “You can’t say that it’s lack of talent anymore.”

“It is beginning to feel like we’re being accepted as artists, rather than ‘Chicano actors,’ ” says Mike Gomez, a former board member of Nosotros, the organization of Latino actors. “I don’t think as Hispanic actors that we’re losing anything, but (slowly) gaining a stronger foothold in the industry. If casting can continue to be more open-minded, then this problem will continue to be solved.

“The wonderful thing that’s happening now is that we’re getting more producers and writers who are Hispanic and are making the Hispanic experience a part of the American human experience. We as Hispanics know our experience is valid, but people in the industry need (to be reminded) that we have something to say, that our lives are as valid as any other American’s.”

While Esparza is developing a number of projects with non-Latino backgrounds--including a new Whoopi Goldberg film--Luis Valdez, another political activist of the ‘60s, seems rooted in Latino subject matter, at least for now.

“When Woody Allen stops writing about Jews, and Neil Simon stops writing about New Yorkers, I’ll stop writing about Latinos,” he says with a smile.

“La Bamba,” developed by Valdez’s brother, actor-composer Daniel Valdez, does not sound like another “American Graffiti” retread. Although it will feature plenty of rock ‘n’ roll, says Valdez, he will open the film in a farm labor camp in the 1950s. “It’s a symbol of what the ‘50s were for a large part of working-class America, not just migrant workers. I don’t think that image has been seen, ever. We’re more used to seeing ‘Happy Days.’ But it was part of Ritchie Valens’ life.”

The story, told through the eyes of Valens’ brother (Esai Morales), will conclude optimistically in the ‘80s, when “there’s still injustices and drug problems and economic problems--but also a different social climate that allows people to be whatever they want to be.” In Valdez’s case, “I realized somewhere along the line that the way (to success and progress) is to be a person. You’ll never realize your potential if you hide in the collective. Individuals make things happen.”

The time is ripe, he contends, “to make a different kind of film.” But the Latino film maker who makes the breakthrough is the one who’s willing to work longer and harder, “who really wants it.”

“Latinos have to make their own opportunities,” says Valdez. “Is it possible? Of course it’s possible. That’s why I’m making ‘La Bamba.’ ” --J.M.W.