This article seeks to explore what part Armendriz played in the shifting "representation of Hollywood Latinidad" (Beltrn 40) in the immediate postwar era through the analysis of his different acting styles in Ford's Three Godfathers (1948), The Fugitive (1947), and Fort Apache (1948). It argues that exploring the representation of Hollywood Latinidad from the perspective of Armendriz's performances allows for a greater understanding of the Latina/o actor and, of the relative position of Mexicanness in the U.S. racial hierarchy