Ramona

I was surprised to find that the song Ramona made so famous as the theme in the 1927 silent that gave Dolores Del Rio her most notable part in silent films was not included. It was such a very big hit, but I suppose there were copyright problems. In any event Alfred Newman's score for this version of Ramona is one of many things to recommend it.

Another is the stunning color cinematography, this version of Ramona is the first western to be in technicolor. And apparently the color has held up well or the film had a good restoration. The cast is led by Loretta Young in the title role and Don Ameche in his breakout role as Alessandro the Indian who falls for Ramona and she him.

Young who is a mixed race girl who has been raised at Pauline Frederick's hacienda in California of the 1870s has finds out about herself and confesses love for Ameche who is a top hand around the place. That earns her and Ameche banishment, but they go and start a farm of their own. But it's only the beginning of their troubles from newly arriving American settlers. Indians were specifically exempted from the Homestead Act and I'll say no more.

Standing out in the supporting cast is Jane Darwell who is doing her part as the kindly pioneer woman who takes in Ameche and Young as a dress rehearsal for Ma Joad. She has her standards, but since Ameche and Young are Christians they're welcome in her house. In fact the three of them are the most 'Christian' characters in the film.

One part that makes no sense to me is Kent Taylor as Frederick's son and soon to be patron of the hacienda. He's rather insipid and poorly defined as a character.

Henry King is a director who should be given more study. Because he was studio contract director as opposed to an independent like Ford or Hitchcock he's given short shrift. Look down the list of his credits and you'll see some great classics. Other than Taylor and not his or Taylor's fault since the character is poorly defined he got great performances from his cast.

Interracial love was one daring topic for 1936 or 1927 or even in silent versions before that. Ramona is a fine film of social significance and a great tragic romantic love story.

Ramona from 1936 is a remake of a 1928 film starring Delores del Rio and Warner Baxter. Del Rio was undoubtedly more suited to the half-Indian Ramona than Loretta Young in a black wig, but Young of course was still very beautiful.

The 1936 version is in color and costars Don Ameche in a Johnny Belinda wig as the Indian, Alessandro, with whom Ramona falls in love.

Ramona lives with her aunt, Senora Moreno (Pauline Frederick) who took her in after Ramona's mother died. Her son, Felipe (Kent Taylor) is in love with Ramona, but his mother is determined that they not marry.

When an Indian ranch owner, Alessandro, appears on the scene, he and Ramona fall in love, and we learn why Senora Moreno did not want her with Felipe. Ramona's biological mother was a squaw.

She and Alessandro marry and have a baby as Alessandro works their ranch. The white man comes and drives all the Indians off their property. The traveling family is taken in during bad weather by a woman, Aunt Ri (Jane Darwell).

When the baby becomes ill, Alessandro leaves to get a doctor.

I did not think I would like this story, but one becomes involved in the plight of Ramona and Alessandro. I was distracted by Ameche as an Indian, but he had a gentle, soft voice and was so dignified in the role, you went along with it. Young was very sweet and sympathetic.

A little trivia. Filming was delayed due to Young being under severe stress and overwork. The truth was, she was having Clark Gable's baby. I actually had the pleasure of knowing her daughter. She was a lovely woman.

"Ramona" seems as far as a fairy tale ;the splendor of the technicolor and Loretta Young's luminous beauty add to its obsolete charms.The screenplay is melodramatic with an over possessive mother character that should have been more developed. Indians,particularly the male lead ,doesnot seem very authentic ,but who cares?Aunt Ri is a colorful character who resembles the old lady(Edna May Oliver) who takes in Fonda and Colbert in John Ford's "drums along the Mohawks trail" .She steals the show with her crude thinking: "they are not heathen people ,therefore they are nice people",and she prevents the final from completely falling into the mushy trap.The very end is rather implausible and was probably added to secure a -relatively- happy end.

What really amazing is how the quality of the colors has successfully resisted to the passing of time.

Hollywood operated in a different world in the mid-1930s than it does today. The Technicolor production of September 1936's "Ramona" was delayed by 20th Century Fox because the "official" word was its scheduled star, Loretta Young, was recuperating from exhaustion after appearing in back-to-back movies, Cecil B. DeMille's 1935 "The Crusades" and "The Call of the Wild" with Clark Gable.

The true story emerged years later as to why Young delayed the studio's shooting of "Ramona." Well after her acting days were long over, Young sat down with writer Joan Anderson to relate her life story for her autobiography, which wasn't released until after her death in 2000. The actress confessed that her supposed adopted daughter Judith Lewis was the result of an affair she had with Clark Gable, 34, while on the remote location filming "The Call of the Wild." As a good Catholic who didn't believe in abortion, Young carried the child throughout the pregnancy, unbeknownst to the studio and the public. Young, 22 at the time, became invisible, 'vacationing' in England until she returned to California to deliver her daughter.

A few weeks passed before Young handed Judith, named after the patron saint of difficult situations, St. Jude, over to an orphanage with the intentions of adopting her, which she did 19 months later. With her marriage to film producer Tom Lewis in 1940, Young gave her daughter his last name. But the ploy failed to fool many who saw Judith develop into a female version of Clark Gable. Despite being pressed numerous times over the years to admit the obvious, Young continued to deny the true father's identity for fear it would ruin the actor's reputation.

Seeking a possible replacement for the unavailable Young, Winfred Sheehan, head of Fox Films, felt that young Rita Hayworth, 18, whom was being groomed by the studio to become the next Dolores del Rio, could play Ramona, a half-white, half-Native American that fit perfectly with Hayworth's Hispanic background. But head of the newly-merged 20th Century Fox, Darryl F. Zanuck, nixed Sheehan's choice, selecting little known actress Rochelle Hudson instead. And the president made another historic choice, figuring "the story is in the special class and deserves more elaborate treatment than formerly called for." His studio spent the extra money to film "Romana" in the new Technicolor three-strip format, the fourth Hollywood feature movie to do so. The production, planned for mostly exterior shooting, was considerably delayed by long periods of rain in Southern California. When filming was ready to begin in the spring of 1936, the marquee actress Loretta Young became available. She was still feeling the effects of her daughter's delivery, and a body double was substituted for long shots whenever she experienced postpartum effects.

Helen Hunt Jackson's 1884 novel 'Ramona,' set in the Mexican colony of California, was brought to the screen twice before as silent movies, and was cinema's first sound version of the tale of a racially-mixed young woman whose attraction with several prominent gentlemen in the region took a back seat of an Indian chief's son, Alessandro (Don Ameche). "Romona's" plot ironically has Young's character become pregnant by Alessandro. Both find life difficult as the Indians' background makes it hard to begin life as respectable farmers.

The Kenosha, Wisconsin-native Dominic Felix Amici took up acting during his college days at the University of Wisconsin. The 22-year-old adopted the stage name Don Ameche when he was behind the mic in 1930 for a popular Chicago radio station. Zanuck heard his dynamic voice over the airwaves and immediately signed him to a studio contract. "Ramona" was Ameche's second appearance on film.

"Ramona" was a success at the box office, helped by the studio's first use of Technicolor. With each motion picture it produced, Technicolor improved its color quality, making tremendous advances with its relatively new technology. The New York Times film reviewer noticed that "Chromatically, the picture is superior to anything we have seen in the color line." Variety concurred, adding, "the fact that the color angle becomes less noticeable as the picture unwinds, and never interferes with the telling or reception of the story, is evidence that color has finally found its place in film production."

I have read the novel "Ramona" a few times, and it seems something was lost when the book was translated into film. First of all, the story takes place in the Spanish colonial days of California, and this is why the Native Americans are speaking with Spanish accents. The "gringo" white people (Americans) are seen as the villains because they mostly are Protestant and are moving into a predominantly Catholic area and are claiming land that had been granted to Spanish settlers by the King of Spain. There was this same ill feeling about gringos or "white settlers" when Texas was in the process of separating from Mexico and becoming part of the United States.

As for Ramona's being a half-breed, the novel explains she is the child of the Spanish rancher and his Native American girl friend. The rancher brings her, as an infant, to the hacienda, and the rancher's wife agrees to bring up her husband's illegitimate daughter as if the child were her own or at least her social equal.

I am not sure of Loretta Young's heritage, but I believe she was a devout Catholic and perhaps was of Latin descent. It so happens her sister Georgiana was married to Ricardo Montalban, so Miss Young was associated with Latin Americans in her private life. Mr. Ameche was an Italian-American and no doubt Catholic, so he fit into this story of Spanish-colonial California very well.

I hope this explanation has helped some reviewers better understand the background of "Ramona." One of my favorite scenes is the priest coming to bless the flock of sheep and crops each spring. It is reminiscent of the same blessing in "The Thorn Birds" and the annual "Blessing of the Fleet" in the Gulf Coast area of the United States.