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  • While Loretta Young and Don Ameche get top billing, there is no question that the real star of "Ramona" is the "new perfected technicolor" as the film's poster declared in 1936. The film was the 4th to be shot in the "perfected" 3-strip color process.

    "Ramona" does looks beautiful. Its the slow-moving plot that really does the film in. I've seen travelogues from the period that have more to hold a viewer's attention. Basically, the story revolves around a taboo romance between Young (a beautiful Spanish girl) and Ameche (the friendly Indian). The most interesting aspect of the plot is the fact that the white settlers are portrayed as the villains, grabbing the land and possessions of the peaceful Indians...an unusually politically correct position for a mid 1930's movie.

    If you're a fan of Loretta Young, Don Ameche, or beautiful technicolor, "Ramona" is worth a look...at least once. Repeat viewings could be painful.
  • loschavez11 January 2011
    This is an oldie but goodie. I can't locate a copy anywhere, which may be understandable. I have to find it, becausewant my wife to see it.

    When I last saw it, black and white TV was the norm; so it's dated. Came to find out it was in Technicolor all the time! I'd read the famous novel as young and innocent teen, soon to be ravished by Loretta Young. (Listen; NOBODY was more beautiful than Loretta Young.) She was a fine Hollywood actress. The story of Ramona is a frontier tragedy, but nevertheless lovely. Loretta acted her part not only sweetly. She was really perfect as Ramona. None of the settings were extraordinary; just adequate.

    The plot is a little too mushy. Yet it's very romantic; you can't help being swept up in it, owing to both Loretta and young Don Ameche, at the peak of his stardom. He was what we'd call a hunk these days; with uncommon screen presence. Ameche could act; I don't think I ever saw him do any part poorly. Why hasn't this 1936 classic been re-mastered and saved on DVD? I'll keep on looking for a video. I'd rate "Ramona" easily a 6. --Ciao, movie fans!
  • Warning: Spoilers
    You have a choice to make. You can fret about Don Ameche playing an Indian and let it ruin the film for you. Or you can just accept that in 1936 there wasn't going to be a full blooded Indian in a leading role of an important motion picture. In other words, get over it.

    This film is based on a very important novel about racial prejudice, and while I have not read the novel, my impression is that to quite an extent the movie is a too-simplified version of the story. However, racial prejudice in an underlying and ongoing theme of this film, so it still has impact.

    The other important thing about this film is that it was only the fourth movie to be filmed in 3-strip Technicolor! Unfortunately, the print is not pristine, but the Technicolor is still quite stunning, including with lots of outdoor scenes "on location" in sunny California.

    Loretta Young was a lovely actress, and her performance here is excellent. Don Ameche, a much forgotten actor, was a fine performer, although here he seems perhaps a bit too refined to be a Spanish-Indian of that period. I don't know that...I'm just surmising. He's still interesting to watch. The other performance of note here is by Jane Darwell, whom most viewers will recall from "The Grapes Of Wrath".

    When you think of the advances in Technicolor from this film in 1936 to "Gone With The Wind" 3 years later...wow! The film does seem dated, but I think it's worth it to watch an historically important novel turned into a film, with themes that still resonate in our culture today.
  • "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.
  • Back in the 1930s and 40s, Hollywood was extremely insensitive (and stupid) about casting folks for minority roles. However, that was the time and you just need to keep your politically correct instincts in check when you watch this one! Imagine.....Loretta Young playing a woman who is half American Indian and half Mexican! While this sounds dumb, understand that the likes of Rock Hudson played Indians in films--or Don Ameche cast as a full-blooded native like he is in "Ramona"!! As for J. Carrol Naish--like Anthony Quinn, he played just about everything (except blacks) in films--so it isn't surprising he's in this one playing a Mexican. Plus, frankly, he's played so many nationalities, most everyone at the time had no idea what his heritage really is!! But Loretta Young and Don Ameche--with their lovely American diction (especially Ameche, who is practically the epitome of politeness and class)!!! What were the executives thinking (or smoking)?! "Ramona" must have been a prestige picture for 20th Century-Fox, as it is filmed in beautiful 1930s-style Three-Strip Technicolor--a HUGE expense at the time and something reserved only for the best films. In fact, it was the first such film made by the studio.

    When the film begins, Ramona is in love with a cultured man from a very good family. So does she....or so she thinks. Eventually the truth is discovered--she's a half-breed! And she's forced to leave her home by some real jerk-faces. But before she goes, her native friend (Ameche) tells her that he's loved her--and she is thrilled, as she loves him, too. So, they run away together and get married. However, their life is tough, as folks are quite prejudiced towards them--throwing them off their farm. Can they somehow find a place that will accept the strangely cultured couple--and their new baby?! Overall, I'd say the writing isn't bad (but it is a bit schmaltzy) and the film manages to be watchable in spite of some terrible casting.

    By the way, if you want to see other films with equally ridiculous casting, try finding "The Conquerer" (with John Wayne as Genghis Khan and red-headed Susan Hayward as his bride, Bortai)--or most any Charlie Chan film.
  • 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.
  • Warning: Spoilers
    I have to concede that this picture had me constantly off balance. It began with the relationship between Ramona Moreno (Loretta Young) and her brother Felipe (Kent Taylor). Didn't it seem like they were just a little too lovestruck to be brother and sister before Alessandro (Don Ameche) came on the scene? Felipe was definitely looking to take the relationship to a different level before he learned of Ramona's background, but even so, they would have been raised as siblings. The whole thing didn't compute with me.

    Then there was the casting of Don Ameche as an Indian. That might not have been so bad but with the way his hair was restrained by the headband he looked like Andy Kaufman to me. Upon his very first meeting with Ramona hanging from the apple tree, all I could do was wonder how she got up there in the first place. Stop and think about that for a minute.

    So when Ramona finally confessed her love to Alessandro it just seemed like it came out of left field. They get married and with a quick scene change they already have a baby. After getting kicked off their land by the white settlers, they're taken in by a pioneer family for a time, but even there, Aunt Ri Hyar (Jane Darwell) goes through a brief moment of racist resentment before figuring the couple is OK.

    I guess what I'm saying is that all these situations probably needed a bit more development in the story to make sense, but instead they occurred almost as random events with no sense of continuity. On the plus side, Loretta Young made for a quite lovely leading lady with a genuinely wholesome charm for the era. Her appearance in the story is the only reason I can come up with to catch this picture, otherwise you can give it a bye.
  • 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."
  • Spanish Loretta Young (!) was raised by a wealthy family. The family's son loves Loretta but she loves Indian Don Ameche (oh boy). Then she finds out that she's also half-Indian, which makes her happy as she can marry Ameche. It's one of those movies, folks. When Ameche rides into view and you realize he's gone full Tonto for this picture, you basically have two choices: turn it off or soldier on, knowing full well this is going to be a little hard to swallow.

    The early Technicolor is nice and makes the beautiful scenery pop. Young is lovely, even with the jet black hair that doesn't suit her. Speaking of lovely, Katherine DeMille appears in this and her beauty is also enhanced by the color. Good support from Jane Darwell, J. Carrol Naish, and Pauline Frederick. John Carradine has a small part. It's a well-intentioned bit of hokum. Amusing at times but depressing if you take it seriously.
  • Warning: Spoilers
    There are legendary moments in Hollywood history where somebody is so blatantly miscast that the results are ridiculous. In most cases, the fault is not the actors, but in a few (most memorably, John Wayne as Ghengis Khan in "The Conquerors"), there is no place else to point the finger. In 1936, Hollywood cast Don Ameche and Loretta Young as "Native Americans" (or "Indians" as they refer to themselves here), simply darkening their skin while giving them black wigs or shoe polish to change their appearance. This was Ameche's first leading role, but Young had been a major star since the beginning of talkies. Of course, the roles were obviously challenging, and both stars give their best to make their characters as real as possible. But 78 years later, their casting raises eyebrows and creates a lot of controversy over the so-called "Golden Years" of Hollywood.

    In spite of that, this is a riveting movie that you can enjoy if you simply just get past the fact that Ameche, no matter what his background was, came off as too All-American and that Young, even if playing only partial "Native", was as Caucasian as they come. Had the film been made in black and white, their appearances wouldn't transcend the character's nationalities. Yet, being only one of several films made in color that year ("The Trail of the Lonesome Pine" also came out), "Ramona" is still striking to look at, and there are moments when you see that the script really is taking great pains to show sympathy to the people whose land our forefathers stole from underneath them. In fact, that is what is going on here. Landgrabbers come to California, are willing to kill to get their hands on the precious soil already planted on, and Ameche, Young and their baby girl are displaced with no place to go. A pattern in history to be sure. Just look at "Fiddler on the Roof".

    Ramona is the beautiful heroine, a young girl unaware even in spite of the fact that she looks "native" (or is made to at least appear it) that she is the daughter of an Indian maiden who died and was brought up by her father's second wife. Resentful Pauline Frederick takes her in and mistreats her for years, sending her off to the convent to get "the heathen spirit" out of her, and threatens to do so again when she catches her kissing hired hand Ameche, a full blooded native. Ameche and Young escape before she can be sent back to the convent again, raise their family, are displaced, then find comfort in the home of the sweet Jane Darwell. At first, the kindly fat woman is aghast to find out that they are "Indians" but relieved to find out that they are Christians. "As long as a man believes that Jesus was their savior, they are fine with me no matter the color of their skin", she says after getting over her initial fears.

    Yes, this film is filled with a racist overtone that tries to present the Indians as human beings who can be "reformed" with Caucasian help and Darwell is doing her Christian duty to do just that. But this is also a tragedy and humanity must suffer if we are to learn lessons from hatred and intolerance. So while I have misgivings about the casting and certain elements of the plot, I know it is a reflection of its time, and history must be documented to show the evils of what prejudice truly is. A pioneer woman like Darwell would indeed come to look at Indians as heathens who can be made whole, and since this took place well over a century ago, we can look back at this and be glad that attitudes have changed, that education has proved our fore-fathers to be misguided, and that while is certainly not perfect, society looks at racist views with disgust and intolerance with an intoleration for it.

    The supporting cast features a variety of familiar faces in important roles, notably Katherine de Mille as a jealous Indian girl who spills the beans about Young and Ameche to Fredericks; Kent Taylor as Fredericks' son who is secretly in love with Young; Victor Kilian as a comical monk who marries Young and Ameche; and John Carradine as a farmer who vows revenge when he catches Ameche stealing his horse. Henry King, a director of many historical epics of this nature, does an outstanding job of getting every physical detail just right, and even if you can't stomach some of those old ideals, you can't help but be taken in by the film's physical beauty.
  • 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.
  • Warning: Spoilers
    This film and the slightly prior "Trail of the Lonesome Pine" became pioneer projects in using the rather recently perfected 3 strip Technicolor filming process in extensive outdoor scenes. Both films deal with conflicts between rural folk: the one between clans of 'hillbillies' in the Appalachians, while this one deals with the generally callus treatment of California Indians and Latinos by recent American immigrants into the recently conquered upper California territory. Based upon the immensely popular and critically acclaimed Helen Jackson 1884 novel of the same title, it's essentially a remake of the 1928 film, again of the same title. All copies of this prior film were believed lost until recently. It starred the famous Mexican actress Dolores del Rio: a considerably less controversial choice than the non-Latin Loretta Young in the present film. This film must have been made just after Loretta had her hushed up out-of-wedlock child with Clark Gable.

    Unfortunately, I only saw the last half of the film during one of its rare TV showings, thus will have to rely on other info to fill in the first half of the story. Briefly , Ramona is the daughter of a Spanish landowner and a deceased Indian maiden, raised by this family along with son Felipe, who falls in love with her.(In the novel, she's an adopted orphan). However, she falls in love with an Indian hired hand: Alessandro, played by Don Ameche, in his first significant film role: another controversial casting decision. Opposed by her stepmother, they elope, married by a sympathetic, humorous, priest, played by long-lived character actor Victor Kilian. Obviously, some time has passed before the next scene, when they are tending their farm and have an infant. Two Americans ride up to chat with them, one played by Russell Simpson. Alessandro brags about the agricultural quality of his land, and the two move on to San Diego. A while later we see several neighboring houses on fire, and one Indian shot dead after resisting a demand that he vacate his homestead, now claimed by Americans. Soon, Simpson shows up with a similar demand of the young couple. Ramona convinces Alessandro it's best to give in. So, they burn their nearly ripe corn and wheat, abandon their livestock, and load a wagon to travel to who knows where? During a fierce rainstorm in the mountains, they encounter a house and ask for shelter. 'Aunt' Ri Hyar(Jane Darnell)invites them in, thinking they are Mexicans down on their luck. Clearly, she's a very different kind of American(and rare women) from those previously encountered. However, she takes fright when she figures out Alessandro is Indian rather than Mexican. However, when they claim to be Christians, she reverts to her friendly attitude.

    Unfortunately, their infant comes down with a fever. Ri directs Alessandro to the only doctor, far away. But the doctor is overwhelmed, treating the victims of an epidemic, and refuses to make the trip. However, he supplies some medicine and instructions. Alessandro's horse develops leg problems on the strenuous trip 'home'. Thus, an alternative horse is needed. A farm is encountered, but the American owners are not found. Thus, Alessandro 'borrows' one of their horses. The owners arrive as he gallops off in the opposite direction. The owner(played by famous character actor John Carradine)rides after him. Alessandro gives the infant the medicine as instructed, then goes to a spring for water. Carradine arrives, and Ramona, mistaking him for the doctor, directs him to Alessandro, whom he immediately shoots dead, no questions asked. During the funeral procession, Aunt Ri gives Ramona a long, encouraging, talk, then Felipe(Ramona's familial brother)arrives and they embrace. We are left with the suggestion that Felipe will become her new husband or act as her guardian in the meanwhile(In the novel, he becomes her husband, after a much messier last portion of the story than this film version).

    Despite much casting criticism by many, I believe Loretta was an excellent choice for Ramona. In the novel, she is described as black haired, with blue eyes, which fits. Loretta was a well established film actress of uncommon beauty and sympathy, as brought out in her concern for her child...Novelist Jackson wanted to portray CA Indians as 'noble savages'. Hence, the classy Ameche was a good choice for Alessandro, if a bit wooden and rather unbelievable as a shepherd. Kent Taylor: sort of a second tier Gable-type is OK as Felipe. But, the most ingenious casting was Jane Darwell as aunt Ri Hyar, who, no doubt, represents what author Jackson would have been like in her situation. In contrast to the male Americans, she welcomes Indians and Mexicans as potential friends, as long as they claim to be Christians. She equates Christianity with being civilized(a very questionable assumption, as history proves!). Her long comforting speech to the recently widowed Ramona serves as a warm-up for her parting speech in her most famous role: as Ma Joad, in "The Grapes of Wrath". She's just as impressive here. In fact, the last half of this film rather mirrors this later film, but from a Native American point of view.

    This film long predates much more famous westerns(such as "Broken Arrow" and "The Searchers") that provide a similar overall theme that Americans and Indians(or Latinos) best respect each other, and sometimes intermarry. Ramona symbolizes this in her hybrid origins, and in taking an Indian husband, despite her privileged Spanish upbringing, as well as a subsequent Spanish husband. Murderous, thieving, prejudiced Americans are the bad guys.

    Ameche and Loretta would be reteamed a few years later as the romantic couple in the more remembered B&W "The Story of Alexander Graham Bell".
  • Warning: Spoilers
    The first of many slices of Technicolor Americana to be made for 20th Century Fox by veteran director Henry King; like the same year's 'The Trail of the Lonesome Pine' and 'The Garden of Allah', 'Ramona' was based on a novel that had already been filmed in the 1920s. Even without William Skall's sumptuous Technicolor photography, it stands up well as a watchable, well-acted drama in its own right; while much of what it says about white America's mistreatment of minorities still remains all too topical.

    Loretta Young and Don Ameche (before he grew his moustache) make attractive leads, donning black wigs in none-too successful attempts to convince us that they're of native American ancestry. With the exception of J.Carrol Naish - saddled with providing unfunny comic relief in a frequently incomprehensible accent - the rest of the cast are uniformly excellent.

    Many of the attitudes expressed in the film remain depressingly familiar today; Jane Darwell's haste to reach for a firearm when she thinks she's dealing with non-believers, for example. As in other Hollywood films of the thirties the law is shown being routinely used by the strong to bully the weak. The Settlement Act enables a white settler to shoot an Indian farmer with impunity; while John Carradine plainly isn't constrained by any worry that shooting an unarmed man three times simply for stealing his horse might get him hanged.
  • Ramona (1936)

    ** 1/2 (out of 4)

    A young half Indian woman (Loretta Young) marries an Indian (Don Ameche) but their lives take a turn for the worse when white folks run them off their land. This is an extremely depressing and somewhat shocking film that actually shows the Indians as the good people and the white's as savages, which wasn't common back in the day. The two stars do their usual great work but the direction is all over the place. The Indians aren't well written considering most are talking with Spanish accents. John Carradine has a small role. From what I gathered, this was the forth feature to use 3-strip Technicolor.