She headed back to Mexico where, over the next 30 years, she helped put the burgeoning Mexican national cinema on the map, most notably with the Cannes Film Festival Grand Prix winner María Candelaria (1943), one of five collaborations she made with director Emilio Fernández, writer Mauricio Magdaleno, cinematographer Gabriel Figueroa, and actor Pedro Armendáriz. Del Río recorded the film's theme song, "Ramona." Media in category "Ramona (1928 film)" The following 5 files are in this category, out of 5 total. A family secret threatens their happiness. This romantic tragedy relays the tragic death of Ramona and Alessandro’s child at the hands of a Caucasian doctor, who refuses to help their child because of his skin color. Learning that she is actually half-Indian reveals the source of her stepmother’s contempt yet frees her to marry. She took television and movie roles in the United States (including playing Elvis Presley’s mother in 1960’s Flaming Star), Italy, and Mexico until 1978, when she made her last film, The Children of Sanchez, an American production with fellow Mexicans Anthony Quinn and Katy Jurado. Shortly after, the couple moves away, and Alessandro is killed by a white man for robbing him of his horse; Ramona eventually reunites with her childhood friend Felipe and starts a new life as a depressed woman. This was the first United Artists film with a synchronized score and sound effect, but no dialogue, and so was not a talking picture. With the advent of sound movies and Technicolor, Ramona was reintroduced in 1936 to a new generation in a version starring Don Ameche and Loretta Young. Presented at SFSFF 2014 with live music by Mont Alto Motion Picture Orchestra, Photos by Pamela Gentile and Tommy Lau. The novel had been previously filmed by D. W. Griffith in 1910 with Mary Pickford, remade in 1916 with Adda Gleason, and again in 1936 with Loretta Young. The newly preserved print of the Dolores Del Rio starrer premiered on March 29 at the Billy Wilder Theater in Los Angeles and screened at … Carewe met del Río at a party in Mexico City and induced her and her husband, an aspiring screenwriter, to come to Hollywood. Ramona is a little orphan of the great Spanish household of Moreno. by D. W. Griffith in 1910. Both the book and the film, however, were popularized because of their dramatic, romantic, and cultural aspects.[7]. Del Río’s public image became the responsibility of publicist Harry D. Wilson, whom Carewe hired to give her a makeover into a fashionable woman of, alternately, Mexican, Spanish, or Castilian heritage. Add to iCal Add to Google Calendar. Library of Congress Moving Image Curator Rob Stone was in charge of the challenge of converting Ramona’s Czech intertitles back into English. Functions Dolores Del Rio, born in Mexico, was a popular motion picture actress in the 1920s and 1930s. Together we contrive characterizations exactly suited to her abilities and her limitations.”. Ramona will be accompanied by theatre organist Bob Salisbury, who’ll be playing our Mighty 1924 Wurlitzer pipe organ! Del Río is utterly convincing as a tragic, romantic figure despite the mawkish device of amnesia she had to negotiate. “He told me I was the female Valentino,” del Río recalled in a 1981 interview, a label that was picked up by the entertainment press of her time. Mary Pickford and Henry B. Walthall play a Native American couple who encounter oppression and tragedy. Language Silent, English intertitles "Ramona", A Story of the White Man’s Injustice to the Indian, is a short drama directed by D. W. Griffith. Ramona Parlor is planning a screening of a silent film entitled "Ramona" which will be co-presented by the Playhouse as a Community Engagement event, and also with support of the Los Angeles Theatre Organ Society (LATOS). The film depicts Ramona, who is half Native American, as she is raised by a Mexican family. For decades, Ramona was thought to be lost until archivists rediscovered it in the Národní Filmový Archiv in Prague in 2010. Ramona has been adapted several times for other media. FEEL FREE TO FOLLOW US ON TWITTER @SilentFilmGems "Ramona", A Story of the White Man’s Injustice to the Indian, is a short drama featuring Billy Bitzer, a star of Silent Hall of Fame. Ramona is a 1928 American silent drama film directed by Edwin Carewe. Cast: Mary Pickford [Ramona], Henry B. Walthall [Alessandro], Kate Bruce [Ramona’s stepmother], Francis J. Grandon [Felipe, Ramona’s stepbrother], W. Chrystie Miller, Charles H. West [native American man in chapel], Dorothy West, Frank Opperman, Gertrude Claire, Mack Sennett [the first white persecutor] Ramona was to be reintroduced several times. Ramona (Dolores Del Rio), raised on a Spanish rancho in 1850's California, is loved by her step brother, Felipe (Roland Drew). Del Río grew up in privileged circumstances in Mexico City and married Jaime Martinez del Río, a British-educated lawyer from a wealthy Mexican family. [4] Ramona is differentiated from most films with a typical Hollywood ending because of its authentic cultural values embedded throughout. Ramona is a 1928 American silent drama film directed by Edwin Carewe,[1] based on Helen Hunt Jackson's 1884 novel Ramona, and starring Dolores del Río and Warner Baxter. Iconic screen siren Dolores del Río starred in this silent film thought long lost until a print was discovered ten years ago in the Czech Republic. Carewe did not make the transition and his career ended in 1934. [5] An article by Indian Country Today revealed the fact that Carewe discovered del Río in Mexico and invited her to Hollywood to perform in his film. Del Río’s contract with Carewe specified that all her pictures would be made with “first-class scenarios and produced in a high class and artistic manner.”. She is only able to recover from her depression and remember her feelings for Felipe when he sings a song from their childhood to restore her memory. The song, performed by del Río for RCA Victor, was synched with a scene in the otherwise silent film; her version was reused for the 1936 Ramona. The star was denied a work permit to appear in 20th Century Fox’s Broken Lance (1954) because she had aided anti-Franco refugees of the Spanish Civil War. Nonetheless, the atmospheric, authentic story Jackson wrote from her experiences among the Mission Indians struck a lasting chord with the public. Carewe and Finis Fox both made claims that they were the sole reason for the actress’s success. In September of 1927, Dolores Del Rio traveled to Zion National Park with a film company, to film exterior sequences for the film Ramona (1928). Other versions were made in 1928, 1936 and 1946. Come to the Mission Playhouse for a free silent film screening of the 1928 classic Ramona, directed by Edwin Carewe starring Dolores del Rio & Warner Baxter. "[3], An article published by UCLA revealed that the 1928 film is believed to be the most authentic of the five film adaptations of Ramona since the director Edwin Carewe was part Chickasaw and Dolores del Río was raised in Mexico. The title character is beautiful, carefree, happy, and innocent as she plays with her adopted brother Felipe. The dramatic lighting of cinematographer Robert D. Kurrle almost beatifies del Río and lends dignity to a character who might just as easily have aroused prejudice. When her 1881 nonfiction work A Century of Dishonor and a later government report on the Mission Indians of Southern California failed to effect change, she decided to mobilize public opinion with a novel to detail the prejudice, displacement, and outright murder Native Americans suffered at the hands of intolerant whites and Mexican Americans. Del Río’s relationship with Carewe became strained as the director suggested they were romantically involved, a deception the popular press helped to spread. Jackson, a writer and U.S. At a time when “exotics” were played almost exclusively by Anglo actors and actresses, del Río won acceptance through careful image management by Carewe. Filmed April 1 and 2, 1910, D.W. Griffith’s adaptation of Helen Hunt Jackson’s novel, “Ramona,” is the earliest film known to have been made in the Santa Clara River Valley. This was the first United Artists film with a synchronized score and sound effect, but no dialogue, and so was not a talking picture. The hardships and cruelty piled on Ramona arouse pity in the audience. In March 2015 it won the distinction "Award of Merit" at the San Francisco Film Awards. She created Ramona, a half-caste Indian adopted by a wealthy Mexican-American widow, who falls in love with and marries a Native American sheep shearer, only to suffer great hardship, including the death of a child after a white doctor refuses her treatment. Ramona suffers racism and prejudice in her community, and when she finds out that she is half Native, she chooses to identify as a Native American instead of a Mexican American so that she can marry Alessandro, who is a Native as well. Copyright © 2019 San Francisco Silent Film Festival Privacy Terms, Copyright © 2019 San Francisco Silent Film Festival. Some of the characters have been changed to enhance the dramatic worth of the picture, but this is pardonable, especially when one considers this subject as a whole. It was directed by prominent Native American director Edwin Carewe and highlighted problems with racism in the culture at the time. In only her fourth film, she played the coveted part of Charmaine de la Cognac in Raoul Walsh’s 1926 version of What Price Glory? Interior Department agent, became radicalized after attending a lecture given by Ponca Chief Standing Bear, who told harrowing tales of forced removal from their lands in Nebraska and mistreatment by government agents. The beautiful Mexican actress Dolores del Rio starred in another silent film version in 1928. [8], "Recovered and Restored: 'Ramona,' Silent Movie by Chickasaw Filmmaker", https://en.wikipedia.org/w/index.php?title=Ramona_(1928_film)&oldid=996694463, Films based on Ramona by Helen Hunt Jackson, Short description is different from Wikidata, Creative Commons Attribution-ShareAlike License, This page was last edited on 28 December 2020, at 03:32. Journey into Fear (1942) was her swan song to both her lover Orson Welles (the film’s producer and uncredited director) and Hollywood. Henry King) with Loretta Young. The different episodes are told discreetly and with a good measure of suspense and sympathy. The film deals with complex issues of race and was adapted from a best-selling book by Helen Hunt Jackson, first published in 1884.