Download Hollywood Madonna: Loretta Young (Hollywood Legends Series) by Bernard F. Dick PDF

By Bernard F. Dick

Loretta younger (1913-2000) was once an Academy Award-winning actress identified for religious Catholicism and her performances in The Farmer's Daughter, The Bishop's Wife, and Come to the Stable, and for her long-running and vastly well known tv sequence. yet that was once now not the total story.

Hollywood Madonna explores the whole saga of Loretta Young's specialist and private existence. She made her movie debut at age 4, grew to become a celebrity at fifteen, and lots of awards and accolades later, made her ultimate tv motion picture at age seventy-six. This biography withholds not one of the info of her affair with Clark Gable and the daughter that robust love produced. Bernard F. Dick locations Young's affair within the right context of the time and the alternatives to be had to ladies in 1935, specifically a famous Catholic like younger, whose occupation may were in ruins if the general public knew of her tryst. With the delivery of a daughter, who may were branded a love baby, Loretta younger reached the crossroads of disclosure and deception, selecting the latter direction. That selection led to an illustrious occupation for her and a tortured youth for her daughter.

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Hollywood Madonna: Loretta Young (Hollywood Legends Series)

Loretta younger (1913-2000) was once an Academy Award-winning actress recognized for religious Catholicism and her performances within the Farmer's Daughter, The Bishop's spouse, and are available to the strong, and for her long-running and significantly renowned tv sequence. yet that was once no longer the total story.

Hollywood Madonna explores the whole saga of Loretta Young's expert and private lifestyles. She made her movie debut at age 4, grew to become a celebrity at fifteen, and lots of awards and accolades later, made her ultimate tv motion picture at age seventy-six. This biography withholds not one of the information of her affair with Clark Gable and the daughter that robust love produced. Bernard F. Dick locations Young's affair within the right context of the time and the alternatives to be had to ladies in 1935, particularly a famous Catholic like younger, whose occupation may were in ruins if the general public knew of her tryst. With the delivery of a daughter, who might were branded a love baby, Loretta younger reached the crossroads of disclosure and deception, picking out the latter direction. That selection ended in an illustrious profession for her and a tortured adolescence for her daughter.

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Extra resources for Hollywood Madonna: Loretta Young (Hollywood Legends Series)

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Loretta fared better in her second film with William Wellman, Heroes for Sale (1933). And she would work with him twice more, at MGM (Midnight Mary), and finally at Fox (The Call of the Wild). Wellman was not the kind of director to discuss his films in detail; he mentions Heroes for Sale in his autobiography because it brought him in contact with his future wife, who was working in a Busby Berkeley musical on the next sound stage. Yet Heroes was the kind of film that Wellman understood; it was the companion piece to Wild Boys of the Road (1933), his take on the Great Depression from the point of view of kids riding the rails and hoping to establish their own utopia.

The lovers never manage to leave the country. The police arrive, the villain plunges to his death from an open window, and the scales of justice are temporarily balanced, although there is no indication that Cagney has learned to curb his temper—and audiences preferred it that way. We tend to remember Taxi! not for the scenes in which Cagney loses his cool (his behavior is just irksome), but for two others: one in which Cagney s converses with a Yiddish-speaking man in Yiddish; and another, in which the winners of a dance contest are not Cagney and Loretta, who dance like professionals, but the unbilled George Raft and his partner.

A script is a script, however unenlightened. Weekend Marriage was one of six films she made in 1932. She was expected to make Lola believable, and she did. She had a career to pursue and a mansion to maintain. They Call It Sin (1932) revealed Loretta’s burgeoning ability to balance the extremes of the conventional rich boy/poor girl plot with the excesses of lurid melodrama. She was again directed by Thornton Freeland (Weekend Marriage), who this time realized that hers was a face and 30 S A C R I F I C I A L W I V E S , S H O P G I R L S , A N D P R O U D P R O L E TA R I A N S a figure to which painterly lighting and flattering camera angles could impart an otherworldly beauty.

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