By Bernard F. Dick
Loretta younger (1913-2000) used to be 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 significantly well known tv sequence. yet that was once no longer the complete story.
Hollywood Madonna explores the whole saga of Loretta Young's specialist and private existence. She made her movie debut at age 4, turned a celeb 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 areas Young's affair within the right context of the time and the alternatives on hand to girls in 1935, specially a famous Catholic like younger, whose profession could 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, deciding upon the latter course. That selection ended in an illustrious profession for her and a tortured adolescence for her daughter.
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Additional resources for Hollywood Madonna: Loretta Young (Hollywood Legends Series)
Next, production—and a theater circuit. FBO’s talent roster was hardly ﬁrst tier, but that didn’t matter. The company specialized in B ﬁlms, the kind that played in theaters throughout side-street America, not in movie palaces. But with the movie craze, 18 " , / / Ê / - t 19 star quality was not the important factor; product was all. At best, FBO could offer the public cowboy star Fred Thompson and football player Harold “Red” Grange—and later, the better known Evelyn Brent, Viola Davis, and Bob Steele, the western hero and occasional villain (The Big Sleep , which may be the ﬁlm for which Steele is best remembered).
But that purity was partly the result of August’s lighting, which washed over her face and complemented what lay within. There was not one false note in Loretta’s performance. To watch her wash and iron like a seasoned homemaker, preside over a kitchen stove as if it were her domain, and hear her lyrically ungrammatical speech— reminiscent of Clifford Odets’s street poetry—is to see a twenty-year-old actress in total command of her character. That she had had some contact with working women does not entirely explain her performance.
That may have been ﬁne for Lola, but as an actress, Loretta had to breathe credibility into a script that discredited wives who succeeded while their husbands failed. Loretta was not Lola, yet she was so convincing that it seemed she would make the same sacriﬁce in real life. 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.