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.

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.

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".

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.