Ramona (United Artists) (1928)

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3 MAN RAVES OUT HIS HEROINE Baxter, who has been a n on the screen for sev- and who has played op- e of the foremost femi- in filmdom and on the eves that Dolores Del njoy a record reign of days the role of “Ales- e romantic Indian lover, a” which is Miss Del tarring photo-drama. e th-at Dolores has more ualities than any screen •ecent years,” says Bax- has genuine talent for has ^d a fine back- cultuRl training, and rpe of beauty which will ith the years. een girl stars come and ave seen them reach the ;n skid slowly down the ime and popularity, but :> 1 gamble that Dolores 11 remain near the top, \e very crest, for many ” will be the feature at- the.Theatre . It is said to the biggest attractions en for the forthcoming mt Jackson, author of wrote the story with as i purpose as did the au- ncle Tom’s Cabin.” listorians refer to “Ra¬ le “Uncle Tom’s Cabin” ms. LES DEL RIO AMONA" c; Cut 30c) One-column Scene “RAMONA” REGARDED AS CLASSIC OF LITERATURE Helen Hunt Jackson’s story, “Ra¬ mona,” which comes to the. beginning.is regarded as one of the present day American classics. When Mrs. Jackson decided to write “Ramona” she had a delib¬ erate purpose and as high an aim as that associated in the writing of “Uncle Tom’s Cabin.” She did not realize that her story would prove one of America’s most in¬ teresting romances. It was the writer’s motive to bring the treatment toward the In¬ dians by the Americans, before Congress in the hope that Congress would enact just laws. That was Mrs. Jackson’s whole desire. Before “Ramona” recalled the Indians’ plight in fiction form, she had written “A Century of Dis¬ honor” in which was an account of the United States government’s dealing with the Indian tribes that had widespread influence. Being a plain, cold statement of facts, with copies of evidence to bear it out, “A Century of Dishonor” was real¬ ly an indictment of the Govern¬ ment for its failure to keep its promise with the Red Man from early times down to the date of the publication of the book, 1880. It was later that Mrs. Jackson became convinced that public sym¬ pathy on behalf of the Mission Indians of California, could be awakened if revealed in story form; hence her novel with a pur¬ pose—“Ramona.” “Ramona” would never have reached a 92nd printing had it not possessed unusual literary quali¬ ties. Today the book enjoys its largest sale and now comes the film that will give it perpetual life on the silver sheet. Inspiration Pictures and Edwin Carewe produced the story with Dolores Del Rio in the star and title role. It is regarded as one of the important pictures for the season and a vehicle en¬ tirely suited to the star’s histri¬ onic talents. DOLORES DEL RIO An Appreciation of Her Dramatic Art 'T'HE screen firmament, like the illuminated heavens, is studded with x many stars. Some twinkle faintly; others sparkle brightly; a few shine forth in brilliant splendor. The screen also has its Milky Way—its thousands of performers who play bits and parts, their luminous rays dimmed by the lustrous halo of the stars. And the screen has its meteors and its comets—its brilliant person¬ alities that burst effulgent into view, sweep with flaming radiance across the film sky, and then go out in Stygian darkness. Dolores Del Rio is a celestial phenomenon. Her rise to popularity has been fleet like the meteor; her personality flaming like the comet; her career fixed and permanent like the sun. This slender, dark-eyed girl from Mexico, without dramatic training, without a theatrical background, unablq to speak the English language, reared in the indolent atmosphere of social life in the city of the Monte- zumas, first gave dramatic promise as Charmaine in “What Price Glory.” Her performance as the French barmaid, whose affections shifted from one Jover to another with captivating inconstancy, lacked technical finish and yet it stood out vividly in a colorful drama. It was in “Resurrection,” under the direction of Edwin Carewe, that Dolores Del Rio found her recognized place in the firmament of the stars. In this Tolstoy drama of Russian life, grim, stark and heavy with tragedy, she gave evidence of deep understanding, poignant feeling, artistic conception and dramatic expression. Her characterization of “Katusha Maslova,” the peasant girl in love with a prince, reached depths and scaled heights of histrionic skill and poweri comparable only to_the soul of Bernhardt, the genius of Duse. And now Dolores Del Rio is to appear in “Ramona,” bringing to life on the screen the beautiful half-breed Indian girl of early California, that glamorous period when the romantic strains of guitar and song were heard in the patios of the Spanish Dons. In the colorful role of “Ramona,” which comes to the. Theatre beginning.. this young artiste finds a metier worthy of her versatile talents. She gives a brilliant characterization as the beloved heroine of Helen Hunt Jackson’s classic story of romance, tragedy and love. She invests the role of “Ramona” with an aura of realism. She is not an actress playing a part. She is “Ramona,” living, loving, suffering, triumphing. She runs the gamut of human emotions; she feels all the pangs of love, despair and woe; she plays upon the heart strings of huma nity. Her flashing spontaneity, her moods changing like the chameleon changes colors, her natural instinct for dramatic feeling and expression, her moments of gaiety, romance and insoucience, and her deeper, finer nuances of pathos and tragic suffering mark her as an actress of many parts and of limitless possibilities. Dolores Del Rio is a great artiste, capable of comedy, satire, drama, tragedy. She is a dramatic spendthrift. She spends everything . . . her beauty, her mind, her soul . . . upon her art. And the more she spends the richer she becomes. ^ * A SCENE from RAMONA"' Order RA-6 (Mat 10c; Cut 50c) DOLORES DEL RIO in." RAMONA" RA -4 (Mat 5c; Cut 30c) One-column Scene