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Post by mikef6 on Jan 6, 2020 22:43:39 GMT
Boomers who grew up watching early TV will remember her half-hour anthology show ("The Loretta Young Show," duh) that she hosted from 1953 to 1961. People often tuned in just to see the high fashion she would wear that evening and enjoy her swirling entrance through a door at the beginning of each episode. But Orson Welles and film noir fans will probably first think of "The Stranger" (1946). As the bride-to-be of Welles character, Rankin, we see her go through several stages before and after learning that Rankin is a fugitive Nazi from WWII. She takes her character from happy to confused to frightened to stone cold avenger and she does it all very convincingly in this riveting psychological thriller. Your thoughts on Loretta Young. In "The Stranger"    |
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Post by politicidal on Jan 7, 2020 0:11:33 GMT
I only saw her in Four Men and a Prayer and The Call of the Wild, but I look forward to seeing her in Alan Ladd's China.
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Post by mattgarth on Jan 7, 2020 15:10:13 GMT
Until Deborah Kerr in Mr. ALLISON, Loretta was the silver screen's most beautiful nun in COME TO THE STABLE (Oscar nominated for it).
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Post by Dirty Santa PaulsLaugh on Jan 7, 2020 15:20:39 GMT
Nobody could open French doors like Loretta Young.  |
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Post by mattgarth on Jan 7, 2020 15:22:59 GMT
And her swirling skirt never once got caught in those French doors -- a remarkable feat!
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Post by spiderwort on Jan 7, 2020 15:56:29 GMT
I've seen many of her films back to the 1930s and have always been a fan. She was not an actress with the greatest range, but she had a an innate quality, a beautiful soul that was irresistible, as well as great physical beauty. I actually forgot about her tv show, but I have several films that have been long-time favorites. Most of all I love the beautiful and I think very special Man's Castle (1933), co-starring Spencer Tracy and directed by the lyrical filmmaker, Frank Borzage. I highly recommend it to anyone interested in seeing her work.  I also love her in The Bishop's Wife (1947), which I can't resist watching every Christmas (and not just because of her, I hasten to add).  In addition to The Stranger, which you already mentioned, I also love her in The Farmer's Daughter (1947), for which she won her Oscar.  and another that I treasure is Come to the Stable (1949), co-starring the exceptional Celeste Holm.  She's an imminently watchable actress, even in her less than wonderful films, like Rachel and the Stranger, Taxi, Zoo in Budapest, Call of the Wild, Kentucky, Bedtime Story, Along Came Jones, and The Accused, among others. |
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Post by biker1 on Jan 7, 2020 16:27:59 GMT
Until Deborah Kerr in Mr. ALLISON, Loretta was the silver screen's most beautiful nun in COME TO THE STABLE (Oscar nominated for it). Deborah Kerr in black narcissus (1947-uk) - and the best Nun film in cinema. (Unless you're a Ken Russell buff)
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Post by mattgarth on Jan 7, 2020 16:36:36 GMT
OK, Biker -- was thinking of Catholic nuns ... but that will do just as well.  Kathleen Byron as 'Sister Ruth' in that one ranks as one of the scariest nuns since my fourth grade teacher at St. Catherine's School ... we called her 'Attila the Nun.' |
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Post by Doghouse6 on Jan 7, 2020 16:51:49 GMT
Until Deborah Kerr in Mr. ALLISON, Loretta was the silver screen's most beautiful nun in COME TO THE STABLE (Oscar nominated for it). Deborah Kerr in black narcissus (1947-uk) - and the best Nun film in cinema. (Unless you're a Ken Russell buff) I'll always have Ingrid. 
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Post by mattgarth on Jan 7, 2020 17:01:37 GMT
There was a rigid Priest who served as technical advisor on BELLS who objected to nearly everything that humanized the clergy -- so Bing and Ingrid conspired to get even with him at the film's final scene.
As Father O'Malley and Sister Benedict parted, she turned back and gave him a passionate kiss!
The poor priest almost had a heart attack.
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Post by biker1 on Jan 7, 2020 18:01:28 GMT
She appears a tad wholesome for my taste. I've seen a dozen titles and did like the farmer's daughter (1947) a lot. the stranger (1946) is good. At #3 & #4, racheĺ and the stranger (1948) & the bishop's wife (1947).
priority watchlist..
the house of rothschild (1934)
the story of aĺexander graham bell (1939)
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Post by mattgarth on Jan 7, 2020 18:08:26 GMT
Loretta is a tad less wholesome in THE ACCUSED (1949) ... and even shoots boyfriend Dan Duryea (to save Coop) in ALONG CAME JONES (1945).
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Post by Doghouse6 on Jan 7, 2020 20:23:03 GMT
She appears a tad wholesome for my taste. I've seen a dozen titles and did like the farmer's daughter (1947) a lot. the stranger (1946) is good. At #3 & #4, racheĺ and the stranger (1948) & the bishop's wife (1947). priority watchlist.. the house of rothschild (1934) the story of aĺexander graham bell (1939) That quality was something that became a part of Young's image, onscreen and off, more and more as the years went by. She enjoyed probably her greatest range of roles in the first decade of talkies, playing everything from sweet innocents to fast-talking reporters to convicts. Frank Capra's 1931 The Platinum Blonde is a representative example, in which Jean Harlow is uncomfortably cast as a hoity-toity high-society daughter, and Young is a street-smart newshound. It's also worth seeing for the arresting work of Robert Williams, a performer who made only four sound features and seemed on the verge of major stardom, combining the edgy vitality of Lee Tracy, the casual authenticity of Spencer Tracy and the brash charm of Clark Gable, but sadly died only four days after the film's release, at the age of 37. The House Of Rothschild is an excellent picture, and was my introduction to the fabulous George Arliss, who is that film's central attraction. Young was among a trio of actresses - Joan Crawford and Ginger Rogers being the other two - whose film careers ran roughly parallel in period, trajectory and longevity, who exhibited fresh inventiveness and spontaneity in their 1930's performances, won Oscars in the '40s, and became increasingly mannered and calculated in their work thereafter.
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Post by Dirty Santa PaulsLaugh on Jan 7, 2020 21:11:01 GMT
I heard Orson Wells speak of her in an interview and he admired her acting abilities and work ethic. She was not one to have a set torn down because one side of her face was better than the other like Claudette Colbert. She didn't mind doing her own stunts either. A real trooper.
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Post by teleadm on Jan 8, 2020 8:48:32 GMT
Realizing that I've seen too few of her movies, so I took the time to watch Cause for Alarm 1951.  A neat little thriller running only 75 minutes, where Loretta get a chance to play a wide range of emotions, from charming to frightened. Storywise it remined me of the stories that used to be told in TV-Series like Alfred Hitchcock Presents, stories that usually had a twist at the end. This too had a twist at the end, but not the one I expected. |
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