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  1. Barbara Ann Loden (July 8, 1932 – September 5, 1980) was an American actress and director of film and theater. Richard Brody of The New Yorker described Loden as the "female counterpart to John Cassavetes". Born and raised in North Carolina, Loden began her career at an early age in New York City as a commercial model and chorus ...

  2. Barbara Ann Loden (8 de julio de 1932 o 1934 – 5 de septiembre de 1980) fue una actriz de teatro y cine, así como directora de cine y teatro alternativo. 1 Richard Brody de The New Yorker la describió como "la contraparte femenina de John Cassavetes ". 2 . Nacida y criada en Carolina del Norte, Loden empezó su carrera a temprana ...

  3. www.imdb.com › name › nm0517056Barbara Loden - IMDb

    Actress: Wanda. A one-time pin-up beauty and magazine story model, Barbara Loden studied acting in New York in the early 50s and was on the Broadway boards within the decade. She was discovered for films by legendary producer/director Elia Kazan who was impressed with what she did in a small role as Montgomery Clift's secretary in Wild River ...

  4. 7 de may. de 2022 · La escritora francesa Nathalie Léger recupera la figura de Barbara Loden, actriz y realizadora independiente cuya brillante carrera profesional estuvo eclipsada por su matrimonio con Elia...

  5. Mini Bio. A one-time pin-up beauty and magazine story model, Barbara Loden studied acting in New York in the early 50s and was on the Broadway boards within the decade. She was discovered for films by legendary producer/director Elia Kazan who was impressed with what she did in a small role as Montgomery Clift 's secretary in Wild River (1960).

  6. 1 de nov. de 2016 · Barbara Loden directed one feature film, “ Wanda ,” from 1970, in which she also starred. She was already an actress, including in “Wild River” and “Splendor in the Grass,” both directed by...

  7. 27 de mar. de 2019 · We’re left with a film about a woman who seized the opportunity to leave a record of her life in her own words just as she was facing death. None of it feels exploitative or invasive, and it’s because Raganelli listens to Loden. She gives her subject the freedom to speak freely, as if no one is watching.