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She considered it to have been a physically demanding film, and felt intimidated by Lucille Ball during the production as she had been a former Ziegfeld and Goldwyn girl and was a superior dancer.[44] The two remained friends for many years after the film was completed.[45] Critic Molly Haskell thought that O'Hara was "a little out of her depth in a vaudeville house, not exactly the temple of high art".[46]O'Hara began 1941 by appearing in They Met in Argentina, RKO's answer to Down Argentine Way (1940). O'Hara later declared that she "knew it was going to be a stinker; terrible script, bad director, preposterous plot, forgettable music".[47] She grew increasingly frustrated with the direction of her career at this time. Ida Zeitlin wrote that O'Hara had "reached a pitch of despair where she was about ready to throw in the towel, to break her contract, to collapse against the stone wall of indifference and howl like a baby wolf".[48] She pleaded with her agent for a role, however small, in John Ford's upcoming film How Green Was My Valley (1941), at 20th Century Fox,[49] a film about a close, hard working Welsh mining family living in the heart of the South Wales Valleys in the 19th century.[50] The film, which won the Academy Award for Best Picture,[51] began an artistic collaboration with Ford that would span 20 years and five feature films.[52].

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