Actress.  An Arizona native of Mexican descent,  she was a dancer in Los Angeles nightclubs and played one in her first films,  the silents “Heroes of the Wild” (1927) and “After the Storm” (1928).  She owes her present notoriety to a brief,  curious phase in Hollywood history.  At the beginning of the talkie era,  before dubbing and subtitles became standard,  American studios shot foreign-language versions of their films for distribution abroad,  usually with the stars speaking their dialogue phonetically and backed by international supporting casts.  In 1929,  producer  Hal Roach hired Loredo to appear in the Spanish editions of his comedies.  She was given good roles opposite Charley Chase in “Great Gobs” (1929),  “El Jugador de golf” (Spanish version of “All Teed Up”,  1930),  “La Senorita de Chicago” (“The Pip from Pittsburgh”,  1931),  and “El Alma de la fiesta” (“Thundering Tenors”,  1931),  and with Harry Langdon in “Pobre Infeliz” (“The Shrimp”,  1930) and “La Estacion de gasolina” (“The Head Guy”,  1930).  But she is at her best in the shorts she made with  Laurel and  Hardy,  tackling the “shrewish wife” roles created by  Anita Garvin in the originals,  and adding her own fiery temperament to the mix.  These include “La Vida nocturna” (“Blotto”,  1930),  “Radiomania” (“Hog Wild”,  1930),  “Los Calaveras” (“Be Big”,  1931),  and “Politiquerias” (“Chickens Come Home”,  1931).  Roach liked Loredo enough to keep her on after he ceased foreign-language production,  and she was cast as Laurel’s wife in “Come Clean” (1931),  her only film in English.  It was also her last.  In June 1931 Loredo underwent an emergency appendectomy and died from complications two months later.  She was 24.  Unseen for over 50 years,  her Spanish comedies with Laurel and Hardy resurfaced in the late 1980s and created new interest in this charming and sadly short-lived performer. (bio by: Bobb Edwards)