Cinderella Sliver

Cinderella Sliver

Tell me a tale
Of a lion and a mouse
And the outcome
Of one big splinter
Of the gratitude
To the lesser from the greater
And how each in his turn
Saved the other,

In our own story
We have a like tale
Of something
That brought us together
For without a sliver
I would have remained an “I”
You … a “you”
But because of it
We are a “we” together.

RWOz2

A Closer Look at J S Stembridge #1939TheMiracleYear

A Closer Look at J S Stembridge

In my last post for – 1939 The Miracle Year, I mentioned J. S. Stembridge who rented out  weapons for use in movies. It didn’t seem on point to write more about him at that time for it would have been a huge rabbit trail. So I thought – why not give him his own post.

James Sidney Stembridge was born in Milledgeville, Georgia in 1869. The town had been the capital of Georgia until displaced by Atlanta just the year before. Though it was a great place in which to grow up, its struggle to keep financially solvent, may have been the reason James wound up in Baltimore as a clerk by the 1890s. It was from that metropolis in 1893 that he landed in his calling as a soldier, the experiences from which formed the basis for his future success in his rather unique business.

By the time of the Spanish American War he was a sergeant in the US 18th Infantry and was dispatched to the Philippines where the US Army’s mission was the pacification of that new territory. He reupped in Manila in August 1898 – a “Most excellent sgt.,” finishing out his term a year later at the Presidio in San Francisco.

From this first encounter with the Golden State, he felt the need to return to family on the east coast after his discharge. Both parents were gone by this time, but his eldest sister and her family in Sanford FL gladly took in the ailing veteran. He had contracted malaria in the Orient and such were his doubts about his longevity that he decided to forswear ever marrying. This notion may have been reinforced when his sister’s husband Herbert Munson died in 1905 from tuberculosis and as a result she descended into madness and was incarcerated in an insane hospital. (Their two daughters, his nieces, later worked for Stembridge).

By 1906, James wound up on his own in Jacksonville FL working as a salesman for a shoe retailer. The pull of family had him back in Georgia by 1910, near Waynesboro, working as a salesman in a drugstore – most likely for his younger brother Henry, who was a pharmacist there. (Henry’s son James Edward, born in 1913, would later join his uncle in his gun rental business in 1933, taking over from him upon his death in 1942).

In investigating Stembridge’s move back to CA from GA, the timing has proven problematic. Most credit his connection early on to Cecil B DeMille when the director was creating ‘The Squaw Man’ in 1914. The story goes that DeMille was exasperated over some extras playing soldiers who acted anything but soldierly. Stembridge, being a former drill sergeant, volunteered his services – to the grateful satisfaction of the director. But the LA city directory for 1914 does not list Stembridge. Neither does the one for 1915.  He does show up finally as a shoe salesman in 1916 which seems appropriate, given his work history. And he did not appear in any of the LA directories with a film industry occupation until 1920. (Stembridge did have a few acting parts in the early 1920s and for such he was listed).

    Loose threads sprouted as I passed down this particular rabbit trail. Just when I thought I was set to close this post, I could not, not so long as questions dangled without answers.

What I uncovered in pursuit of those answers has given me a negative proof of sorts that Stembridge was not in California in 1914 and probably not involved with film in 1915.

In looking through DeMille films that would have utilized extras as soldiers, besides The Squaw Man of 1914, I discovered two that were made back to back in 1915 – The Unafraid and The Captive. Both are stories with the Balkan War of 1912-13 as a backdrop, and called for extras to portray Montenegrin and Turkish troops.

     During the filming of the second a serious tragedy occurred. An extra was accidentally shot and killed. According to DeMille’s own account, he had called for live ammunition to be fired outside a house at its door before they were to rush it. In preparation for the follow up scene DeMille had ordered blanks to be loaded instead. One rifle, sadly, did not have its live round replaced.

     No mention was made of a firearms expert on set. If there had been, the fault would have rested squarely with him. DeMille carried the guilt and arranged for a pension for the victim’s widow.

If Stembridge had been present it is easy to imagine that the tragedy would not have occurred. (And the converse, if it had happened despite his presence, he would no longer have been employed as such).

     So, to my mind, it seems all the more likely that Stembridge was not involved in the industry until late in 1916 or in 1917. DeMille remade The Squaw Man in 1918, just four years after the first version. This may align the timing better to another statement that claimed Stembridge was called on to drill studio employees facing a call up with the US entry into the World War (April 1917).

It would seem that the circumstances in the studio at this later time were more conducive to bringing the ex-soldier on board. War movies, at least patriotic ones, were being pushed into production.

What at first was a maintenance position at the studio, blossomed into a unique relationship. By 1919 it seems Stembridge convinced DeMille and Jesse Lasky (the principals of Paramount Studios)  to advance the capital to set him up as a supplier for gun rentals, both for the studio itself and to rent out to other productions at other lots. They set aside space at the studio to warehouse the weapons and in which he could repair and service them and to manufacture the crucial blank ammunition.

His stock of guns was limited at first, so part of his job was to hunt down the requisite arms as needed. In 1924, he had a particularly hard time putting together enough period correct weapons for The Devil’s Cargo, an adventure set in gold rush California. It seems gun collectors, then on the rise, had snapped up the readily available supply.

A big break for his firm came in 1925 when director King Vidor came to him to solve some tricky problems with the automatic weapons needed for his film – The Big Parade – set against the background of the recent World War. Vidor’s home studio (MGM) had given up on firing blanks from machine guns, declaring it impossible.  The recoil was not strong enough with the lesser force from the smaller charges in the blanks to eject the shell casing and chamber the next round.  Stembridge, with the help of his assistant Fritz Dickie solved the problem. Their success brought more work when Howard Hughes tapped them to supply weapons (a record 1200) for his war film – Hell’s Angels (in production between April 1927 and July 1928; released in 1930).

By 1930, Stembridge had 6,000 weapons in his collection and he reported that the only gun he did not possess was a Chinese matchlock, an antique flintlock dating from the 1600s.

This decade saw the rise of the gangster film, which meant even more business for the Thompson sub machine guns in his collection. Warners came calling with its Public Enemy for 1931, and Hughes brought him back for Scarface, released in 1932. And RKO had him train his guns on King Kong.

Besides all the 1939 film titles listed in the prior post, the Miracle year also saw the re-release in September of ‘All Quiet on the Western Front,’ an anti-war film, based on the Erich Maria Remarque bestseller, which gave the flip side of the World War from the perspective of German soldiers in the trenches. Back in 1929, Universal had hired Stembridge and 800 of his guns to bring it to life.

Aside: I recently watched All Quiet on DVD. It is a stunning achievement of cinematic art. The art direction behind the staging of the scenes is particularly striking, giving the whole a reality that is palpable. The German machine guns [supplied by Stembridge] sweep the field from their positions in the trenches and add greatly to that authenticity. They are only details, passing minutia, but underpin the actions and emotions of the cast, as they “live” out before us their hopes and fears.

Stembridge Gun Rentals continued on through the 1940s under his nephew, James Edward “Ed” Stembridge. Their services rose in demand throughout the 1950s what with all those Westerns populating the TV networks. This slowed down as the 1960’s advanced. Yet the Westerns were replaced by the rise of spy themed and sci-fi based TV shows and movies, calling for more exotic and at times fantastic weaponry, and Stembridge was at the forefront (e.g. Han Solo’s blaster fashioned from a Mauser machine pistol).

“Ed”’s son Sydney R Stembridge took over in 1978, and the following year their stay at Paramount ended, (two years after my wife and I saw them on the lot, completely unaware of all this history- see old post).

They were “back” with more exotic weaponry for Schwarzenegger in the 80s and 90s. But by 1999, things wound down and the firm was dissolved, as the family members sought to cash in on the most valuable pieces in the collection. A private investor took over the firm with Syd managing and in this downsized form they have hung on.

Surprisingly in researching this post I glimpsed Stembridge Gun Rentals in the credits for early video games- listed under the sound credits:

EA’s Agent Under Fire (James Bond) which I have enjoyed playing, and

Ubisoft’s Tom Clancy’s Ghost Recon.

You Get What You Want

You Get What You Want

You get what you want
In the end
What you’ve spent your life
Pursuing
Wrapping up what you’ve
been doing

Should you be surprised
When at last you realize

What you turned
A deaf ear to
You knew all
Along was true

But it was old
And stuffy
And offered
The surface
You could not
See behind

You get what you want
In the end
What you’ve been
Busy sowing
Decides what to you
Is owing
He was not beyond
Your knowing

But now beyond your reach
From your side of the breach

We were asked
To believe
The Word
Not our
Eyes

You traded
The plain truth
For satan’s
whispered lies.

RWOz2

Gunga Din the Afterword #1939TheMiracleYear

Gunga Din The Afterword

The weekly studio roundup sections in Variety during the month of November mention only that Gunga Din was in the cutting room or awaiting a preview.

Once filming had wrapped on Gunga Din and the footage turned over for editing at the studio, another department stepped up their work to keep the title before the public and to remind their select target audience – theater owners –  that the film would soon be available to book in their theaters.

This work of the publicity department in an offhand way gives us another interesting look at the ways and means and challenges of the production process.

In Cal York’s Hollywood Gossip column in the November edition of Photoplay, a section focused on weight loss among the stars. His main subject was Claudette Colbert who had dropped an half inch after ten days of doing the cancan for ‘Zaza’ – a George Cukor film. He caps off this tidbit with a discussion about weight loss among the principal actors of Gunga Din. He reports that due to the heat of their location shoot, coupled with the heavy woolen army uniforms they wore, Cary Grant melted twelve pounds off his frame in the first two weeks. A reminder that the actor, as artist, sometimes sacrifices for his art.

In another article about the heavy use of ammunition in film production throughout the year of 1938, Gunga Din came in for another mention. The firm of J. S. Stembridge was kept busy around the clock supplying the weapons and making up the special charges necessary for staging celluloid conflict. It goes on to cite these films:  ‘Hotel Imperial,’ ‘Union Pacific,’ ‘Juarez,’ ‘Oklahoma Kid,’ ‘Dodge City,’ ‘Stagecoach,’ and ‘Heritage of the Desert.’ many of whom will be upcoming in this series, 1939 – The Miracle Year. For Gunga Din, Stembridge’s firm supplied 500 rifles and I know from another source they supplied the two gatling guns, at one time glimpsed being carted by two of the elephants.  Was Anna May one of the pistol packing pachyderms?

Other mentions were offered about who would score the film. Before production began Roy Webb was listed for the chore and though alluded to briefly after filming closed, his name disappeared from the running (he was very busy as music director at RKO – 28 projects credited and uncredited in 1938; 22 in 1939).  Instead another name, Erich Wolfgang Korngold, was bandied about. But happily, and no doubt to Webb’s overworked relief, it fell into the talented lap of Alfred Newman, fresh from the Goldwyn studio as a freelancer.  And his joyful, jaunty score perfectly matches and enhances Stevens’ film.

An interesting article in the March edition of the Motion Picture Herald, two months after its opening, talked up a specially edited together 10 minute version of Gunga Din. It was offered to the infant TV industry to be broadcast in New York for 1939 World’s Fair – taking place there in April.

I close out with a valuation from the standpoint of the business – from how it would be judged in light of the studio’s bottom line. It cost 1.9 million to make and generated a gross of 3 million in its first year in the US. And before you conclude that it made a killing at the box office let me remind you that a gross is not equal to what RKO received back in film rental. I do not know what it exactly brought in to RKO, but I can offer an educated guess. At best the theaters would only have paid 50% to the distributor, or at worst 35 or 25%. So you can see that even at best, it fell $400,000 short of recouping its cost that first year. (Sources state that it did indeed finally make its cost back, but only with future re-releases).

A clue to its falloff in performance may be indicated from reports in Box Office magazine that a lot of theater owners in the Midwest were not keen on booking it.

In so far as film is concerned Gunga Din has left a rich legacy. Echoes of its individual parts resound in many that followed.

Take the buddy picture for instance.

Our heroes with whom we are taught to identify, though allied in their camaraderie can often be at odds with one another, at times to our delight, especially when their relationships take a comic turn. In this regard I think of the series Ocean’s 11, 12, 13, and yes – 8. And I think back a few decades to Butch Cassidy and the Sundance Kid, whose writer, the famous William Goldman, was deeply enamored of Gunga Din.

And then there is the adventure film. One need only mention the Indiana Jones series as the prime example overall and its Temple of Doom chapter in particular.

That said, Gunga Din on the whole stands as something greater than the sum of its parts. And I heartily recommend it to your enjoyment.

(You can thank me for the minimum of spoilers).

Announcement – trailer for Death In High Heels

 

Just wanted to share a trailer that I put together for our local community playhouse – the Magenta Theater and their production of “Death in High Heels.” I started by creating the sound/music track, to which I edited Tom Hubbard’s stellar video and animated Amy Baumgarten’s beautiful graphics. Thanks also to the talented actors of the Magenta troupe.

Gunga Din The Making of a Classic Part 3 #1939TheMiracleYear

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One of the scenes filmed within the confines of the sound stages of RKO in September 1938 was set in the interior of the Kali temple. The action for one sequence called for a snake pit. Cobras, the venomous snake indigenous to India were the obvious choice to writhe their menace down in its depths, but none were to be had in Hollywood. That didn’t mean that Hollywood didn’t have any. It did. But every single one was committed to another production in town. Walter Wanger had cornered the market on cobras for his film ‘Trade Winds.’

There being no way around but forward. RKO technicians came up with a solution. Other snakes were to be had – of the harmless, nonpoisonous variety. They just fitted them up with a cape (or cowl) that would mimic the signature cobra hood. The cow snakes and other serpents, thus attired, didn’t cotton much to the appendages. (No Union reps for these reptiles).

As director George Stevens took his forces back out to Lone Pine to shoot the battle that would close Gunga Din, the PR department stepped up their efforts to keep the production in the news. One article (Variety 9/7/1938) talked up the Herculean effort put forth by James Parker’s makeup department in preparing and maintaining the hundreds of extras (per another Variety article, a number put at 700) portraying the dark skinned Indians – Hindu, Muslim and Thuggee. In assembly line fashion, coupled with turn tables and spray nozzles, many coats of the nut colored dye (called “dark Samoan stuff”) were applied as needed throughout the day.

It was a little harder for cast and crew this time around up in the Sierras. They were no longer plagued by the heat of summer. Still it could get up to 90 degrees, but now the lows dropped below 50. This change particularly affected the extras who wore little more than g-strings, who for continuity’s sake were restricted to the same costumes worn over the summer months. The warmth generated by the action shots must have been welcome indeed.

And George Stevens climactic battle scenes are masterful – well thought out and intelligently rehearsed. Once the suspense of the pending ambush is broken by the alarm raised by Gunga Din’s heroic bugle blowing (acted out on the sound stage), the action breaks out seemingly on every front. Skirmish lines of British soldiers, charging lancers, sniping Thuggees perched atop lofty rocks, cannons firing, massed forces colliding in mortal combat – altogether a fitting and satisfying denouement to the main action of the film.

Stevens wrapped production in mid October 1938, and handed over his footage to the cutting room at RKO. Other departments in the post-production process set to work too.

But more of that next time, on Watch This Space.