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

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Gunga Din the Afterword #1939TheMiracleYear

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.

The Triphammer of Time

The triphammer
Of time
Pounds out
The rhythm
Which my mind
Chases
To fashion
The rhyme

Over and over
To fill
The refrain
The feelings
Rising
Nought
Can restrain

All to
Forge links
Twixt heart
And the brain.

RWOz2

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

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.

Gunga Din The Making of a Classic Part 2 #1939TheMiracleYear

July and August were busy months for the cast and crew of Gunga Din. And they were hot ones too. Temperatures soared in the semi desert location of Lone Pine, topping out officially at 115 degrees, and unofficially at 120.

Once the village set of Tantrapur was put back together after the fire, director George Stevens, tackled the all action skirmish scenes that pitted the three British sergeants and their small British company against the murderous Thuggees. The fights ranged from the village streets up to the rooftops.

      Stevens kept his stuntmen going at full tilt, in the main, falling from everywhere – out of windows, from the rooftops, and off of charging mounts. One of the men who subbed for Cary Grant was a name that is familiar to me, Mike Lally, whom I hope write about in a future post.

Aside – Variety reported in November, after shooting had completed, that RKO had spent a total of $85,353.97 for the stuntmen and extras for location work on Gunga Din at Lone Pine.

Stevens kept the action flowing at a furious clip, notably using a camera technique from the silent comedy days. He undercranked the camera speed which in effect speeds the movement. Not at a severe rate that would have rendered them versions of the Keystone cops, but just slightly under the norm to lend the action a determined edge, not giving the audience time to catch their breath.

And at a crucial juncture Stevens ‘plays with time’ again, in this instance by overcranking (again by only a slight difference) slowing the images, to add tension and suspense when a lit stick of dynamite lands beside Doug Fairbanks Jr. who is struggling to extract his leg from a hole in the roof.

Besides the brutal temperatures, unpredictable winds created havoc and would bring filming to a halt. One such wind incident caught a camera crew atop a 35 foot parallel*. Cast and crew rushed to their aid and kept the structure from toppling and taking the three men with it. A similar parallel was caught in a wind sheer but thankfully no one was on it at the time.

(*Not being exactly sure what a parallel is in its film context, I contacted my producer friend and he provided this explanation – “a parallel is similar to scaffolding except it is usually a six by six platform on top of a six by six platform or as many levels as one might need.  If it is too high on stage it is secured by 2×4’s or something like that on an angle to the metal brace.  If built for an exterior scene we would use wires (cable) to steady it if it is built too high.”)

Watching the sequence unfold on screen one marvels at all that was going on. Clearly days and many setups had been needed to capture all this action. Stevens was known for his improvisation and there are stories about nightly meetings between him and his writers and cast members to plot out the following day’s shots. A methodology that also had a touchstone in his former work in comedy shorts.

Late in August, the company returned to the studio for interior work. During the short weeks there they covered some important sequences, including the interiors for the temple.

After their sojourn in the relative ease of the city, Stevens again took his production back out to the wilds of Lone Pine for the climactic battle scenes that wind up Gunga Din. They would find altogether different conditions there at the end of September 1938.

The Midshipman Who Really Wasn’t There – Joel Welcome Berry

I am trying to be thorough in my canvassing of the midshipmen at the Naval Academy for the school year of 1860-1861. There are certain statistics I am collecting to include in the history I am writing. To that end I went about gathering the names of the midshipmen that were at the institution in all four classes that fed into that time period. This meant going back to the class that entered in the fall of 1857, ditto for the classes of 1858, 1859, and for the entering plebe class of 1860.

I learned about an annual publication listing the graduates of the Naval Academy, and I found one on eBay that had been published in 1944 and won the bid for it. This gave me a good base from which to start. So I dutifully harvested the names into a database – both those who had graduated, and those who had not. Those were the only two categories included therein.

I eventually realized that I was missing the complete picture. Nowhere had I come across a list of the people that had showed up for the exam, but failed to get in – either for academic or medical reasons. That is, not until I was able to look through the microfilm containing the correspondence of the Naval Academy Superintendent. In them I was able to locate the entire list of candidates that appeared before the boards for the target years I was studying.

I identified the missing ones and added them to the database.  I now had all the candidates listed with a date and a number, which represented the order in which they were examined. And it is this order that I utilized, when going through the names one by one for research.

A few years later when I arrived at Midshipman Joel Welcome Berry of Georgia, the 58^th candidate for the class of 1859, I ran into a mystery. Here was someone who clearly had been accepted into the academy but was missing from all the official lists. I found him, no problem, in other documents – the 1850 and 1860 censuses; he was a student at Georgetown College in DC (just prior to his appointment to the academy); and ascertained that he fought in the Civil War on the side of the Confederacy in Phillips’ Georgia Legion.

The mystery was solved by delving further into the correspondence of the superintendent – in which I turned up this letter written to the Secretary of the Navy, Isaac Toucey:

                            Naval Academy
Annapolis Md
Oct 31 1859
Sir
I beg leave to state to the Department
that Mr Joel Welcome Berry, obtained from
the Store Keeper of the Academy the usual
outfit immediately after passing his exami-
nation, but subsequently returned the articles,
& left Annapolis without having joined the
institution.-
I would ask whether his name is
to be retained on the rolls.-
I am respectfully
Your obt servt
G S Blake
Superintendent

I had encountered short naval academy careers before, but none as short as Berry’s – which looks to be at most a single day, and just might possibly be measured in hours.

But why had he walked away?

It may be impossible to decisively conclude the exact reason for his action, but the other records I turned up, reveal specific circumstances that within themselves would give a young man strong impetus to pull away from the naval profession. (And I am not ruling out that it could be as simple as when he stepped aboard the schoolship Plymouth as a plebe, this brief view of what a naval life entailed, turned him off).

His father, Andrew Jay Berry, was a planter, a prosperous merchant and a local political leader in Coweta, the county he helped pioneer and settle. There he met and married Emily Elizabeth Parks in 1830. Their first born, William Byrd Berry, followed in his father’s footsteps. The next, Thomas J. graduated from West Point in 1857 and had a career in the army out west. Joel came next and was to represent the family in that other branch of government service, the Navy.

His mother passed away in 1857, and I surmise that he may have received an inheritance from her. For in the 1860 census (taken 6/8/1860) J W Berry was listed in his own household, right next door to his father and brothers in Newnan, GA. He was quite wealthy for an 18 year old – his real estate holdings of 10,000 ($312,000 in today’s dollars) and personal holdings of 13,000 ($405,000) meant that he did not have to find his way in the world. His occupation was listed as Farmer (in distinction to his father as Planter) and according to the slave schedules for that year, he owned 12 slaves to aid in his farm’s operation. This may have weighed foremost in his mind when after qualifying for the academy on that day in October, he immediately returned his uniform and left.

It was a short life for J W Berry after leaving the academy. As mentioned above he enlisted in Phillips’ Georgia Legion and was fairly active as his unit was sent north from Georgia to the battlefields of Virginia. But when 1863 rolled around he was absent without leave from the muster rolls for months on end.

Drink may have been increasingly the driving factor in his life (his brother Thomas once advised him in a letter “to shun it as you would the most poisonous reptile”). The advice went unheeded, for in one drunken episode in 1864, Joel killed two men in his hometown, and fled northward from the expected retaliation of the slain men’s families – not just to the Carolinas or Virginia, but clear out of the Confederacy, and held up in New York City.

There he remained. He never returned to Georgia, and died in NYC in 1869.

 

The Spirit Within Me

The spirit within me
Trembles at the approach
Of Your presence

And rises in
Anticipation
At the touch
Of Your Word

The weight of Your glory
Presses upon me
And though
I sink beneath it

I know it frees me
From the world’s
Impressment

Rather
To be stamped
With the visage
Of the One
Who loves me.

RWOz2

Gunga Din The Making of a Classic Pt 1 #1939TheMiracleYear

Gunga Din was given the greenlight and George Stevens launched out on the waters of production despite being not exactly satisfied with the script. But he was not overly concerned. He had his two scripters along to sand down the rough spots and paper over the cracks.

Stevens was used to flying by the seat of his pants. He had cut his teeth at the Hal Roach studio as a cameraman. First with the action filled adventures of Rex the Wonder Horse, and then later adding gag man to his lenser chores on Laurel and Hardy shorts. These experiences had helped him on his features thus far and would bring solid gold to his production of Gunga Din.

So the following will be part chronology and part discussion of how problems arose and how they were solved.

Casting had been a long process, stretching back to when Howard Hawks was in charge.

Before a script was in place RKO looked to finagle a deal to trade with MGM for the services of Clark Gable, Spencer Tracy and Robert Montgomery. That was 1936, two years later after many more names (and combinations) were considered along the way they landed their dream cast of Cary Grant, Douglas Fairbanks Jr., and Victor McLaglen – the term of their contracts – to run from 6/1/1938 to 9/3/1938.

The million dollar production did not kick off until the last week of June with work on interiors at the studio (stage 14 the punch bowl scene). Work was ongoing constructing the outdoor sets up in Lone Pine CA (in the shadow of Mt Whitney, the surrounding Sierras dubbing in for the Khyber Pass) and on the RKO ranch in Encino.

All was ready when the caravan of technicians set out on the morning of July 13, with the coterie of performers following three and a half hours later.

They had no sooner settled in to the tent city prepared for them when a fire broke out on the outdoor set of the village (called Tantrapur in the film). Despite everyone’s efforts five buildings and many props were destroyed (Lloyd’s of London was on the hook for $5000, or $91,000 in 2019 dollars).

Fortunately the village set was not the only one they had built, two more were available- the Kali-Thuggee temple and the British army canton.

Stevens met this first obstacle the very next day by setting to work on the canton set. With his writers in tow he put together a scene with the army parade ground as the backdrop. It was a great example of making lemonade from a bad situation. While the extras were put through the paces of learning their drill, Sam Jaffe (Din) and Cary Grant enacted a scene that gives the viewer crucial information about these characters. They were getting excellent value for the money spent.

And nothing makes a studio happier than when they can see the money they are spending reflected back to them on the screen.

Gunga Din How It Came to Be #1939TheMiracleYear

I like tracing the beginnings of things – a facet of my fascination with research. Having enjoyed my recent viewing of Gunga Din (not the first), I wanted to know more about it. And what I have discovered has not disappointed. And hopefully you will enjoy what I have to relate on this topic.

At the nexus of course is the poem written by Rudyard Kipling, the English writer. Born “in Injia’s sunny clime, where I used to spend my time,” he wrote from his experience there. In this instance a paean to the native ‘bhisti’ – the lower caste Indian who carried ammo, water, and medical assistance to British soldiers, at their beck and call. Though despised throughout, he is extolled at the last for his selfless service.

Kipling passed away in 1936. Shortly after Edward Small, a fairly prolific independent producer in Hollywood, purchased the rights from the family to make a film based upon the poem. Though one that operated on the edge of Big Hollywood he wasn’t quite the poverty row variety, his Reliance Pictures had strong connections with United Artists. He had ambitions to make quality product and had a string of successes with projects based on some works by Alexander Dumas. But shortly after the acquisition of the Kipling rights, he had to pull the plug on his company and joined the fold of the RKO organization. And that is how Gunga Din came into their orbit.

And RKO thought they had the right director for Gunga Din in Howard Hawks.

Hawks was a recent addition to their talent stable, having come to them from Selznick when he left over creative differences. His style was well suited for a story about men of action.

Where Small had interested William Faulkner in putting together a treatment for the project, Hawks welcomed aboard the team of Ben Hecht and Charles MacArthur. (He had worked with them on Public Enemy). As some have pointed out they contributed a major element to the final script by lifting the plot point from their own play of nearly a decade before – in which an additional element of conflict was injected when one of the heroes wants to leave the profession against  others’ wishes. Mirroring the relationship between the editor and the reporter in The Front Page, two of the soldiers resist the third in his attempt to leave the army to marry.

As things progressed (or actually did not) Small dropped out of the picture and Hawks went with another project at RKO, directing the screwball comedy Bringing Up Baby. (Though that film has advanced to iconic stature in the genre, it was not so at its release. It bears a good deal of the responsibility for putting RKO in financial straits – and whose lackluster performance at the box office ejected Hawks from his contract with them).

During this time the head of production changed at the studio. Samuel Briskin was replaced by Pandro S. Berman, who got the fire lit under Gunga Din again. He called on a new director in their stable George Stevens. And Stevens brought in two new writers- Joel Sayres and Ted Guiol. Stevens adjudged the Hecht/MacArthur to be too much of a staged piece, all closed in. He wanted it opened up to exterior settings so his heroes could range about under the sun. Sayres added an element to the antagonists, the Thuggees and the cult of Kali, cribbing from the history of conflicts in India.

So now with a sense of the big picture for the story Stevens set out to put it all on film. How he did it – I’ll cover in future posts on Watch This Space. So stay tuned.