Tales from my Father pt2

Tales from my Father pt2

Shortly after my father married, he was scheduled for a transfer. Another airman from the same unit was slated to transfer at the same time. As such things go, the Air Force allowed them to state their top three choices in order of preference.

This other airman wanted to serve at McChord AFB near Tacoma WA. So he put that choice right at the top.

My Dad strategized his selections based upon his knowledge of how such things usually worked in the military. He too wanted to go to McChord, but he put in for Larson AFB as his first choice instead. When the postings came through, my Dad was pleased to see that his new posting would be to McChord. His airman friend landed at Larson. (Confirming once again his understanding of how the government worked.)

At the time my Dad moved to McChord, the ACW unit had their own separate quarters on the base. As in his time at San Antonio for basic, supply problems were still rife. The airbase had a shortage problem, not enough blankets to go around, but unlike San Antonio there was plenty of food.

The nearby army base Fort Lewis had exactly the opposite problem – a shortage of food, and too many blankets. Such complementary problems created many opportunities for horse trading a la Sgt. Bilko. The ACW unit soon had plenty of blankets to go around.

The ACW kitchen at McChord was located right on the flight line. So all day long they could hear the F-86 Sabre jets roar in and out. The facility was principally for the personnel manning the radar, but it became a favorite spot for the base pilots to drop in for a meal. This kitchen was the only one open 24 hours a day and hence was more handy than the pilots’ own.

The ACW cooks always kept very good care of the pilots, giving them anything that they wanted, even items not on the menu for the day. The pilots in return would regale them with stories about their recent patrol of the Pacific coastline.

The pilots created quite a buzz around the kitchen when they came back from flights in which they had chased some slow moving lights off to the west. They would be closing in and then try to overtake these objects on afterburners, and these lights just as quickly warped away from them. Such actions left the pilots with the distinct impression that they were being toyed with.

This was the time of many UFO sightings, and a few years after the famous snapshot of the objects over Mount Rainier.

There was never any indication that the pilots were fabricating a tall tale. The cooks had the sense that the pilots were dead serious, and weren’t relaying anything other than what they had seen.

Fixing Walt Coy’s Timeline Part 1

Fixing Walt Coy's Timeline Part 1

As I mentioned in my Memories post, The Stagehand of the Fifth Avenue, I made the leap of deduction that Walt T. Coy must have been an extra in Charlie Chaplin’s WW1 comedy “Shoulder Arms.” For he described donning a soldier’s uniform and charging about in some trenches, all for two dollars a day and a box lunch.

When I received Walt’s autobiography I eagerly read it to find out more about the things he had told me over talks at the Fifth Avenue. In the pertinent chapter Walt dated his first time down in LA as 1928 (May or later). This timing rules out “Shoulder Arms” as that film was made a decade earlier. He lists in order – the Chaplin Studio, Queen Kelly for von Stroheim, and finally “The Patent Leather Kid” with Richard Barthelmess. This Barthelmess film is a boxing picture set against the backdrop of the WW1. I realized that this must have been the WW1 film that Walt was telling me about. He writes that he heard while down in LA that First National was going to shoot the Barthelmess film at Fort Lewis in Washington State and that the unit manager was to be Otto Lukan.

However, my preliminary research on this title turned up some problems. “The Patent Leather Kid” was released in August 1927, which means, obviously, it would not have been in production in 1928. And there is no Otto Lukan listed in the credits for the film.

I knew that Walt would not give me a bum steer, but he may have confused some dates and details. So I had two lines of attack to research and set things straight. First, find out when The Patent Leather Kid went into production, and second, find out who was this Otto Lukan.

So, to find out when the production was at Fort Lewis (or more properly as it was then known – Camp Lewis), I navigated to the Internet Archive and called up its Variety holdings and beginning with the opening date, combed through its volumes backwards.

And this is what I gleaned (arranged in ascending order):

2/9/1927 – On February 8, Richard Barthelmess broke his foot playing tennis, pushing back the start of production on “The Patent Leather Kid,” 3 or 4 weeks.

2/16/1927 – Though production was suspended on The Patent Leather Kid, Barthelmess was able to work on one scene, in which his character was wheelchair bound.

And here’s the clincher:

3/30/1927 – On March 28th  Barthelmess comes up from Camp Lewis to the Columbia Theater in Seattle to promote his film “The White Black Sheep” (also a First National Picture). About 750 extras were hired in Seattle, many ex-soldiers, for the filming at Camp Lewis. The manager of the theater gave a special preview for the extras before they went to work on the new picture.

4/19/1927 – mentions that Barthelmess was on location in Tacoma. Variety reports that his ex-wife had contacted him there about assuming custody of their daughter, while she went to be with her new husband in Singapore.

I conclude that Barthelmess was at Camp Lewis (near Tacoma WA) from the end of March 1927 through the month of April. This dates the time that Walt was an extra on the film and about which he writes:

“I worked in a Hun’s uniform with a spiked helmet part of the time, then shifted to the warp [typo – should be wrap] leggings of a doughboy. I spent various days in the slop and mud of the movie battle. Later, we would go down to the parade grounds, where they strapped a dummy on your back and we would follow the lead camera. When the simulated explosions occurred, we would fall and cut our dummies loose as the sawdust and brick dust hit us. Then we would get up and repeat the same sequence until the film director was satisfied.” From “My Uncle Sam Don’t Like Me” p. 68

I next tackled the mystery of Lukan. After a few stumbling starts, I learned first that Otto Lukan was L. Otto Lukan. Then after more searches using that clue, I discovered that he was more specifically – Lorenz Otto Lukan. With the full name everything fell into place. Here is his chronological resume:

1884 – born in Carver, Minnesota

1900 – the census shows him living with his parents in Everett, WA

1906 – he marries Evaleigh Smith

1908 – first and only child born – Margaret

1910 – the census for Seattle lists him as an accountant in the Assessor’s Office (either for King County or the city of Seattle)

1917 – Seattle directory – in the Advertising department for the Seattle P-I

And his first job in the film business

1918 – his draft registration lists him as the manager of the Pathe Film Exchange in Seattle

1920 – the census for Haller Lake WA (his residence near Seattle) just shows him as a manager of a Film Exchange (but does not specify), though articles in the Seattle Times for 1920 and 1921 list him as manager for the Associated First National Pictures Inc.

By 1922 he was the western division manager for the First National Theater Circuit. He was in the same company through the early 1930s, and definitely for the crucial time period in question – 1927 to 1928. Now whether or not he was bouncing back and forth between exhibition and distribution, I do not know for sure. But I am inclined to think that since FNP was a creation of a film exhibition circuit, he probably straddled the fence, with a foot in both domains. He was definitely situated in Seattle, with the exception of possible trips to LA to the Burbank studio and offices of FNP (this company was later acquired by Warner Brothers).

It seems to me then that Otto Lukan in his capacity as the district rep for FNP, was no doubt present for the promotion at the Columbia Theater in Seattle, and it makes sense that he would have stood in as a unit manager for the studio in the matter of hiring extras in the local area for “The Patent Leather Kid.”

Join me next week, when I will share what my research has revealed about what Walt may have seen when working at the Chaplin Studios.