Link to a clip for this scene from Finian’s Rainbow
Of all the scenes in Finian’s Rainbow the most memorable to me was the outdoor wash-line scene. The setting is the exterior area of the home that Fred Astaire and Petula Clark have acquired near Rainbow Valley. It begins with an interaction between these two, then moves on to a duet between Petula and Tommy Steele (“Something Sort of Grandish”). The movement, the color, the focus on the passing images are wonderful, and no doubt my delight with it is helped along by the whimsical wordplay of the song. And then Tommy ascending out of the well under the billowing dress perfectly caps the scene. So, of course I had to ask Howard Kazanjian how it was all done.
I was surprised to learn from Howard that it was not filmed on the backlot at WB. Rather it was filmed up in Griffith Park, in the Los Feliz neighborhood of Los Angeles. I had known that James Dean’s film “Rebel Without a Cause” was filmed up there, but had no idea that so many other films and TV shows were shot there as well [Link to wikipedia article]. And that it has been a well used location ever since the early days of film, i.e. D. W. Griffith used it for the battle scenes in his 1915 epic “Birth of a Nation.”
A lot of preparations were necessary first. Permission was arranged with the city for them to shoot there (not Howard’s responsibility). Two structures were put up, one consisting of two facades joined together that stood in for the house, and nearby a structure that represented a well. Despite the presence of lots of vegetation, the greens man had a lot to do to prep the scene. Various plants were brought in to dress the area, including netted over tobacco plants down the hill from the “house” (viewable in the reverse angle from the main scene). And unlike in the backlot where there were sprinklers, all the grass in that area had turned brown, and needed to be sprayed painted green. And as a finishing touch, artificial plants were sprinkled throughout.
Then there was a lot of equipment to co-ordinate. Besides the usual array, two cranes were employed. First, a Titan crane mounted one of the cameras. This was fully mobile, being a truck with the crane attached to the flatbed on the back. And it had seats for three out on the boom – room for the DP, Camera assistant (Focus Puller), and the Director. The second crane was for lifting the actor – Tommy Steele – out of the well structure at the end of the scene.
The other big piece of equipment was the ritter fan wind machine, which was used throughout the scene. It was kept on a low setting to gently billow the clothes on the line and used to choreograph these objects with the music. And was once set at a higher notch to propel one long veil-like piece up against the blue of the sky to complement the lyric of the song. I was left wondering about that billowing dress onto which Steele was hanging. Was there another fan rigged inside of it? (Howard – No. The ritter (fan) was underneath hidden from the camera. The dress had a hoop ring inside the bottom hem to which Steele clung. He had no double. The only stuntman present was there to strap him into the harness).
Altogether it was busier behind the scenes than in front of the camera.