- 20th Century Fox calls off their 2 million dollar building plan for two reasons: 1) the unsettled state of the foreign markets, and 2) the current tax situation at home. This effects plans for five new sound stages.
- Republic Pictures plans to start building their own studio on a 48 acre lot next to the old Mack Sennett lot which they are currently leasing.
- RKO, in trouble financially since 1933, is looking to reorganize and emerge from their 77B bankruptcy by end of summer.
- Paramount has over 2000 people currently employed at the studio – a high for the past 12 months. The number of the people in the back lot and in technical positions has increased 50%.
- Major and minor companies are turning away from screwball comedies in favor of outdoor, big action historical and/or biographical films.
- Joan Fontaine has been selected for a part in director George Stevens’ big action film “Gunga Din.” Her costars will be Cary Grant and Jack Oakie. Victor McLaglen will also be aboard, the Oscar winner is on loan from Fox. [Stevens had his latest film open on this date – ‘Vivacious Lady’ starring James Stewart and Ginger Rogers – a screwball comedy – so it seems the director is trying to get ahead of the curve for 1939].
- Ginger Rogers is guaranteed a month long vacation between pictures as part of her new RKO contract. [Could screwball comedy be more tiring than dancing with Fred Astaire]?
- Stan Laurel is marrying a Russian singer, Ileanna, (Vera Ivanova Shuvalova) for the fourth time since Jan 1. [This may be popping up over and over for they were battling constantly all the way through 1939].
- Joan Crawford re-upped with MGM, signing a five year contract for 1.5 million dollars. She came to Hollywood in 1925, at the height of the flapper era, and could dance the Charleston. [In her interview with Ed Sullivan at this time Crawford states that her first picture was a western with Tim McCoy, entitled ‘Winners of the Wilderness,’ instead of ‘Pretty Ladies’ from 1925. I’m not sure if her memory was playing her tricks, for ‘Pretty Ladies’ was her first credited role, and the McCoy film was in 1927. Perhaps she remembers the western fondly because it was a co-starring role (with no other ladies sharing the spotlight). Or maybe, being from Texas, she liked playing a cowgirl].
- To make westerns more realistic the William Hays office is proposing meeting with author Will James (author of Western fiction Smokey) and Harry Carey to work on a possible code.
- Gene Autry goes back to work at Republic after holding out since December on salary and other contentions (radio and in person appearances – acting for other producers and for his own company). [Things look good for Westerns, if the film execs are sensing the right direction].
Tag Archives: westerns
A Closer Look at J S Stembridge #1939TheMiracleYear
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.