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Home , Fay Wray, Joan Alexander, Ruth Rose, Terror on the Midway

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the Birth of Kong by Ray Morton

ing Kong was written by explorer and the brainchild naturalist W. Douglas Kof filmmaker Burden called THE Merian C. Cooper, DRAGON LIZARDS OF one of the pioneers of KOMODO. In 1926, the “Natural Drama” Burden led an expedition – movies created by to the Dutch East Indian traveling to exotic island of Komodo, lands, shooting home of the famed documentary footage Komodo Dragons, a of the native people species of large, vicious and events, and then, lizards thought to have through creative editing been extinct since (and by occasionally prehistoric times until staging events for the the living specimens camera), shaping that were discovered in 1912. footage into a dramatic narrative that had all of the Borrowing the idea of an expedition to a remote island thrills and excitement of a fictional adventure film. for his story, Cooper also decided that the Dragons A former merchant seaman, newspaper reporter and would make ideal antagonists for his ape and began military aviator, Cooper and his partner, former combat dreaming up scenes in which the creatures would fight cinematographer Ernest B. Schoedsack, traveled to Persia --scenes he planned to realize by filming the animals and Thailand to produce two classic Natural Dramas separately in their natural habitats and then intercutting – Grass: A Nation’s Battle for Life (1925) and Chang the footage. Learning that Burden had captured two (1927) -- and used their talents to create unique location Dragons, brought them to New York, and exhibited them footage for Paramount’s 1929 African-set adventure The at the Bronx Zoo until they died, Cooper decided to do Four Feathers. Cooper then retired from filmmaking and the same thing with his gorilla. Burden’s Dragons had moved to New York to work in the commercial aviation fallen into poor health and expired, but Cooper, ever business. He soon became bored, however, and, to amuse the showman, wanted to find a more spectacular way himself, began thinking up ideas for new films. of killing his protagonist and decided to have the ape escape and wreak havoc before finally being killed. Gorillas had fascinated Cooper since he was six years old, when he was given a copy of the book Cooper pitched his idea to Paramount, but feeling that EXPLORATIONS AND ADVENTURES IN EQUATORIAL it would be too expensive to finance expeditions to AFRICA (1862) by French explorer Paul du Chiallu. Africa and Komodo, the studio passed. A short time The book contained a story about a tribe of ferocious later, Cooper accepted a job as Executive Assistant to gorillas that attacked a native village and carried a David O. Selznick, the new head of production at RKO- female villager off into the jungle. Recalling the tale, Radio Pictures. Cooper’s job was to evaluate the studio’s Cooper decided to make a Natural Drama about a gorilla that kidnaps a woman. Soon after, Cooper read a book Continued on Page 2 VOICE Journal of the Alex Film Society Vol. 14, No. 5 October 25, 2008, 2 pm & 8 pm 10/08 of theTHEATRE Birth of Kong: cont’d from page 1

began envisioning scenes in which the Giant Terror Gorilla (as Cooper had taken to calling his protagonist) would run amok in , overthrowing cars and stepping on people. Knowing that all of this excitement would require an equally exciting capper, Cooper decided to have the ape climb to the top of the tallest building in the world – a title that had just been claimed by the newly opened Empire State Building -- and battle a squadron of airplanes before being shot down. In a memo to Selznick written in December 1931, Cooper proposed canceling Creation, retaining O’Brien and his crew, and using them to produce the Giant Terror Gorilla story instead. Selznick liked Cooper’s idea pending projects to determine which trips. To help sell the project to the and, after a bit of wrangling with should be salvaged and which studio, O’Brien painted a picture of a the RKO board, put the film into should be shelved. One of the first woman being attacked by a gorilla. production. projects he reviewed was Creation -- To increase the dramatic impact of a fantasy about a group of travelers the painting, O’Brien made the ape Christening his creation Kong shipwrecked on an island populated appear a little bit larger than life (allegedly after the Congo, where by living dinosaurs. Cooper didn’t – about ten feet tall. Soon after, he had originally planned to shoot. think much of the film, but was Cooper decided it would be much Selznick later added the King) impressed with its special effects, more dramatic to have the gorilla Cooper worked with four different which were being created by Willis fightCreation’s dinosaurs instead (novelist Edgar H. O’Brien, an innovator in the of the comparatively puny Komodo Wallace, James A. Creelman, Horace field of stop-motion – a Dragons. To accommodate this McCoy, and Ernest B. Schoedsack’s process in which a three-dimensional change, Cooper increased the size wife Ruth Rose) to develop his story. model is moved in tiny increments of his ape to eighteen feet. Since He then co-directed the film with and photographed one frame at a this also increased possibilities for Schoedsack, supervised the editing, time. When the film is projected, it mayhem the creature could create paid for the film’s innovative score appears as if the model has come at the climax of the movie, Cooper (by ) out of his own to life and is moving around on the pocket, and even played one of the screen. O’Brien had honed his skills fighter pilots who shoots Kong down on the 1925 screen adaptation of (Schoedsack played the other). The The Lost World -- Sir Arthur Conan result, which was released on March Doyle’s novel about explorers that 2, 1933 to tremendous critical and discover dinosaurs in the Amazon. financial success, was not only a Cooper became convinced that he classic film, but also a tribute to one could use O’Brien’s techniques to man’s incredible creative vision. bring his gorilla story to the screen Glendale resident Ray Morton is the in an economical manner -- using author of : The History animation, the film could be made of a Movie Icon from Fay Wray completely in the studio, with no to (Applause Theatre need for long and costly location and Film Books, 2005). This is Ray’s first Fay Wray in Kong contribution to the VOT. www.AlexFilmSociety.org –  – Vol. 14, No. 5 October 25, 2008 PERSPECTIVE: Willis O’Brien by Frank Gladstone

fter an early career as an on “Kong’s” success, O’Brien was rushed through a illustrator and sculptor, much lesser effort, Son of Kong, released the same AWillis O’Brien was hired year. He and Delgado would continue developing by the Edison Company in their processes, working again for Cooper on Last 1915 to produce a series of Days of Pompeii (1935) and culminating in the animated shorts. O’Brien very first visual effects Oscar, 1949’sMighty Joe employed the “stop frame” Young, collaborating on that film with his young technique of moving jointed protégé, . clay models a fraction of an inch between film Obie, as he was affectionately called, exposures, creating, was working on some very when projected, complex animation for the the illusion of hook-and-ladder climax movement. One of of It’s a Mad, Mad, Mad, these shorts, The Mad World (1963) when, Ghost of Slumber at 76, he suffered a fatal Mountain (1918) was heart attack. He had tried, a big hit for Edison throughout his career, to and O’Brien’s work get several projects started, eventually landed though he nearly always him the position came up against less than of animating the inspired, and sometimes dinosaurs for First even insolent studio National’s The reaction. Nevertheless, in the Lost World (1925). face of many personal and Knowing from professional catastrophes, past experience he managed to keep a that the clay and kind of boyish enthusiasm wood models he and today, Willis O’Brien had used for the is revered as a member shorts would not of the pantheon of visual be up to the much effects innovators for more ambitious his imagination, talent, demands of a theatrical feature, O’Brien began working perseverance and dedication to the art and technology with sculptor Marcel Delgado, developing complicated of the craft. aluminum armatures covered with cotton batting and latex skin. This made his stop-frame models much more stable, flexible and durable, which in turn allowed for more expressive and articulated animation.

O’Brien’s next project was Creation which was scrapped by RKO early in production. However, producer Merian C. Cooper was very impressed with the animation that had been done and convinced David Selznick that O’Brien was the right fellow to create the visuals for his giant gorilla project. The result was one of the seminal films in motion picture history. For the first time, a stop- frame character had a real personality that audiences responded to with fear, fascination and finally pathos. Nothing like it had ever been seen before. To capitalize

Vol. 14, No. 5 October 25, 2008 –  – VOICE of the THEATRE Black & White – 1933 – 100 minutes An RKO Radio Picture Print Courtesy of Warner Brothers Classics

Cast Directed By...... Merian C. Cooper Fay Wray...... Ann Darrow & Ernest B. Schoedsack ...... Carl Denham Idea And Story By...... Merian C. Cooper & Bruce Cabot...... John ‘Jack‘ Driscoll Screenplay By ...... James Creelman & Ruth Rose Frank Reicher...... Capt. Englehorn Executive Producer...... David O. Selznick Sam Hardy...... Charles Weston Produced By...... Merian C. Coope Noble Johnson...... Skull Island Nation Leader & Ernest B. Schoedsack Steve Clemento...... Witch King Original Music By...... Max Steiner James Flavin...... Second Mate Briggs Cinematography By...... Eddie Linden, J.O. Taylor, Merian C. Cooper...... Pilot Of Plane That Kills Kong* Vernon Walker & Kenneth Peach* Ernest B. Schoedsack....Gunner On Plane That Kills Kong* Edited By...... Ted Cheesman Art Directors...... Carroll Clark & Al Herman Art Technicians...... Byron L. Crabbe & Mario Larrinaga Sound Recordist...... Earl A. Wolcott Sound Effects...... Murray Spivack Chief Technician...... Willis H. O‘Brien Technicians...... Marcel Delgado, E.b. Gibson, Orville Goldner, Fred Reese information from & Carroll Shepphird Internet Movie Database: IMDB.com Production Assistants...Walter Daniels & Archie F. Marshek

* (Uncredited)

Including Short Subjects Hearst News Parade of 1933 /Paramount, Technicolor – 1942 – 8 minutes

Terror on the Midway was the 9th entry in the Fleischer Studios groundbreaking and highly influential “” series. The film, reminiscent of King Kong, was, like all of the Superman cartoons that preceded it, a genuine step forward in visual style, using realistic animation, sophisticated composition, atmospheric lighting, advanced design and special effects to help propel the story.

Directed by...... Written by...... , Jay Morton Characters by...... , Produced by...... * Animation by...... Orestes Calpini, James Davis Voices...... * (Lois), * (Clark), Jack Mercer* (Barker), Julian Noa* (Narrator) Original Music by...... Winston Sharples* & Sammy Timberg* Arranged by...... Sammy Timberg

* (uncredited) www.AlexFilmSociety.org –  – Vol. 14, No. 5 October 25, 2008 Vol. 14, No. 5 October 25, 2008 –  – VOICE of the THEATRE PERSPECTIVE: Fay Wray “When I’m in New York I look at the Empire State Building and feel as though it belongs to me... or is it vice versa?” Fay Wray

when she was three years old. “I felt like we had left an enchanted land,” she later said of the move. She eventually ended-up in Los Angeles accompanied by a guardian. While a teenager, she was an extra in two and four-reel Westerns and Hal Roach comedies.

After graduating from High School, she was the ingénue ay Wray had leading roles in a half-dozen silent westerns in nearly 75 motion pictures and played the bride in Erich von Fbetween 1923 and 1958 – 11 Stroheim’s 1928 silent classic The alone in 1933, including King Kong. Wedding March. The celebrated But none would so define her career director said he did not even bother as that classic tale about unrequited to test Wray for the part, alluding love between a virginal beauty and a to her enormous sex appeal. He cast giant ape. himself as a prince and her as the hand to loosen its grip while she bride. was suspended high above the Born Vina Fay Wray on Sept. 15, set. When she felt she was about 1907, her family left Canada for And then along came Kong. to fall, she implored the director Arizona in a stagecoach, no less, Initially, Ms. Wray thought of Cary to have her lowered to the stage Grant or when co- floor to rest a few minutes before director Merian C. Cooper gave being secured once again in the the actress a teasing description of hand and sent aloft. For close-ups, her co-star as the “tallest, darkest Wray was cupped in a six-foot-long leading man in Hollywood.” She mechanical device that doubled as soon discovered her tantalizing co- Kong’s arm and hand. star was an 18-inch model made of metal, rubber, cotton and rabbit She spent an entire day recording fur designed by animation expert additional screams, variously shrill Willis O’Brien. To film-goers, Kong and plaintive, that an editor later appeared 40 feet tall through such inserted in the soundtrack – too techniques as rear-screen projection often, she later emphasized. Asked and stop-motion photography that how she was able to muster such O’Brien had pioneered on the set of animated cries, she replied, “I made The Lost World (1925). myself believe that the nearest possible hope of rescue was at least The most hazardous part of filming a mile away.” King Kong, Wray recalled, was the tendency of the giant gorilla Continued on Page 7 www.AlexFilmSociety.org –  – Vol. 14, No. 5 October 25, 2008 By Linda Harris Voice of SUPERMAN . In later years, she wrote plays that were produced in regional theaters.

Wray was married three times. She had a daughter with her first husband, and had two children with her second husband, film writer . As the years passed, Wray acknowledged her identification withKing Kong so complete that it eradicated any other vestige of her career from memory. Actor Bud Collyer was performing on “Being in one of the most famous every major radio network by the age movies of all time is my greeting of 32 and assumed his most famous radio role in 1940, the title character Modeling wardrobe from Columbia’s in “The Adventures of Superman.” He Murder in Greenwich Village (1937). would continue as Superman until 1949, one year before the radio series The huge success of King Kong led ended, also playing the character in to others roles for Wray in 1930’s animated shorts by Max Fleischer. films in which her life or her virtue, or both, were imperiled – hence Among the few radio personalities to her being dubbed, “The Queen of successfully transition into television, Scream.” Collyer became host of “Beat the Clock” (1950), which ran in prime Wray went on to make movies until time and daytime for the next 11 the 1950’s and appeared in a variety years. In late 1956, he also became of television shows including Wagon the host of his biggest success, “To Train and Alfred Hitchcock Presents. Tell the Truth” (1956). This lasted Her last appearance was in Gideon for 12 years and made his “Will the Trumpet (1980), a TV movie with real [contestant’s name] please stand up?” a part of the American lexicon. card,” she told the Toronto Star in 1990. “I finally got to lunch His desire to take some time off with Larry Olivier a few years from the Superman radio show led back. Wouldn’t talk a bit about to the creation of part of Superman Shakespeare to me. Only wanted to lore: his vulnerability to kryptonite. know how we’d made Kong climb For episodes in which Collyer did the Empire State Building.” not appear, Superman was said to be held prisoner under a trap Fay Wray passed away on August door with a piece of the deadly 8, 2004, in her apartment in metal. This later became part of Manhattan, at age 96. After her the comic’s continuity and an death was announced, the lights important part of all subsequent on the Empire State Building were portrayals of the character. extinguished for 15 minutes in her memory.

AFS Board member Linda Harris is a Out of retirement in 1955 to star in Columbia’s Queen Bee with . frequent contributor to VOT.

Vol. 14, No. 5 October 25, 2008 –  – VOICE of the THEATRE www.AlexFilmSociety.org Society News Tickets: 818.243.2539

Vaudeville 08 By Brian Ellis Saturday, November 29, 2008 at 2 and 8 pm ONLY! TH undreds of Vaudeville 11 ANNUAL THREE STOOGES™ fans joined the Film BIG SCREEN EVENT! HSociety on September Stooges fans of all ages make AFS’ 20th for our 9th annual popular “Stooge-Fest” part of their Vaudeville Extravaganza. Thanksgiving tradition. This year’s event, Six live acts (including Jack PARDON MY AMNESIA, is a brand new Kalvan with wife Jeri and son) collection of bona-fide Stooges Classics energized the audience with that we have somehow forgotten in our comedy, music (headlined by past ten screenings. This is a great line- Ian Whitcomb), magic and up of guaranteed laffs, presented on the laughs. The evening was capped off by a Charlie Alex Theatre’s Big Screen! The titles chosen by our blue ribbon panel for 2008 Chaplin short, The Cure and a Technicolor oddity, are: IN THE SWEET PIE AND PIE (1941); THREE LITTLE BEERS (1935); PUNCH The Royal Rodeo from Warner Bros. From the late DRUNKS (1934); FRIGHT NIGHT (1947); DISORDER IN THE COURT (1936). 1800’s through the early 20th Century, Vaudeville was the common people’s theatrical experience. We are excited that this year’s bonus features include a very rarely seen 1974 Our audience shared the laughs and thrills much INTERVIEW WITH LARRY FINE, provided to us by his family. Larry talks as their ancestors did 100 years ago. Join us next about his early career, the Stooges vaudeville years and how the trio developed year on September 19, 2009 when Vaudeville their film personalities and wacky brand of knock-about comedy. As we have will again appear on the Alex’s fabled stage. each year, we’ll also present a clip from a “lost” Stooges short or feature film. Fun? Soitenly! Prints courtesy of Columbia Pictures. Running time approximately 2 hours. General admission $15; $12.50 kids/seniors; $8 AFS members.

Saturday, February 14, 2009 at 8 pm only membership application 08_07 mail with check to: Alex Film Society Katharine Hepburn, and James Stewart in P. O. Box 4807, Glendale, CA 91222-0807 The Philadelphia Story

A witty, sparkling adaptation of Philip Barry’s Broadway hit, The Philadelphia Story was the comeback success for Katharine Hepburn who, just two years earlier, had been labeled box office poison by Screenplay Magazine. A classic romantic comedy/farce of love and marriage, class distinction and redemption, the film earned Jimmy Stewart his only Best Actor Oscar™ along with an award for screenplay and four other nominations including best picture. Director George Cukor received outstanding performances from Hepburn, Stewart, Cary Grant and Ruth Hussey. The Philadelphia Story is a perfect Valentine’s Day treat for lovers.

Voice of the Theatre Published by and for members of the Alex Film Society P. O. Box 4807 • Glendale, CA 91222 • 818.754.8250 [email protected] $3 (mailed free with membership) editor randy carter design/layout brian ellis distribution andrea humberger printer 4Over, inc, glendale ©2008 AFS, all rights reserved