LONE PINEIN THE MOVIES

C E L E B R AT I N G R E P U B L I C ’S 75 TH A N N I V E R SA RY

$1195

RICHARD W. BANN • ED HULSE • CHRIS LANGLEY • SAM SHERMANNashville, Tennessee

Over a period of 25 years Republic Pictures

produced some of the most action-packed Westerns, serials and adventure films ever made. A number of the best—including Republic’s first release, Westward Ho (1935)—were shot in Lone Pine. This jumbo-sized edition of Lone Pine in the Movies pays homage to the studio’s output with a group of fact-filled, profusely illustrated articles written by a Who’s Who of distinguished film historians including Richard W. Bann, William K. Everson, Ed Hulse, Chris Langley, Don Miller, and Samuel M. Sherman.

LONE PINEIN THE MOVIES

CELEBRATING REPUBLIC’S   75TH   ANNIVERSARY

    2  Introduction FormerRepublicexecutiveBobSigmanopensthistributeissueofLone Pine in the

Moviesbyreminiscingabouthistimewiththecompany.

    4  From Republic to Lone Pine: The Long, Long Trail ChrisLangleypresentsanoverviewofRepublic’sinvolvementwithLonePineand

theEasternSierra,documentedwithnewsreportsculledfromthelocalpapers.

  16  Republic’s First “A” Movie: Army Girl Anarticleonthemakingofthiselaborate1938actionfilm,Republic’sfirstbig-

budgetoffering,withasidebarbystuntmanYakimaCanutt.BySamSherman.

  26  Natives in the Hills: Storm Over Bengal Another1938actionerfromRepublicPictures,theexceptionallywell-madepro-

grammerprovidedstockforseverallaterserialsandfeaturefilms.ByEdHulse.

  32  John Wayne’s First Republic Western: Westward Ho TheDuke’sinitialfilmforRepublicwasalsothecompany’sfirstrelease—

atop-drawerhorseoperalensedinLonePinein1935.ByRichardW.Bann.

  42  The Three Mesquiteers in Lone Pine SamShermandiscussestwo1937entriesinRepublic’spopular,long-running

seriesof“B”Westerns:Gunsmoke RanchandWild Horse Rodeo.

  54  Republic in the Forties: Sagebrush Empire InthischapterfromHollywood Corral,filmhistorianDonMilleranalyzesRepublic’s

“B”-Westernoutputofthe1940s.

  78  Classic Cliffhanger: The Making of The Lone Ranger Long-timeRepublicdirectorWilliamWitneyreminiscesaboutoneofhisbestseri-

alsinthisexcerptfromhismemoir,In a Door, Into a Fight, Out a Door, Into a Chase.

  90  Brothers in Illusion: Republic’s Special-Effects Wizards HowardandTheodoreLydecker,thestudio’sresidentspecialistsinmoviemagic,

areprofiledbyJanAlanHenderson,authorofThose Legendary Lydecker Brothers.

102  Then and Now: Photo Gallery FamedLos Angeles Times photographerDonKelsenmatchesnewlyshotpictures

ofLonePinewithstillsfromRepublicmoviestakeninexactlythesamespots.

Packy Smith  —publisher

Ed Hulse  —editor

Michael Bifulco  —design & production

Elizabeth Gulick  —design assistance

Richard W. Bann Jan Alan HendersonEd Hulse Don KelsenChris Langley Sam Sherman   —contributors

Lone Pine in the Movies was published by Riverwood Press for the 2010 Lone Pine Film Festival. The contents of this issue are copyright © 2010 by Riverwood Press with the following exceptions: “Sagebrush Empire” was copyrighted © in 1976 by Film Fan Monthly and is reprinted here with the permission of Jessiefilm, Inc. “The Making of The Lone Ranger” was copyrighted © in 1996 by William Witney and is reprinted here with the permission of J. D. Witney. “Brothers in Illusion” appeared in slightly different form in The Legendary Lydecker Brothers and is copyright © 2010 by Jan Alan Henderson, with whose permission it is printed herein.  All rights reserved. Nothing may be reprinted in whole or in part without written permission from the publisher and/or the respective copyright holders. 

Photo and Art Acknowledgments: All photos, posters, and lobby cards from Republic Pictures productions are copyright © 2010 by Paramount Pictures, a Viacom Company. All photos of Lone Pine credited to Don Kelsen, including the coverplate, are copyright © 2010 by him.

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Introduction

I was living in Connecticut, commuting daily to my office in New York City where I was Executive President of Worldvision

Home Entertainment (a division of Spelling Entertainment), when Spelling and its related companies were acquired by Blockbuster in March of 1993. The intention was to integrate film, TV and video entertainment production companies into a direct source providing the Blockbuster consumer base a wider variety of products.

In the 1980s, Republic Entertainment was operating primarily as a TV production company. In 1985, Republic Home Video was formed as a video distribution and retail company to maintain control of their new product as well as the extended library they had built through their television distribution division. As the company expanded and continued to grow into the 1990s the company began to realize the financial importance of the Republic classic and Western library.

Blockbuster saw Republic as an opportune addition to their new concept of entertainment

integration and acquired the company in October 1993. In January of 1994, the Worldvision/Spelling distribution entities and Republic were merged. I became President and CEO of Republic Entertainment. My objectives were to expand distribution and promotion of the classics library, develop new production partners for contemporary films, and expand Republic’s international distribution.

As President and CEO of Republic Pictures, I found myself working with many of my childhood heroes: Roy Rogers, Gene Autry, and a number of the legendary Western actors and actresses who graced the silver screen of Republic’s golden age. Even though many lived in or near Hollywood, it had become very obvious that previous management had not embraced the living family of actors who had contributed the most to Republic’s heritage.

In early 1994, I went to the Roy Rogers and Dale Evans Museum (then in Victorville, California) to meet Roy and Dale. It was a very special beginning to a relationship with them and their family that continues through today. Republic made 33 John Wayne pictures, but the Wayne family had not heard from Republic management in years. We subsequently worked with Michael Wayne to re-release and promote these classic Republic titles. Meeting Maureen O’Hara along the way brought many a good story of the Duke, John Ford, and of course, “Old Man Yates,” as Maureen referred to Republic founder Herbert Yates. John Mitchum also added many a lively tale.

At the request of Martin Scorsese, a Republic fan, we worked with Roddy McDowall to restore a 1970s Republic-owned movie, The Devil’s Widow (aka Tam Lin), starring Ava Gardner. Tam Lin was the only movie Roddy had directed and, as it turned out, he possessed the only surviving negative. Roddy, too, shared great stories of his contemporaries and the early years on the Republic lot.

While all America knows of the Academy Awards, only Western loyalists know of the Golden Boot, Hollywood’s tribute/awards program for Western

LONEPINE INTHEMOVIES �

film heritage. Republic’s past management had not participated, but in 1994 Republic executives and other interested employees attended our first Boot ceremony. What fun! Subsequently, I was asked to become a Director of the Golden Boot Committee and offered a seat on the Motion Picture and Television Fund’s board.

In June of 1994, while on a motor-home vacation with my kids, we toured Death Valley and chose to exit the park from the north end through a town called Lone Pine. Mind you, with only a few months on the job—and having grown up in the east—I was not even aware of Lone Pine’s existence, much less its past historical connection and contribution to Republic movies.

As we came out of the Valley toward Highway 395, the sun was setting. Where to stop? Katie, my nine-year-old daughter, saw a billboard she liked: Boulder Creek RV. So we pulled in and hooked up for the night. Early the next morning, Katie went ahead to the camp store to get some breakfast supplies. I followed a short time later and saw Katie in deep conversation—she might have been interrogation—with the RV parks owner, Jaque Hickman. Jaque had learned from my daughter of my position at Republic and how we had happened into the park. Before joining the conversation, I noticed many posters of Republic Pictures in the store. Jaque gave me the Lone Pine 101 film history course. A quick call was put in to Lone Pine Film Festival co-founder Dave Holland, who joined us. Over the next few hours a couple

of friendships began that led to my commitment to participate and support all future Lone Pine activities. The rest is history. I had the great opportunity to meet so many of the wonderful actors, actresses and production personnel of Republic’s extended Western family, including Roy and Dale, Gene Autry, Monte Hale, Pierce Lyden, many of the Sons

of the Pioneers, Ben Cooper, the lovely Grace Bradley Boyd, and so many others. In 2000, the company honored “Republic’s Sweethearts” Dale Evans, Peggy Stewart, Adrian Booth Brian, Ruth Terry, Adele Mara, Helen Talbot and Vera Hruba Ralston at a private luncheon in the original commissary on the old Republic Studio lot (now the CBS Studio Center). In 2005, we bought a second home in Lone Pine—high in the Alabama Hills where we could sit on our porch and envision the exciting drama of the white hat cowboys,

shootouts, and horse chases. In the wind we could hear the voice of the Lone Ranger: “Hi-Yo, Silver!” The Western family of Republic and, as well, the principles, ethics, values of Western life and culture, and the importance of our Western heritage have enriched my life greatly. I look forward to seeing all my friends and meeting new ones at the next annual Lone Pine Film Festival.

Bob Sigman has a solid management track record in the corporate world with high profile and diverse companies as Bristol Myers, Worldvision Home Video, Republic Pictures, AsSeenIn.com and the America One TV Network. He served his corporate tenure between New York and Los Angeles, but now calls Charlottesville, Virginia home. As a consultant, Bob assists corporations and individuals to develop their strategic plans to realize their sales and marketing objectives.

Bob Sigman with Cheryl Rogers (left) and wife Susanne in front of the Lone Pine high school auditorium during a recent Film Festival.

“The Republic story was long and confused,” direc-tor Joe Kane once said. “It was a public corpora-

tion owned by the stockholders, but whenever I hear that old cliché about corporations not being owned by the top brass but by thousands of faceless shareholders, I have to laugh. [Company president Herbert J.] Yates did as he pleased and the stockholders had about as much to say as a native in Timbuktu.”

Kane was a loyal employee of Republic Pictures Corporation and directed fully 114 films at the studio dur-ing his tenure, which spanned the company’s entire exis-tence. He thought of the Republic personnel as a family, and his commitment to that family occasionally led him to projects he really didn’t want to do because he knew they were going to be bad. At the same time, he was an effective and masterful action director—and a mentor of

From Republic to Lone Pine

The Long, Long Trail

by Christopher Langley

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LONE PINE  IN THE MOVIES    �

sorts to William Witney, who also worked there and who many film buffs see as the epitome of the action-movie director. The 2010 Lone Pine Film Festival celebrates the output of Republic in its film selection, which includes some of the studio’s best made here in Lone Pine and the Eastern Sierra. Republic gave us great “B” Westerns with well-directed, visually effective action sequences that still in-fluence directors working now. (Quentin Tarantino, for one, is an ardent and vocal fan of Witney’s work.) John Wayne, Roy Rogers, and Gene Autry all rose to fame while toiling for Republic; the latter two made their first starring vehicles and were top earners for the little stu-dio in the San Fernando Valley. The “singing cowboy” and the musical Western, while not necessarily cre-ated by Republic, were certainly developed and refined by the studio. Virtually all its feature films and serials were produced on budgets smaller than those allotted to comparable pictures made by the major Hollywood companies. The mandate to turn out salable, competi-tive product while maintaining high technical quality is what editors Charles Flynn and Todd McCarthy referred

to as the “economic imperative” in their introduction for the book Kings of the Bs. Without its own theater chain (something the majors all had), Republic was forced to distribute its product to independent exhibitors and chains; to secure playdates for its pictures the studio had to do more for less and still provide satisfying motion pictures that didn’t betray their lightning-fast shooting schedules and relatively meager cost outlays. The bot-tom line was king at Republic under the watchful eyes of Herbert J. Yates and his management team.

American audiences during the Depression and World War II were very lucky to have had the films

of Republic. They were budgeted to make a buck, but they also provided escapist entertainment while rein-forcing the values believed necessary for inculcation in good Americans. For many still alive today, Republic—its Westerns especially—shaped the emotional and ethical lives of the youth of our country. The story of Republic connects with the story of Lone Pine at many points, giv-ing them a partially shared history. In the following pages you’ll be exposed to a good bit of that history.

From Republic to Lone Pine

The Long, Long Trail

by Christopher Langley

A 1920s shot of Mack Sennett’s studio, which eventually became the Republic plant.

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So dim the lights and let’s get the flickering images going. In 1935 when Herbert J. Yates created Republic Pictures, the New Deal had been legislated, but the coun-try was still deep in the Depression and the economic tur-moil it produced. It was not the best time to start a new studio, but audiences expected double bills at their local theaters, and the major studios’ “B” output was not suf-ficient to meet the demand. Yates entered the business world through the American Tobacco Company. By 1915 he was working for Hedwig Laboratories processing film, and in 1918 he financed Republic Labs, which he merged with several other pro-cessing plants to form Consolidated Film Laboratories (later Consolidated Film Industries) in 1924. Three years later, Nat Levine founded Mascot Pictures, a small inde-pendent firm specializing in the production of serials. Yates handled the processing of Mascot’s film and ex-tended financial support in various ways, enabling Levine to expand into feature-film production and lease the old Mack Sennett studio just north of Ventura Boulevard, at that time the San Fernando Valley’s main thoroughfare, in North Hollywood. Yates had bigger fish to fry. He wanted to move into production and distribution, where the money really was. In 1935, after persuading Mascot, several smaller production entities (and CFI customers), and the mod-estly successful Monogram Pictures to join him under a new corporate umbrella, Yates founded Republic Pictures Corporation. The merger gave this new company im-mediate access to Mascot’s newly refurbished plant and Monogram’s nationwide network of exchanges from which film prints could be sold and delivered to theaters all across the country. Amid much fanfare in the movie

industry’s trade journals, Yates announced that Republic would release a full slate of feature films and serials during the upcoming 1935-36 season. The first year’s output reflected the fledgling studio’s hastily-thrown-together aspect in the release of already-completed movies produced by Poverty Row outfits ab-sorbed in the merger. Twenty-two films—more mysteries, melodramas and adventure pictures than anything else—made up that initial production schedule. Added to this were eight John Wayne Westerns (produced under the supervision of former Monogram executive Trem Carr), eight Gene Autry Musical Westerns and four Republic-Mascot Serials (overseen by Nat Levine, who discovered Autry and gave him bit parts in Mascot products). While the profits from these early “B” pictures were not spectacular, they were predictable, especially when expenses were kept down. Richard Maurice Hurst in his interesting and in-depth history Republic Studios: Between Poverty Row and the Majors, writes: “The majors were not geared to filling this very real need so the lesser studios led by Republic stepped in to fill the gap. Most of these studios relied on State’s Rights distribution wherein film packages, often in blocks of six or eight, were provided to a wholesale distributor who handled them exclusively in a region frequently made up of one or more states.” Yates, having acquired the Monogram exchanges, was not dependent on the territorial distribution scheme known as State’s Rights. Therefore, Republic controlled its own destiny from the very beginning. The studio quickly adopted an assembly-line approach to production, pay-ing less attention to story values in favor of developing technical quality of a high order. Within just a few years Republic product looked and sounded as good as all but the most expensive major-studio films—and on tight

The Republic lot as it appeared in its heyday, during the 1940s.

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budgets. The Hollywood Reporter stated in 1938: “The principle behind Republic is as financially sound as the dollar received from the exhibitor. . . . In fact, there is little about Republic Pictures that is not built upon a cold ‘busi-ness’ basis. The barometer of its bank balance is truly the box-office.” Republic’s highly specialized production crews were noted for their skill, their techniques and equipment es-tablishing a reputation for quality rivaling some of the majors. Furst states: “Camera work at Republic was con-sidered to be exceptional. The best camera trucks, good composition, rapid panning techniques, and the use of numerous studio dolly shots all gave Republic produc-tions a feeling of movement that was not found in most of the films of the majors. In the music department Republic scored to the hilt. . . . Republic combined no-nonsense straightforward direction, professional camera work, and skilled editing with these good music scores to produce a highly competent, attractive set of films.”

Naturally concerned with getting good production value on limited budgets, Republic’s filmmakers didn’t waste any time availing themselves of the opportunity af-forded by shooting in Lone Pine. The very first Republic release, Westward Ho, was shot here. Of the 45 films made locally by Republic, seven of them starred John Wayne. Six of these were released in 1935, 1936 or 1937. Westward Ho and Lawless Range were filmed in Lone Pine, and other locations, simultaneously from May 19 until June 3. Westward Ho was budgeted at $22,000 but ultimately cost $24,198 and was the most expensive of these early films, each budgeted at $15,000. Wayne, the first star signed by Republic, was a holdover from Monogram, which was originally to have released these six-reel “B” Westerns. The eight Wayne films were to be made over 80 days in one year at a salary of $1,750 each for Wayne. Lawless Range was actually released third in the series and finally cost $16,346. Other Wayne films of this first series were The Oregon Trail, The New Frontier,

John Wayne and Frank McGlynn Jr. in Republic’s first release, Westward Ho (1935).

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and King of the Pecos. Winds of the Wasteland was released in 1936 and filmed in the Sierra as well as the Sacramento Valley. The local papers took little notice of Wayne or Republic except for The Oregon Trail. Since this film is missing and perhaps lost for good, we’ll spend a little extra time on the details as reported by the Inyo Independent on December 12, 1935. “More than fifty Lone Pine persons were em-ployed by Republic Pictures Corporation this week on the picture ‘Oregon Trail.’ Mostly men were used as extras but four women were called on Wednesday. The picture portrays the struggles of early travelers across the route from Fort Laramie to Oregon which was later to become famous as the Oregon Trail. The picture is reported to be a colorful, historical drama. Local men played the roles of California Lancers, pioneers of the road, and the renegade villains who tried to thwart the trail blazers.” Apparently production values were noticeable. The paper stated: “Covered wagons, cannons on the pattern of 1835, buckskins and bonnets have been transforming

the Alabama Hills into old Oregon. Snow shots taken on Hunters Flat are declared to be especially beautiful.” The entire cast and crew, which included Ann Rutherford, Fern Emmett, and Ben Hendricks, stayed at Lone Pine’s venerable Dow Villa Hotel. Two later Republic Pictures made locally also starred Wayne: Three Faces West (1940) and Flame of the Barbary Coast (1945). The former shot on Sherwin Grade as well as the Eastern Sierra along with shots in the Alabama Hills. The latter used locations in Long Valley near Mammoth. Flame had a large budget for the time of $600,000, but Wayne wasn’t at all happy according to director Joseph Kane. Wayne didn’t like the project and went out of his way to be difficult. Kane later claimed in an interview, “It was almost impossible to create a good script and prepare a big production in five weeks. Wayne didn’t care. I guess he figured it couldn’t all be done and he wouldn’t have to do the picture. He obviously didn’t care that my failure to deliver, no matter whose fault, would have probably fin-ished me at Republic. I had no major credits, just a string

Gene Autry and Smiley Burnette prepare to take a scene from Boots and Saddles (1937).

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of Autry and Rogers Westerns. I would have gone back to the cutting room if I could even get that.” Gene Autry was Nat Levine’s none-too-impressive con-tribution to Republic’s star roster. But the canny producer persuaded Yates that, with carefully planned productions and careful marketing, Autry could capitalize on his lim-ited fame as a radio singer and recording star. Republic did quickly build Gene into a major star whose popular-ity transcended the Saturday-matinee “B” Western: for a couple years he was one of Hollywood’s Top Ten Most Popular Stars, right up there with Shirley Temple and Clark Gable. His success inspired the Singing Cowboy phenomenon. Autry’s sixth picture for Republic, Comin’ Round the Mountain, was the first of 10 that were for the studio shot locally. The Inyo Independent of February 28, 1936 reported 50 people working on the film in Lone Pine. “No more suitable location for a picture could be found than chosen by Republic Company,” the paper crowed. Boyd Magers, in his thorough and encyclopedic book, Gene Autry Westerns: America’s Favorite Cowboy,

states they also filmed in Olanchi (Olancha), 23 miles south. Magers claims this was the first time Gene’s horse Champion—here called “El Diablo”—had a major role in a film. He also quotes Autry as saying it was one of only three pictures set in the Old West and requiring Gene to wear buckskins. Oh, Susanna! was the next Republic/Lone Pine film Autry did. Filming began on July 12, 1936 after an ex-tended legal squabble between star and studio. Autry had left on a personal-appearance tour and Republic em-ployees chased him about the country trying to serve an injunction and legal papers. That was not the only chal-lenge to the production. A bus carrying crew members overturned outside of Kernville, south of Lone Pine. Many were injured, some quite seriously. Kay Hughes was scheduled to be Autry’s co-star, but on the first day of filming in Lone Pine she was injured. Magers quotes her as recalling, “. . . It was the first scene I did. They put me on this horse with a bunch of cowboys and we had to run into camera range and stop abruptly in a ditch. Everyone

Left to Right: Johnny Duncan, Gene Autry, and Peggy Stewart in Trail to San Antone (1947).

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Rare shot of Republic camera crew with the converted Simplex truck used to film chase scenes.

LONE PINE  IN THE MOVIES    11

stopped but me! I went over the horse’s head and hurt my arm and back. I still have a scar on my elbow. I had to go home, so I didn’t do my first Gene Autry.” She was re-placed by Frances Grant. Rootin’ Tootin’ Rhythm was released in May of 1937; filming had taken place locally March 10-20. Boots and Saddles was released in October after shooting locally at the end of July and the Inyo Independent reports they finished in Lone Pine on August 6. (It also states that Republic and John Wayne were due back soon, but at this time the Duke was working for Universal on a series of six non-Western “B” adventure pictures.) The beginning of 1938 saw the opening of another Autry Lone Pine Picture directed by Joe Kane. It was The Old Barn Dance, which had filmed locally at the end of November the year before. At this time Autry’s relationship with Yates was poor. The star felt he should be paid five times what he was getting ($25,000 per picture instead of $5,000) and he wanted a guarantee in his contract that Republic wasn’t entitled to half the money he earned in promotional activities. Gene’s next picture was to be Washington Cowboy, but when he subsequently went on strike, the studio renamed the film Under Western Stars and gave Leonard Slye, renamed Roy Rogers, his first starring role. This historically important picture would also be shot in Lone Pine. Autry would not be back to Lone Pine until In Old Monterey, which filmed June 18-July 3 and was released August 1939. The Inyo Independent was full of details about the film, all except how to spell the star’s name, which they wrote as “Autrey.” The paper reported it was a “special,” indicating a more generous budget and ex-panded shooting schedule. “Shots were made on the Dry Lakes, in the Alabama Hills, at Carmen Oliva’s home and at Spainhower Ranch. Joe Kane is directing the picture, the theme of which is entirely modern, being based on confiscation of ground around Murac Lake for military purposes.” Melody Ranch shot both in Lone Pine and Mammoth Lakes. Released in November 1940, it was the most expen-sive Autry to date, coming in at a negative cost of $177,529. The picture, which took its title from Gene’s popular radio show, had a running time of 84 minutes and was also a “special.” The Melody Ranch unit worked only one day lo-cally doing running shots in the Alabamas and then left for Mammoth. The Independent of September 13, 1940 re-ported “they will pack into some of the back country and to Devil’s Postpile where numerous outdoor scenes will be taken.” The cast included Jimmy Durante, Ann Miller and Gabby Hayes. At the time things were busy in Lone Pine, as High Sierra was here filming and the paper reported Harry Sherman planned to do Panamint Parson here. Fox

had suggested they would film the end of Western Union here, although at the moment they were in Utah. Down Mexico Way came along in October 1941. The local paper here in their August 15, 1941 edition an-nounced that both Republic and Twentieth Century-Fox would be filming Westerns at the same time. On the 22nd, The Independent followed up but confused one of the pic-tures. “Lone Pine took on the ‘Little Hollywood’ appear-ance this week as two major studios with large crews made pictures in the Alabama Hills and Whitney Portal area.” The Fox picture was that studio’s third adaptation of Zane Grey’s The Lone Star Ranger, starring John Kimbrough and Sheila Ryan. The Republic picture with Autry, Burnette and Fay McKenzie was better reported. “Alabama Hills and the Badger ranch in Lone Pine canyon were used in scenes for this picture as well as other loca-tions. Stock from the R. B. Spainhower ranch was used on several occasions and a number of local men worked dur-ing the four days spent in Lone Pine.” The reporter con-tinued, “Work was completed yesterday and the company moved on to a location on Walker Pass to complete the picture.” Negative costs came to $133,520, making it the second most expensive Autry vehicle. By now Gene was at the peak of his popularity, the fourth most popular star as voted by the exhibitors. Sierra Sue opened a month later. It had filmed in Mammoth Lakes and what would be Crowley Lake. In August 1942, Call of the Canyon opened; Boyd Magers has identified one of the locations used as Lone Pine. The ti-tles and end credits were filmed against a still of Alabama Hills rocks, and a section in the middle (either stock or newly shot second-unit footage) shows several scenes of a bi-plane stampeding cattle in the Alabamas. Besides the usual team, the Sons of the Pioneers and Ruth Terry were in the film. Ruth was on loan from Howard Hughes. It al-most sounded like a Roy Rogers vehicle. The post-World War II Sioux City Sue and the later Robin Hood of Texas, produced after Gene’s return from the Armed Forces in 1946, both have local footage, but it was probably stock taken from another Republic feature, a cost-cutting trick that the studio raised to a fine art. One last Autry/Republic/Lone Pine picture remains: Trail to San Antone released in January 1947. Perennial Film Festival guest Peggy Stewart was Autry’s co-star and remembers well working with the cowboy businessman. She has often repeated the story of her and other cast members waiting for camera set-ups or posing for stills while Gene read the Wall Street Journal on the sidelines. “Always . . . businessmen from New York found their way up to Lone Pine to talk. He was forever doing business, but he always had time for a sassy joke or something, es-

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pecially while we were waiting for lighting to be finished and we’re just standing there.” Peggy says that long-time Autry stunt double Joe Yrigoyen did Trail’s famous jump with Champion over the Buick now housed as part of Jim Rogers’ collection in the Lone Pine Film Museum. A poster-sized photograph of that scene hangs over the car, and Peggy’s cowboy boots are next to it. Trail to San Antone concluded Gene Autry’s association with Lone Pine as a Republic Pictures star, but he would often return in the years to come, after forming his own production company and signing a distribution deal with Columbia. We come now to the third major Western-movie hero most often associated with Republic Pictures. Roy Rogers made fewer pictures with the studio here in Lone Pine, but they are quite significant in “B”-Western lore. Richard Hurst states that long before Autry departed Republic, the studio found Leonard Slye and resolved to develop his box-office appeal. Having appeared under his own name with the Sons of the Pioneers, and as Dick

Weston in a couple bit parts, the rechristened Roy Rogers got his big break on the aforementioned Under Western Stars, a vehicle originally intended for Autry. A topical story pegged to the recent dust-bowl tragedy, Stars in-volved chicanery undertaken by an abusive water com-pany and opposed by a young cowboy newly elected to Congress. A film focused on various aspects of water politics was certainly familiar to Owens Valley residents. Scenes shot at Tinnemaha Reservoir were very effective, as were the dust storms staged in the Alabama Hills. Rogers later said that although the studio brought up several large wind machines to simulate a dust storm, the Alabama Hills obliged with one of its own for the cameras. In several scenes the observant viewer can catch images of the real aqueduct that Los Angeles was using to transport local water south for the burgeoning city. The film was a surprise success, encouraging Yates to put Rogers under contract and groom him as a replace-ment for Autry, who quickly resolved his issues with Republic once another singing-cowboy star had won his

A Republic crew between takes while on location in Lone Pine for Under Western Stars (1938).

LONE PINE  IN THE MOVIES    13

spurs. The Rogers pictures, mostly set during pioneer days, were neither as expensive nor as profitable as Autry vehicles from the same period, but when Gene went into the service in 1942, Yates ordered a big publicity build-up for Roy, whose billing as “King of the Cowboys” dates from that period, which also saw increased spending on his films, which boasted better supporting casts and most lavish production values. Of course, some of Roy’s early Westerns were excep-tional despite their lower budgets and short schedules. His second Lone Pine film, directed by Joe Kane, was reported as being on location locally by The Inyo Independent in its October 8, 1939 edition. The reporter was much im-pressed with the presence of one Doris Day, recruited from Broadway after appearing in The Women there. “The story is set in ‘Sundown Valley’ about 1900,” said the Independent account. “When the brothers are 12 and 5 years old, their father is killed in a fight over the water supply for the valley. The younger brother is kidnapped by gunmen, and grows up fighting against the ideal for which his older brother is fighting. . . . Part of the picture was taken on the narrow gauge railroad.” This movie, Saga of Death Valley, is a strong contender for the best Rogers

film made prior to his tenure as “King of the Cowboys.” Although the highly touted Doris Day (no relation to the blonde movie and TV star of later years) failed to click on screen, Saga gained immeasurably from the presence of one Donald M. Barry, cast as the younger brother, who very nearly stole the picture out from under Roy’s nose. His fine work did not go unnoticed. Just a year later, as Don “Red” Barry, he would become the latest addition to Republic’s cowboy-star stable. Republic, Rogers and Sheila Ryan were back on March 19, 1943, filming Song of Texas locally. That August, Roy was back to make Hands Across the Border; the big news as reported for local papers was that he, sidekick Guinn “Big Boy” Williams and others were going to appear at a dance that would be a fundraiser for the Plunge, then a swimming-pool project being undertaken by the entire town, and still in use today. “Featuring entertainment by well-known movie stars and by local talent,” the Independent reported, “the Lone Pine Plunge benefit dance tomorrow night in Lone Pine Union high school gymnasium was expected to draw a large crowd from all parts of southern Inyo. Dancing will start at 9 p.m., with music by Goodwin’s orchestra of

Roy Rogers and Trigger in a tense scene from Saga of Death Valley (1939).

1�    LONE PINE  IN THE MOVIES

Bishop, according to Edward W. Hjeltness, committee-man. Highlight of the evening will be the personal ap-pearance of Roy Rogers, Republic Pictures Western movie star, and Big Boy Williams, both of whom are with a com-pany on location this week near Lone Pine. Co-operation on the benefit dance program as promised by Republic Pictures on location with cast.” Then came Utah, a big Republic production with a cast and crew of 103, as reported in the paper on December 1, 1944. The Independent made it clear they would stay at the Dow and that Johnny Morris of the Mt. Whitney Café would handle catering. The first group of crew and director, John English, ar-rived, followed a few days later by the cast. “Most of the scenes are being shot in the Alabama Hills, and on the R. B. Spainhower and John Lubken ranches. . . . Wednesday evening the studio transportation division, in the charge

of Otto Kupp, kindly donated one of the studio cars to transport 20 Lone Pine Boy Scouts to Independence to at-tend a joint meeting with the Independence troop where Gene Weston, Los Angeles scout official, was in charge of the program.” My Pal Trigger (1946), a fictional account of how Roy got his famous horse, was shot in the Eastern Sierra and represents the final Roy Rogers/Republic film made lo-cally. Although 1943’s Idaho is reported by the local news-paper as having shot scenes here, it is difficult to identify any in the finished film, so this location work remains un-verified at this writing. Briefly, we should mention some of the other films made locally by Republic Pictures. A very popular and successful series involving three cowboys was the Three Mesquiteers. The casts varied, but two films were made locally: Wild Horse Rodeo and Gunsmoke Ranch. The larg-

Joe Yrigoyen (doubling Roy Rogers) makes a spectacular jump in Hands Across the Border (1944).

LONE PINE  IN THE MOVIES    1�

est budgeted film at the time, at $300,000, was Army Girl, made here with the horse cavalry and a tank. Footage from the film was edited into a Rex Allen vehicle called Old Oklahoma Plains. [Editor’s Note: These films are dis-cussed at greater length elsewhere in this magazine.] Allen also made Under Mexicali Stars here. The Plainsman and the Lady shot locally and starred Yates’s girl friend/wife Vera Ralston and was well received. The last Republic film made locally also starred Ralston and was called Gunfire At Indian Gap. She as also in Fair Wind to Java, with loca-tion work shot on Mono Lake including the eruption of the volcano Krakatoa done in miniature. The model can still be spotted by canoe on the lake. Several important Republic serials boasted Lone Pine locations. In late 1937, newly paired directors William Witney and John English shot most of the exteriors for The Lone Ranger here. It was released the following year, as was their Hawk of the Wilderness, which was shot in the Mammoth area and starred Herman Brix. Both 1940’s

Drums of Fu Manchu and 1941’s Adventures of Captain Marvel utilized big chunks of action footage lensed for the 1938 Republic programmer Storm Over Bengal. By July of 1959, Republic was no more. It ceased fea-ture-film production when Yates resigned, the serial unit having disbanded several years earlier. Several factors led to the studio’s demise, including the ending of dou-ble features, competition from inexpensively produced television programs using the same story formulae, and disagreements with actors on TV rentals and residuals. But the patented Republic approach to filmmaking never totally faded away. It is still being used today, on inde-pendent, low-budget films, the old lessons being learned anew by young producers and directors. The nostalgia-inclined audience, on the other hand, has been left with many exciting and action-oriented films to enjoy on late night TV or on DVD. From that point of view, the film history of Lone Pine and the Eastern Sierra is consider-ably richer, thanks to Republic Pictures. ■

Roy Rogers (center) relaxes in Lone Pine with local rancher Russ Spainhower (right, with cigar).