Modern Screen (Dec 1931 - Nov 1932 (assorted issues))

Modern Screen women, children and animals wound its way upward. In spite of the hardships the people were a happy lot. It was their custom to sing while on the trail, and in ribald spirit Schoedsack coached them in American slang expressions. His greatest achievement came when he taught them to sing a favorite song of the day. The gods must have laughed when they heard the wild tribesmen of the Baba Ahmedi shattering the silence of the mountains with : "Yes, we have no bananas, We have no bananas today." /^\N the fourteenth day of the migration the tribe found its way blocked by a cliff fifteen hundred feet high. The trail to the top was so narrow that man and beast had to travel single file. In order to get a proper setting for the scene Schoedsack put his camera on his back and began climbing upward, clinging to the steep escarpment by hand and toe holds. Cooper followed bearing the tripod. From a position just below the cloud level they got excellent pictures of the interminable line of pygmy-like figures toiling up the slopes below. By the thirtieth of May the tribe had traversed the main obstacle in its path. The Zardeh Kuh was conquered. From there on the road was down grade, and a great picture was ready for cutting. "A husky back and a pair of fast legs were more essential than a knowledge of camera technique on that venture," commented Schoedsack. "We'd grind away for a few minutes ; and then pick up the camera, run ahead of the tribe, and shoot again." They returned home, broke. But their picture . was a sensation. And soon afterward Jesse Lasky sent them east of Suez on another mission — to make a picture illustrating man's battle for survival in the jungle. This time they were paid fat salaries. And once more they set the film world by its ears. l^AR to the north of Bangkok, Siam, up near the boundary of IndoChina, Cooper and Schoedsack found a jungle setting suitable for their purpose. It was located in the Nan District, a place so remote that it took them six weeks of arduous travelling to reach it. The inhabitants were Laos, a jun gle people who were sturdy and brave. Engaging interpreters Cooper and Schoedsack began to plot out the picture. It took them months to get the confidence of the natives, and meanwhile they familiarized themselves with jungle life. There was plenty of excitement. Three men were bitten by pythons, and on one occasion Schoedsack discovered that his bedroom had been preempted by a twenty-foot reptile. While filming the scene where the tiger chases a native across an open space, the big cat turned on Schoedsack who was cranking away from the vantage point of a platform in a tree. The tiger leaped upward into the very face of the camera, leaving its claw marks within a few feet of the shelter. But that leap was its last, for Cooper put a bullet through its brain. Again Schoedsack had a close call when filming a herd of stampeding elephants from an underground shelter. One hundred of the giant beasts passed over his shelter and on three occasions an extra heavy one made the logs above him bend threateningly, but he did not pause in his work. Following the phenomenal success of "Chang," Schoedsack and Cooper set forth for Africa. Deep in the Sudan they filmed scenes for a feature picture entitled "Four Feathers," the one where a thousand hippos plunged over a cliff to escape a jungle fire. \\7 ITH the tremendous furore in * " aeronautics, following Lindbergh's flight, Cooper temporarily deserted pictures to re-enter the flying game. And then a little later on, accompanied by that superb pilot, Bernt Balchen, he lead an expedition in search of Varick Frissell, the young American who was lost in the ice floes off Newfoundland. Schoedsack in the meantime struck out alone for Sumatra where he filmed "Rango." Upon his return he and Cooper again joined forces and this time they headed for the city of makebelieve, Hollywood, the Mecca of filmdom. They are under contract with RKO to turn out three more films. Although they have gone abruptly from reality to unreality, those who know them are expecting something striking and unusual of their latest venture. And "The Most Dangerous Game" proves that we won't be disappointed. The Modern Hostess (Continued from page 8) with bacon or ham, or juicy sausages. And I like eggs fried 'sunny side up.' By the way, I can fry a mean egg myself. Quite a trick, you know, to turn out a really perfect fried egg." 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