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Forly~$eventh PSrRiEfY Anniversary A 46 ■:£>.■> :«&c ■A- r*s* -> M *'*<■ '“V /.'V' ** — V S\ \ % s /V“ 4 > \ * vr •vms&sm tssz^ygw* * *S s ❖./ 2,.w.v< *.-.v > N * t \// V m & v •&> 3* P *?**■ -wzm •'<£•;•;•. v<.v.v.v5£ w£L Wednesday, January 7, 1953 III Easy-Taking Natives I Make Samoa No Film I Production Paradise I Hollywood. Ill Protocol and the native way of I thinking constitute the principal I production problems for American I producers in Samoa, Theron Warth, HI producer of Aspen’s “Return to | Paradise,” reports upon his return | from that South Seas isle, where | the Gary Gooper starrer was di- III rected in its entirety by Mark Rob- III son. | Despite countless inconveniences, HI unanticipated delays, bad weather | and irritating practices of the na- III tives, however, the picturization of | the James A. Michener yarn was | brought in in 49 days, only nine | days over schedule. | Though he and Robson preceded | the troupe by. two months to set | up all arrangements for the pic- || ture, Warth said that production | was stymied more than anything | else by set rules of procedure | which the stranger is not aware of | until different situations arise. For | example, selection of a village with- III out calling a council of "all the | chiefs of the island meant that | absolutely no cooperation was | forthcoming from other communi- III ties, needed for the smooth activ- || ity required by any location com- III pany. By contacting only one | chief, without respecting practi- l|| cally countless other chiefs, antag- || onists were made who retarded, I gently but firmly, the wheels of | production progress. I For a Hollywood producer to op- III erate as he does on location in this | country, along Hollywood lines of | thinking and reasoning, is suicidal, | Warth pointed out. The Samoan | mind isn’t attuned to American op- III eration, and therefore a barrier | early is reached which only the | most delicate manipulating can | hurdle. | The community property attitude | of the natives also was a source of | great annoyance, producer stated. I Since everything is owned by the I people and the communities, there I is no thought of stealing when one I person “lifts” something which -, I may be in the possession of an- HI other. In round figures there were | 1,100 thefts by natives during the | filming of the picture, Warth de- || dared. It reached the point that I guards had to be set to watch even || the least inconsequental item. If a | cameraman turned away from his || camera for a moment he was apt | to find certain vital parts missing. HI Anything and everything which | could be lifted was fair meat for || the natives, who climaxed their || activities by purloining a boat || which was being moved on wheels || from one village to another. || To the natives, this wasn’t steal- II ing; it simply consisted of “borrow- || ing” or “taking” the items for || themselves, regarded as an age-old 11 practice and engaged in by every- SS body. ROY ROWLAND “BREAK-UP” RKO “5000 FINGERS OF DR. F .1 KRAMER-COLUMBIA