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TYPICAL OF THE outstanding pictorial artistry that marks the photog¬ raphy of ‘‘They Came to Cordura” is this scene of last charge of
U.S. Cavalry. Shooting with the sun at a three-quarter angle hanced the pictorial result.
NOT AN INTERIOR IN THE PICTURE!
"They Came to Cordura’’ filmed entirely out of doors on location in Utah by Burnett GufFey, using the new Panatar camera lenses
By ARTHUR E. GAVIN
The desire for the utmost in realism as the keynote of “They Came To Cordura,” his five million-dollar CinemaScope-color production for Columbia, led Producer William Goetz to the decision to photograph the entire picture on location at St. George, Utah. The state’s wildly beautiful and rugged mountain ranges served as a background for the action captured by the new Panatar camera lenses that were used for the first time in an outdoor film under the guidance of Director of Photography Burnett Guffey, A.S.C.
“They Came to Cordura” is truly as big as all outdoors, with not a single interior sequence included in the film.
For the picturization of the Glendon Swarthout best¬ selling novel Producer Goetz selected one of the outstanding all-star casts of recent years. Gary Cooper, Rita Hayworth, Van Heflin, Tab Hunter and Richard Conte head the cast with Michael Callan, Dick York and Robert Keith also in important roles. Robert Rossen directed.
The story deals with the last cavalry charge of the U. S. Army under General Pershing during the 1916 Mexican campaign involving the forces of Pancho Villa, after which the army became mechanized.
Primarily, “They Came to Cordura” is a story about courage, an examination of its anatomy, a search for the
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AMERICAN CINEMATOGRAPHER