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SEQUOin
mnoE
BY CAROLINE SOMERS HOYT
the day after the preview of "Sequoia" in Hollywood a friend of Russell Hardie met him at the studio.
"I saw you in the picture last night," his friend said.
"Did you?" asked Russell, genuinely amazed. "How could anyone even notice the human actors in that picture? I didn't even see myself. I was too busy watching Gato and Malibu."
If you've seen "Sequoia" — and if you haven't you're missing one of the rare treats of the cinema — you know that Russell Hardie is one actor who speaks the truth.
In fact, "Sequoia" is one picture about which the truth ma}' be told. I was disappointed when that marvelous film of the love between a puma and a deer — the deadliest of natural enemies — was released that M-G-M did not give us a little introduction, telling how the picture was made. For the story of its making is almost as beautiful as the story in the film itself. In fact, it's the same story.
WHEN Vance Hoyt's book "Malibu," from which "Sequoia" was taken, was first bought, the studio planned to do its usual faking. The shooting schedule was twenty-one days. In order to live up to that schedule, trick camera shots would have to be used, for the story required that a baby puma nuzzle its dead mother ; that a puma and a deer become friends ; that a deer stamp out the life of a snake with his front feet.
Obviously, if no trickery were used, these things could not be accomplished in twenty-one days. So they planned to resort to the split-screen shot, a process whereby one-half the film is masked, a fence is placed lengthwise (Continued on page 96)
Once Malibu, the deer, and Gato, the puma, were on friendly terms, it was up to Jean Parker to work her way into their hearts. Feeding them religiously every day did it.
There were no "fake" shots in this remarkable film
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