Flipper's New Adventure (MGM) (1964)

WATER BATTLE NEW “FLIPPER” THRILL A cartoon version of the thrilling climax of ‘‘Flipper’s New Adventure,”’ in which a leaping Flipper knocks a villainous escaped convict from a boat on which he has terrorized Luke Halpin and his girl friend, Pamela Franklin. A sequel to Metro ’ Goldwyn-Mayer s sensationally successful ‘‘Flipper,’’? the new Ivan Tors production, filmed in color in the Florida Keys and Bahamas, offers an even more fascinating story of the unique friendship between a boy and an almost human dolphin. Still 5118 POS-1 THE “CREATURE” The “Creature from the Black Lagoon” is still alive and recently was seen beneath the ocean waters off Florida. However, the prehistoric sea monster is no longer terrifying humans. He is training dolphins. Actually, the “Creature” and the man who trained the dolphin for Metro-Goldwyn-Mayer’s ‘‘Flipper’s New Adventure,” sequel to the successful “Flipper,” are one and the same. Ricou Browning has been producing underwater shows and doing underwater stunt work for motion pictures since 1941. Those were the days before scuba equipment, when free-swimming divers got their air through garden hoses. Browning was operating a swimming pool in Tallahassee, Florida, when a film producer cast him as the “Creature” in three movies, “The Creature from the Black Lagoon,” “The Creature Walks Among Us” and “Revenge of the Creature.” Later, he did stunt work in such films as “Twenty Thousand Leagues Under the Sea” and “Don’t Give Up the Ship.” In 1956, Browning joined an eight-man expedition to the Amazon River to capture fresh water dolphins for exhibit at Florida’s Silver Springs. This was his only Flipper’s New Adventure Mat 2-A IS STILL VERY BUSY! previous contact with the animals before his assignment of training the dolphin for “Flipper” and “Flipper’s New Adventure.” Browning decided to work with the dolphin in its own element, the water. No trainer had: ever tried this approach before. Swimming every day with Flipper, he developed an almost human relationship with the dolphin. Once he was able to communicate how he wanted Flipper to perform a trick, it would happily do almost anything. In less than three months, Flipper was ready to go before the cameras. Browning is still amazed at what they achieved. ‘In one scene from our new picture, Flioper battles an escaped convict who is armed with a knife,’ he states. “In another, the dolphin rams the villain and knocks him out. Then Luke Halpin (star of both “Flipper” films) grabs the unconscious scoundrel by the collar, puts his other hand on Flipper’s dorsal fin and lets the dolphin tow them both to an underwater cave.” Now that MGM-TYV is going to base a television series on Flipper, man will learn more about human relationships with dolphins than ever before. WHOLE WORLD HAS FLIPPED FOR FLIPPER, THE DOLPHIN STAR Still another orphan has fought to overcome adversity in early life and has risen to achieve Hollywood stardom. Separated from her father at the age of six months and orphaned completely when her mother died less than a year later, this pretty young girl never gave up. Finally, she won a beauty contest and qualified for her first motion picture role. Although she has grown to 300 pounds and spends most of her time in the water, she is still a No. 1 world-wide box-office attraction. Her name is Flipper and she is the bottle-nosed dolphin starring with Luke Halpin and Pamela Franklin in “Fkpper’s New Adventure,” Metro-GoldwynMayer’s sequel to last year’s tremendously popular film, “Flipper.” As a matter of fact, the public has so completely flipped for Flipper that she will be starring in an MGM-TV series on NBC next fall. But let’s take the story from the beginning. Flipper and her mother were separated from her father in 1962, when scientists captured them in Biscayne Bay for exhibit in the main tank at Miami’s Seaquarium. Less than a year later, Flipper’s mother suc CAST SANCVie: 2 eee ance Luke Halpin RENN: Aes. ean. « Pamela Franklin ULM ics ates covets taeoeerers Helen Cherry Sir Halsey Hopewell..Tom Helmore Gwen Sateen. Francesca Annis IPOGter RICKS). ...06-.:Brian Kelly line Poretty chet Joe Higgins Gee, cos lnys Lloyd Battista Sea Captain ........ Gordon Dilworth Convicti.nc..2 oe Courtney Brown Second Convict .... William Cooley Coast Guard Com MANOEL: . Gece Dan Chandler Dr. Clark Burton....Ricou Browning Veterinarian .......... Ric O’Feldman Veterinarian ........ Robert Baldwin Directed by Leon’ Benson. Screenplay by Art Arthur. Story by Ivan Tors. Based on characters created bv Ricou Browning and Jack Cowden. Music Comvosed and Conducted by Henry Vars. Songs bv Dunham and Henrv Vars. “The Fliover Song,” “Imagine.” sung by Chris Crosby. “It’s a Cotton Candy World,” sung by Jerry Wallace. Song sequences vhotogravhed at. Miami’s Parrot Jungle. Associate Producers: Ben Chavman and Ricou Browning. Director of Photogravhy: Lamar Boren. In Metrocolor. Film Editors: Warren Adams, Charles Craft. Assistant Director: Edward Haldeman. Assistant to the producer: Joe Gannon. Sound Recorder: Howard Warren. Technical Advisors: Cavtain Robert C. Cannom, U.S. Coast, Guard: Ric O’Feldman. An Ivan Tors Production. Presented by Metro-Goldwyn-Mayer. cumbed to a disease caused by minute marine parasites in her blood stream. Ricou Browning, Flipper’s trainer, recalls this crisis in the young dolphin’s life. “At the time her mother died she was still on a milk diet and had never eaten or even tasted a live fish. Normally when this occurs, the baby dolphin will die soon after its mother. Fortunately, Flipper quickly learned to eat such cut fish as imported Icelandic herring, blue runner and mackerel. Dolphins swallow their meals whole, so their diet can be supplemented with vitamin pills secreted inside the fish.” With the help of her friends at Seaquarium the worst crisis in Flipper’s life had passed. If she hadn’t been in captivity she might well have perished. Several months later, producer Ivan Tors and Browning joined forces to search for a dolphin which could play the title role in a motion picture. During their talent search they “auditioned” more than 80 dolphins, noting age, figure, sex (females are more docile and easier to train) and personality. It was much like a beauty contest. Flipper scored a “perfect” in every category. A very friendly dolphin, she loved to have people swim with her. Since she had been in captivity almost since birth she was completely free of scars from shark fights. This also was an asset. The dolphin immediately went into training with Browning, who is considered to be one of the finest scuba divers in the world. Since he had never before attempted to train any kind of animal he attacked the problem without preconceived ideas about techniques or limitations. He used his swimming talent to advantage and went into the water to work with Flipper, whereas previous dolphin trainers had stayed on the shore. Producer Tors planned a six to eight-months training period for Flipper, but Browning had her ready in three. Even he was amazed at the intelligence of the dolphin. “Once I figured out how to communicate what I wanted, Flipper was happy to perform,” he said. “She has total recall and has never forgotten a trick. The difficulty in communication is from human to dolphin, not the other way around. Flipper will perform on a voice command or by a hand signal which can be given above or below the water.” Browning’s enthusiasm about dolphins is boundless. “Many animals can be trained but not tamed,” he declared. “A dolphin when tamed can be trusted completely. Flipper has 96 needlesharp teeth but she can hold a human being’s arm in her mouth without making a mark on it. Even if someone should accidentally hurt her or play too roughly, Flipper doesn’t retaliate. She merely swims away.” A heartbroken Luke Halpin embraces his wounded dolphin pal, Flipper, who has been knifed in a ferocious water battle with an escaped convict in ‘‘*Flipper’s New Adventure.’ The new Metro-Goldwyn-Mayer film brings back the beloved dolphin star of **Flipper,”? in which he endeared himself to millions of moviegoers of every age all over the world. Still 5118-23 Flipper's New Adventure Mat 2-C LAMAR BOREN TRAINS HIS UNDERWATER LENS ON FLIPPER’S FANTASTIC STUNTS Emerging from the watery depths surrounding a multicolored reef in the Bahamas, Lamar Boren was celebrating his 4,000th hour of underwater filming for motion pictures. As he carefully dried off a camera he had designed for his own use, he said, “It’s difficult to believe that only eleven years ago there was almost no demand for underwater cameramen in Hollywood.” Rated as one of the finest undersea photographers in the world, Boren has been associated with Ivan Tors productions for the past seven years and recently completed work on ‘“Flipper’s New Adventure.” The full-length feature about the remarkable adventures of a boy and a dolphin is a sequel to Metro-Goldwyn-Mayer’s popular 1963 release, “Flipper.” Boren has also photographed 155 episodes of the “Sea Hunt” television series, ““The Aquanauts” and “Malibu Run.” Last year, he achieved his first experience at photographing a motion picture entirely on dry land. This was Tors’ thrilling wildlife drama, “Rhino!” made on locations in Africa. Boren discovered the underwater realm more than 30 years ago. As a youngster, he cut a window in a discarded hot-water tank, used a tire pump for an air supply, and went exploring along the bottom of California lakes. At the age of fourteen, he pioneered in underwater salvage work and in 1939, he joined San Diego’s famed “Bottom Scratchers Club.” This small group of dedicated swimmers did much to develop the sport of skin diving. Its members were among the first to make their own face masks and swim fins. “Of course,” said Boren, “the greatest advance in underwater sports was the aqualung, which freed us from lifelines and airlines attached to surface ships. With an aqualung a cameraman became his own crane, tripod and dolly. Inhale and you and the camera will rise in the water. Exhale and you’ll drop. Swim and you can propel the camera in any direction through the water. “However,” he cautioned, “no ene should take a camera below the surface until he is completely at ease with his aqualung. The camera requires all your attention and the diver must be so sure of his breathing apparatus that its operation becomes secondary.” Until the advent of the aqualung in the early 1950s, Boren earned his living as a commercial photographer in San Diego, diving as an avocation. However, in 1953, he was hired to photograph Jane Russell in a picture titled “Underwater.” Subsequently the deep sea realm became a popular target for Hollywood cameras and Lamar THE ADDITIONAL SCENE AND PLAYER MATS, SHOWN IN THE COMPLETE CAMPAIGN MAT ON ANOTHER PAGE, MAY BE ORDERED SINGLY. has since contributed underwater sequences to such films as “The Old Man and the Sea,” “Forbidden Island,” “Don’t Give Up the Ship” and “September Storm.” “T don’t think we have yet captured the total beauty of the sea,” he declared. “For instance, we have never designed the proper lighting equipment to help us photograph the brilliant undersea colors. Then, too, fish have their individual underwater domains which they defend like an animal protects its home. If we could ‘set to know’ the fish in a particular area, I think we could accomplish things never before possible.” Boren has found out that many undersea creatures are friendly and he believes that sea lions, otters and whales could be trained by man just as was the dolphin star of “Flipper’s New Adventure.” “Of course, the dolphin is a Flipper greets his pal, Luke Halpin and a new acquaintance, Pamela Franklin, in ‘‘Flipper’s New Adventure,’’ Metro-Gold wyn-Mayer’s fascinating se quel to ‘**Flipper,”’ the picture which enthralled moviegoers of every age all over the world. The new Ivan Tors production was filmed in color in the Florida Keys and Bahamas. s New Adventure Mat 1-D Flipper Still 5118-41 very special creature,’ he admitted. “Aside from its superior intelligence and almost uncanny sense of humor, it is an air breather. Although a dolphin’s heartbeat is faster than a human’s, I’m sure their greatly advanced sonar can detect ours. For these reasons, they try to synchronize with the slow and feeble underwater efforts of humans. The dolphin can swim more than 30 miles per hour, yet it will slow down to our speed whenever we get into the water.” Boren concludes, ‘‘Their curiosity, playfulness and_ strength makes them perfect companions for a human being in the water.”