Island of the Blue Dolphins (Universal Pictures) (1964)

Celia Kaye, Whose Ancestry Is Part Indian, Plays Role Of Indian Girl In New Film (Advance) The leading role in her first motion picture is the distinction given to Hollywood unknown Celia Kaye, whose dark beauty stems from her part-Cherokee ancestry. She was selected by producer Robert B. Radnitz for the Universal color film, “Island of the Blue Dolphins,” coming _______........___. to the Bao Ms ee Theatre. By the rarest of coincidences the youthful screen newcomer, a recent honor graduate of Pasadena Community Playhouse, enacts the part of the Indian maiden, Karana, about whom the Newbery Medal winning novel by Scott O’Dell revolves. One of filmland’s most exhaustive talent hunts preceded the signing of Miss Kaye, with scores of condidates being tested in the six months preceding production while the screenplay was being fashioned by Ted Sherdeman and Jane Klove. A stunning brunette, with smoldering brown eyes, Miss Kaye is the daughter of Mr. and Mrs. John Burkholder of Wilmington, Del. Her father is a production engineer for the Atlas Chemical Company, currently in Formosa on special assignment. The film, aimed at a family audience, is the third such project undertaken by Radnitz. Previously he had made “Misty” and “A Dog of Flanders,” both outstanding successes in their field. Miss Kaye has appeared in numerous stage presentations at the Pasadena Community Playhouse. She also has done a num ber of television programs, both live and on film, but “Island of the Blue Dolphins” marks her feature motion picture debut. The film requires that she be completely at home in the water, and here, too, the newcomer brings a special talent to the portrayal since she is a former diving champion and has done exhibition swimming and water ballet. In addition, she must handle a bow and arrow, at first like an amateur, and later in the story like a professional. By practicing between scenes on the location shooting which took place in Northern California on the Pacific Ocean, Miss Kaye was able to become proficient in this sport. It may have come to her naturally, too. Her maternal grandmother, Mrs. Bess Yankie, still living, is a full-blooded Cherokee, and Miss Kaye inherits many of her features. “Island of the Blue Dolphins” which carries through the theme of the need of love for all living beings as well as the reverence for life and for the forgiveness of one’s enemies, was directed by James B. Clark and photographed in color by Leo Tover. Artist Reynold Brown has painted this theme-piece from actual scenes in Universal’s exciting adventure in color, “Island of the Blue Dolphins.” Produced by Robert B. Radnitz, Celia Kaye plays her first feature motion picture role as the lead. (Still No. 1935-123) Film Newcomer Celia Kaye Discovers Many Hardships As Lead In ‘Blue Dolphins™ (Advance) The life of a working movie actress, as Celia Kaye has thoroughly discovered, is not all champagne and roses. For her introductory starring role in “Island of the Blue Dolphins,”’ the Universal-Robert B. Radnitz film based on Scott O’Dell’s award-winning novel coming ____..-._._......_.. to the Byes oy cet Theatre the young Hollywood newcomer was subjected to more hardships. than professional stunt experts frequently face. Her stint in the picture is that of an Indian maiden marooned on a lonely Pacific island, where she is forced to make-do with the primitive tools at her disposal. For one thing, like most modern young girls, the actress customarily wears shoes or other footgear when strolling about. For the film she not only had to go barefoot most of the time, but had to do so over sharply pointed rockey terrain at the Anchor Bay (Calif.) location-shooting locale. Miss Kaye happens to be a far better than average swimmer, but by choice she never braves the chilling waters of the turbulent surf that hammers the Northern California coast around Anchor Bay. But her part had her in the sea almost every day, clad only in skimpy swim suit while those filming the scene were bundled in heavy wraps. Most of the shooting sites selected for ‘Island of the Blue Dolphins,”’ which is photographed in color, were in primitive areas thickly covered with brush and trees. Much of the wild growth is spine studded — and it was through this kind of barrier that, dressed only in a crude garment made of burlap, she had to wend her way. The burlap covering provided little or no protection from the gale-like winds, refrigerated by their long sweep over northern waters, which regularly blew in during the shooting period. Not only did Miss Kaye never once offer a word of complaint about her tribulations, but strange as it seems, she was virtually the only person in the location troupe who didn’t come down with a cold or sore throat. “Guess I was just too busy to think about such things,’ she says. Copyright 1964—Universal Pictures Co., Inc. Celia Kaye who is in every scene of Universal’s new adventure film in color, “Island of the Blue Dolphins,” as the Indian girl who, Robinson Crusoe-like, must live alone on a deserted island. (Still No. 1935-77) the story (Not for Publication) Motherless young Karana (CELIA KAYE) has full responsibility for the care of her six-year-old brother, Ramo (LARRY DOMASIN). Their father, Chowig (CARLOS ROMERO), is tribal chief on a remote island off the coast of California. A great event, unprecedented in the lives of most of the villagers, transpires when a band of hunters headed by a white captain (GEORGE KENNEDY), lands on the lonely outpost. They seek otter pelts. In exchange for skins the Captain offers metal tools and weapons. Once the skins are gathered the Captain reneges. He fatally shoots Chowig. Many others in the tribe, also are slain as the invaders depart, leaving only a handful of survivors. A sub-chieftain, Kimki (HAL JON NORMAN), sets out in a canoe to seek help. Many weeks later he returns aboard a large vessel obtained through a Mission post on the mainland. The ship must put out to sea before the tide turns. In the confusion Ramo is left behind. When Karana realizes this she plunges from the vessel and manages to reach shore. Now Karana and Ramo are alone. They are constantly menaced by a pack of wild dogs which long has run loose. Added to the pack is a huge dog which came ashore with the evil Captain, and was left behind. As the son of a chief little Ramo exhibits outstanding courage. But when he pits himself against the dog pack, armed only with a crude spear, he is mortally wounded by the Captain’s dog. Now Karana is entirely alone. She feels she must avenge her brother’s death — must slay the the dog whose master killed her father, and which killed Ramo. She learns to use a bow and arrow, gradually developing marksmanship. Then she hunts out the killer animal. She fires an arrow into its chest. Later she finds the dog unconscious, the shaft chewed off but a small stub remaining. She _ removes the rest of the arrow and treats the wound with healing tree bark. The animal miraculously recovers. Desperate for companionship she soon makes friends with the dog, which she dubs Rontu. When a new group of hunters arrive, Karana, remembering the earlier tragedy, hides. One of the members of the group is a young girl, Tutok (ANN DANIEL), who tries to befriend Karana. Tutok wants her to leave with them, but Karana refuses — afraid to trust anyone. Rontu, by now well advanced in years, dies. When a puppy makes its appearance Karana quickly adopts it. She calls it Rontu-Aru — son of Rontu. Later, another boat shows up on the island. Aboard it are the Padre and people from the Mission post. Should she trust them? Just before they depart she reaches her decision. She dons her cape of cormorant feathers, and with Rontu-Aru at her side and her birds carried in their cage, she walks to the water’s edge toward the men. Page 2 No Chance Of Big Head For ‘Island Of Blue Dolphins™ Youngster Larry Domasin (Advance) Not a ghost of a chance of child actor Larry Domasin ever coming down with Hollywood big-head. “My brothers and sisters,” says the tousle-haired 8-year old, ‘just wouldn’t stand for it.” Since he happens to have three of each, all older than himself, and bigger, Larry, currently teamed with Celia Kaye in the Universal-Robert B. Radnitz color production of “Island of the Blue; Dolphins. coming =e Osteo nee ee Theatre, believes he’s reasonably safe against such a possibility. Larry was almost an after thought within the Domasin household. There’s a 14-year difference between him and the next youngest member of the family. Each of his brothers and sisters has already made a mark in other fields, outside the world of the theatre, and it is Larry who, within the family circle, remains on. trial. For two years, which is a fourth of his youthful lifetime, Larry has been before the cameras. Prior to “Island of the Blue Dolphins,’ he appeared prominently in “Dime With a Halo” and “Fun at Acapulco.” His role in “Island of the Blue Dolphins” is second in importance to that of Miss Kaye, who plays the lead, and director James B. Clark is convinced it will establish the boy as one of filmland’s most promising juvenile talents. The motion picture is based on a true incident of an American Indian girl who lived alone on an island off the California coast from 1835 to 18538, which was transformed into a novel by newspaperman Scott O’Dell. The book won the coveted John Newbery Medal of the American Library Association ‘for the most distinguished contribution to American literature for children.” Universal presents “ISLAND OF THE BLUE DOLPHINS” with CELIA KAYE LARRY DOMASIN ANN DANIEL and *“RONTU” Screenplay by TED SHERDEMAN and JANE KLOVE Based on the Newbery Medal novel by Scott O’Dell Directed by JAMES B. CLARK Produced by ROBERT B. RADNITZ A Universal Picture A Robert B. Radnitz Production dhe cast Aleut Captain GEORGE KENNEDY Chowig........-.-CARLOS ROMERO Kimki.. HAL JON NORMAN The Priest MARTIN GARRALAGA Spanish Captain ALEX MONTOYO Durdt.=ee JULIE PAYNE and “RONTU” and The MANCHESTER and KASHAI TRIBES of the POMA NATION. the staff Photography, Leo Tover, A.S.C.; Art Directors, Alexander Golitzen and George Webb; Set Decorations, Oliver Emert; Sound, Waldon O. Watson and Joe Lapis; Music, Paul Sawtell; Music Supervision, Joseph Gershenson; Film Editor, Ted J. Kent; Make-up, Bud Westmore; Hair Stylist, Larry Germain; Costumes, Rosemary Odell; Unit Production Manager, Terrence Nelson; Assistant Director, Phil Bowles; “Rontu” trained by Frank W eatherwax. Larry Domasin plays the younger brother of Celia Kaye and is the cause of her being left alone on a desert island in Universal’s “Island of the Blue Dolphins,” a Robert B. Radnitz Production in color. (Still No. 1935-85) Use Pomo Indians In Island Blue Dolphins’ (Current) Nearly all the Indians living on the historic Pomo Reservation at Pt. Arena in Northern California —almost 300 people — appear in the tribal village sequences in Universal’s color motion picture, “Island of the Blue Dolphins,” MOWAGb eUN Greene ees eee Theatre. Ranging in age from six months to 117 years, they give authenticity to the picturization of the Scott O’Dell Newbery Medal award novel which tells the story of a true-life experience of a primitive girl Robinson Crusoe, played by Celia Kaye, left alone on a coastal island in the early 19th century. The film was photographed at Anchor Bay, 175 miles north of San Francisco, and 20 miles from the reservation. Directed by James B. Clark, it was produced by Robert B. Radnitz whose previous pictures were “A Dog of Flanders” and “Misty.” Son Of Famous Film Canine In New Movie (Advance) The son of a famous movie dog is following in his father’s footsteps. He is Rontu, son of “A Dog of Flanders,’ who with Celia Kaye has the leading role in the Universal-Robert B. Radnitz production in color of “Island of the “Island of the Blue Dolphins,” a Robert B. Radnitz Production in color, points up one of the themes of the story: that one must forgive his enemy. (Still No. 1935-79) Universal’s