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Ralph Forbes as "Larry" in Clarence ^ Brown's great epic of Alas\a.
Q Yukon Gold Rush days on the screen, ivhen the roughest were the kindliest.
By Katherme Albert
'CC Harry Carey, as Jac\ Locasto, a personification of the evil that ever follows the trail of gold.
C[ Few prospectors in the Yu\on days mined as much gold as Johnny Downs will find on the screen.
The thermometer indicated a temperature of 20 below zero, the wind whipped the snow into our faces and the altitude so took our breath away that it was at a snail's crawl we fought our way to the location site.
It rather bursts upon you. Up an almost perpendicular mountain, steps had been carved in the ice on the trail. At the foot of this a few scattered tents and cabins had been erected. The trail goes up, up, up. Not a tree, not a twig. Nothing, abso' lutely nothing but snow. White — blaring white!
I was struck with it all and in my mind's eye I saw those thousands of struggling men and women who had pulled themselves up "The Golden Stairs" so many years ago. Clarence Brown, Ralph Forbes, Charles Dorian, the assistant director, Karl Dane, Harry Carey, Tully Marshall, Polly Moran, George Cooper and I were well toward the front of the group.
"How do you like it?" asked Brown.
I had no time to answer for back of us someone shouted, "That 'ain't no movie set, that's Chilkoot Pass!"
We turned to see a man, dressed in the warm clothes that all were wear' ing, bdAeclike the rest of the men, ploughing through the snow toward us.
Hejjjas 1 excited as the blizzard would allow him to be. "Why there's Injun Charlie's tent ri^t ov&*here and there's the cabin Swede Swanson died in and up over that there trail thWs gm I tell yu." His eyes rested on the scene for a moment and then he turned to Ikov>7> "Say, this ain't no movie set!" he exclaimed in an agrieved tone.
The bliz,zar<kjppecj Up suddenly. The wind in a new burst of energy carried our remarks across _ nountain and the cold and height took our breath away. We all turned toward tnt^ng wnere our train was. I linked my arm (Continued on page 96)
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