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Uncle Sam To The Rescue HOW ARMED SERVICES LEND TELEVISION A HELPING HAND Michel Kraike, who produces many of the Ford Theater films and is not a man to hide Hollywood’s light un¬ der a bushel, admits that “Not even Hollywood could reproduce Pearl Harbor on film.” When scripts pose this and similar budget-bludgeoning problems, Holly¬ wood’s TV film producers now turn automatically to the Armed Services, and presto—the handsome leading man is seen coming in for a blind landing on an aircraft carrier in a shot that looks too realistic for comfort. Such shots are both realistic and comfortable as far as Hollywood is concerned. The Army, Navy, Air Force and Marine Corps film libraries are furnishing TV film producers with thousands of feet of what is known as stock footage—film taken on the spot during both World War II and the Korean conflict. These are expert¬ ly integrated into TV dramas. True (Navy) Blue Ford Theater’s recent war story, “Beneath These Waters,’’ starring Ronald Reagan, concerned itself with a Navy destroyer which dropped out of sight during the battle of Guadal¬ canal under rather mysterious cir¬ cumstances. The story, a true one, came direct from the Navy files. Scenes showing the air and sea bat¬ tles of Guadalcanal are wholly au¬ Navy drama in the making: Fred F. Sears directs TV film's star, Ronald Reagan. thentic and, as Kraike points out, couldn’t begin to be duplicated on a motion picture sound stage or TV studio. Throughout the filming, a naval officer was on the set at all times, seeing to it that uniforms were worn properly, that props were authentic and that words and phrases in the script rang true to Navy parlance. “Without the Navy,” Kraike says, “there simply wouldn’t have been any show.” While the Armed Services cooper¬ ate wholeheartedly in such matters, there is no actual saving to the film producers. “It’s true,” Kraike muses, “that we might have reconstructed those battle scenes for $10,000,000 or $15,000,000 but I don’t think the Ford people would have held still for it. So far as the actual budget is con¬ cerned, however, we spend just as much on a war film as any other.” 18