Why we love old movie locations — especially the Iverson Movie Ranch

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Showing posts with label Milford Anderson. Show all posts
Showing posts with label Milford Anderson. Show all posts

Thursday, December 15, 2011

Grumpy and Diplodocus — joined at the lip


Grumpy, as seen in "South of Death Valley" (1949)

In a previous post about Fayte Browne, one of the great Iverson cinematographers, I briefly mentioned a rock I call Grumpy, because Browne featured shots of Grumpy in his masterpiece "South of Death Valley." You can see the Fayte Browne post here. But the time has come — it's way overdue, to be honest — to really put Grumpy in the spotlight.


Diplodocus, in "West to Glory" (1947)

I could have said the same thing about a rock called Diplodocus. I did a previous post that included Diplodocus in connection with examining the work of another great Iverson cinematographer, Milford Anderson. That post can be seen here.


Here's the head of a toy diplodocus. I know, it doesn't look that much like the rock. I may have been thinking of brachiosaurus. What can I say? It reminded me of a diplodocus at the time, and the name stuck. I guess I should get this out of the way too: I like to intentionally mispronounce it, because when I was growing up and played with toy dinosaurs, I always thought it was pronounced dip-low-DOCK-us; it was only years later that I learned it's supposed to be pronounced dih-PLOD-uh-cuss — not nearly as much fun.


Brachiosaurus

Anyway ...


Here's a little different angle on Grumpy, from "Ghost Town Renegades" (1947). The view here is from the south, looking north to Oat Mountain in the background. Grumpy was situated right next to one of the Upper Iverson's major chase roads.

The news flash is that Grumpy and Diplodocus are the same rock, shot from opposite sides. Either way it's a beauty. Shot from the west or southwest, it's Grumpy. Shot from the east, it's Diplodocus.


Grumpy, or Diplodocus, was located on the Upper Iverson's heavily filmed South Rim, and showed up in the background in countless chase scenes over the decades. In the shot above, from the seminal Republic serial "The Perils of Nyoka" (1942), you can see Grumpy just to the left of the chariot.


The Grump also shielded its share of shooters over the years — more often as Grumpy than as Diplodocus. Here's an example from the 1951 Tim Holt movie "Hot Lead."


Another look at Diplodocus, from the 1948 Eddie Dean movie "Check Your Guns." The research into this rock took another twist when I realized I was seeing the rock in some later productions, but something was missing. Compare this with the color shot below, a few years later, from "The Lone Gun" (1954).


That's Diplodocus again, on the right. But it's missing a big chunk. I think of it as the top lip being gone.


A closer look at the rock, from the Grumpy side, again missing the top lip. This shot is from an episode of the TV show "The Life and Legend of Wyatt Earp" called "Just Before the Battle," which first aired on June 13, 1961. It's a little hard to recognize Grumpy from this angle, but it checks out. You may be able to tell by comparing it to the shot three photos above it, from "Hot Lead," which is taken from a similar angle. The piece of rock that the shooter is hiding behind in that shot — Grumpy's "top lip" — is gone now.


Back in its heyday — when it still had all of its original parts — Grumpy was sometimes used as a colorful framing device, as in this shot from a 1952 episode of the "Abbott and Costello" TV show called "The Western Story." This was probably one of the last appearances of the Grump with the top lip. I've been able to narrow down that the lip vanished by sometime in 1952, based on where and when Grumpy and Diplodocus show up with or without the lip. I can't help but wonder why the lip disappeared, but as it always was kind of precariously perched, it may have just fallen off. (In which case it should be lying around, right? Now there's a souvenir I'd like to have.)


Here's a glimpse of lipless Grumpy in "Gunsmoke," with James Arness and Dennis Weaver. It's from an episode called "Custer," which premiered Sept. 22, 1956. You can see Grumpy in the background, just above the head of Marshal Dillon (James Arness). You can enlarge the photo (and any of these photos) by clicking on it.


I searched for Grumpy/Diplodocus for years, and eventually was able to confirm that it did not survive. In its filming days, it was adjacent to this cluster of rocks in the middle of a driveway on the former Upper Iverson. Had Grumpy survived, it would have been immediately to the left of these rocks, right in the driveway.

There you have it — Grumpy and Diplo. I suppose the moral of the story is even a rock can have a hard time keeping a stiff upper lip.

Remember to say dip-low-DOCK-us — it's fun!

Tuesday, November 9, 2010

I am searching for information on the great cinematographers of the B-movie era

I want to honor the legacy of the cinematographers and other production people who worked in relative obscurity during the heyday of the B-Western and the Saturday matinee serial. If you have information about DPs, directors, production managers or other behind-the-scenes people involved in making B-movies, serials or early TV shows from the silent era through the 1950s — especially those involved in location work and anyone who may have worked at the Iverson Movie Ranch — I would love to hear from you.



With the exception of the most high-profile figures from this period — movie stars and prominent directors, mainly — I have been able to dig up precious little information on the talented people who shaped our movie history and our culture through low-budget, independent productions. I think it would be tragic to allow their legacies to fade from memory while there are still people around who can tell their stories.

I would especially like to hear from the survivors — spouses, friends, co-workers, children, grandchildren and beyond — of those who played a role in making movies at Iverson, as well as anyone who is around who has memories of Iverson.

I am especially interested in hearing about the cinematographers — the men who aimed their cameras at Iverson's dramatic rock formations, among other things, and thereby recorded the ranch's legacy for posterity. I hope to hear from anyone who might be able to help flesh out their biographical information and gain insights into what made them tick.

Here are some of the cinematographers I would like to find out more about:

George Meehan
Bud Thackery
Jack Greenhalgh
Jack Marta
Mack Stengler
Marcel Le Picard
Benjamin Kline
Gilbert Warrenton
Ira H. Morgan
George Kelley
Rex Wimpy
William Hyer
James S. Brown Jr.
Edward Kull
Ellis W. Carter
Harry Neumann
... and others who may not yet be on the radar

Please contact me by commenting on any of the blog entries or by e-mailing me at iversonfilmranch@aol.com.

Sunday, July 4, 2010

The great Iverson cinematographers: M.A. Anderson

born 1893, Chicago
died 1958, L.A.


The career of Milford Anderson, also known as M.A. Anderson, was brief, essentially spanning about nine years. He kept busy while he was at it, and wound up listed as cinematographer on 102 movies — but almost none of those were typical Iverson fare. And so the record of his work at Iverson is limited to a few brilliant productions shot late in his career.

An unusual shot of Diplodocus on the Upper Iverson, filmed by 
Milford Anderson for the 1947 Eddie Dean movie West to Glory.

He got started in 1928, just in time to shoot some silents, and then worked fairly steadily through 1936. He was essentially done by the end of that year, and would miss the heyday of the B-Western — other than one shining moment that still lay ahead of him.

He took a year off in 1937, leading us to think he may have had health problems. He did a few movies in 1938, then disappeared from the radar for the next eight years. Maybe he just found something better to do. 

Whatever the case, Anderson made a brilliant if short-lived comeback after World War II, shooting five movies from 1946 to 1949. It was during this last stretch that he shot all of his known Iverson footage, notably the rock masterpiece Border Feud, a 1947 Lash LaRue feature for PRC. He also filmed one Eddie Dean oater for PRC, West to Glory (1947), and one Durango Kid installment for Columbia, Whirlwind Raiders (1948). All three of those projects had him filming at Iverson.

He died in 1958 in L.A., at 64.