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

For an introduction to this blog and to the growing interest in historic filming locations such as the Iverson Movie Ranch — the most widely filmed outdoor location in movie and TV history — please read the site's introductory post, found here.
• Your feedback is appreciated — please leave comments on any of the posts.
• To find specific rock features or look up movie titles, TV shows, actors and production people, see the "LABELS" section — the long alphabetical listing on the right side of the page, below.
• To join the MAILING LIST, send me an email at iversonfilmranch@aol.com and let me know you'd like to sign up.
• I've also begun a YouTube channel for Iverson Movie Ranch clips and other movie location videos, which you can get to by clicking here.
• Readers can email the webmaster at iversonfilmranch@aol.com
.

Wednesday, July 7, 2010

Classic Rock: The Phantom


Located in the Garden of the Gods next to the larger and more widely exposed Sphinx, or Eagle Beak (not seen here), the Phantom tends to be undeservedly overlooked. But it does get screen time in a lot of old movies and TV shows if you know where to look and can get past the "star power" of neighboring rocks Sphinx (aka Eagle Beak) and Tower Rock (aka Indian Head). The Phantom is typically seen just to the right of the Sphinx, if the camera happens to wander over that way.

"The Lone Ranger" TV show (1949) — the Phantom in background

The Phantom did play a featured role in an early episode of the Lone Ranger TV show, as seen above (with the footage also used in the Lone Ranger movie). In the shot above, the Phantom provides the background during an ambush sequence that sets in motion the whole Lone Ranger saga. Please check out this blog entry, which talks more about this famous scene.

Here's another view of the Phantom in modern times. The rock, which has any number of "moods" depending on the camera angle, seems a little grouchy here. The Phantom reminds me a little bit of one of those paintings on the wall in an old spooky movie, where the eyes follow you as you move through the room. In the above shot, I think the, um, "white stuff" under the eye, presumably left behind by an ongoing parade of birds that for some reason prefer that particular eye socket to "do their business," actually adds an emotional quality to the rock's face. I'll stop short of saying it looks like the Phantom is crying, but ... well, I think I would be grouchy too if that happened to my eye socket.

This post is part of a series on "Classic Rocks" — sandstone giants located on the former Iverson Movie Ranch in Chatsworth, Calif., that became a part of not only America's physical landscape but also its cultural heritage, through featured roles in old movies, cliffhanger serials and early TV shows. Other entries in the series can be seen by clicking here.

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. 


Saturday, July 3, 2010

The great Iverson cinematographers: William Bradford

born September 1905, Vermont
died May 1959, Los Angeles (age 53)

William Bradford’s career as a movie cinematographer essentially spanned 1942-1954, followed by a healthy plunge into TV. He shot B-Westerns for Republic for six years before hitching his wagon to Gene Autry when the Republic star went independent in the late 1940s. 

"Secret Service in Darkest Africa" (1943)

Early in his career, Bradford "apprenticed" at Republic, learning the ropes from legendary Iverson cinematographer Ernest Miller and graduating to director of photography on a series of labor-intensive serials such as "Secret Service in Darkest Africa."

"Annie Oakley" TV show (1954)

Bradford later became the primary DP for Gene Autry Productions, shooting the company’s entire film output over the next five years before leading the camera work on the various Autry TV productions.

The Aztec, center, and Notch Hill, filmed by William Bradford in Carson City Raiders (1948)

He distinguished himself at Republic with some standout work with cowboy stars Roy Rogers, Allan “Rocky” Lane and Wild Bill Elliott

All of these features remain in place today

Prime examples of Bradford's Iverson cinematography from this period include the Rocky Lane features Carson City Raiders (1948) and Stagecoach to Monterey (1944), the Roy Rogers classic Heldorado (1946), the Wild Bill Elliott Western Old Los Angeles (1948) and a pair of 1947 Red Ryder movies starring Rocky Lane, Rustlers of Devil’s Canyon and Marshal of Cripple Creek.

"The Hills of Utah" (1951) — Upper Iverson

A highlight of Bradford's film work with Gene Autry Productions is The Hills of Utah (1951). He would continue to work at Iverson on TV shows such as Range Rider, Death Valley Days, Buffalo Bill Jr., The Gene Autry Show, The Adventures of Champion, Annie Oakley and eventually Sky King.

William Bradford — Plymouth Colony governor (not the same guy)

William Bradford filmography on IMDb

Bradford — the cinematographer, not the Plymouth Colony governor — kept working his whole life, but died at the age of 53. It may be that the DPs of the era were overworked, because I've found that many of them died young.

Friday, July 2, 2010

"The Gene Autry Show" in color

Prominent Rock, aka Medicine Rock, at top right, in "The Gene Autry Show"

Over the course of its 86 episodes spanning 1950-1955, the early TV Western "The Gene Autry Show" filmed about one episode in five on the Iverson Movie Ranch. At the end of the run the series was filming in color, leaving us with a few relatively rare color views of some of the ranch's rock features.

"Stage to San Dimas" ("Gene Autry" episode, premiered Oct. 8, 1955)

George J. Lewis appeared in more than 400 features, shorts and TV episodes, from the silent era well into the 1960s, including more than 10 episodes of Gene's TV show. He was a regular in Republic serials, including a starring role opposite Linda Stirling in the 1944 Iverson Movie Ranch showpiece "Zorro's Black Whip." He also appeared as Don Alejandro de la Vega in Disney's "Zorro" TV series.

By the time Gene got around to doing TV he had already made bagloads of money as a cowboy star in the movies, which helped him round up a big enough budget to shoot much of the TV show out of town.

Pioneertown's "Mane Street"

One place he filmed a number of episodes — and it was film in those days — was around Pioneertown, near Palm Springs, Calif. In fact, Gene was one of the key players in setting up a movie town at Pioneertown — a town that still exists, although it's important to keep expectations low if you plan a trip there.

One of the many distinctive rock clumps near Pioneertown

The rocks around Pioneertown have a certain look to them — I call it "desert scrabble." It's similar enough to the look of the distinctive rock formations of the Alabama Hills in Lone Pine, Calif., that many filmmakers — including Autry — would blend the two locations into a single scene.

The Alabama Hills, Lone Pine, Calif.

The "desert scrabble" look of Lone Pine's Alabama Hills, however, is nicely augmented by the often snow-covered peaks of the Eastern Sierra — including Lone Pine Peak, seen here in the background just left of center.

Smiling Lion (at right), a happy rock formation on the Upper Iverson ("The Gene Autry Show")

I want to get back to the Iverson Ranch and show a couple more color shots from "Autry." I've had a hard time finding good prints of the series, so I hope readers will forgive the lower quality of some of these screen shots.

Upper Iverson Movie Ranch in modern times — Smiling Lion, bottom left

Smiling Lion can still be found on the former Upper Iverson, but because of the terrain and the homes that have been built in the area, it's hard to duplicate the angle seen in the "Autry" episode. Above is a recent shot of Smiling Lion from about as close as I could get to the same angle.

Smiling Lion can be seen in the bottom left corner of the photo. Unavoidably, you'll also see, just above Smiling Lion, one of the estate homes that now occupy much of the former Upper Iverson Movie Ranch.

Also visible in this shot are Turtle Rock, at the right, and a couple of the key background hills of the Upper Iverson, Two-Humper at top left and Notch Hill at top center.

"The Gene Autry Show": "The Stage to San Dimas" (1955)

Another screen shot from the "Stage to San Dimas" episode shows a cliff area along the South Rim. I call this the T-Cliff because of the distinguishing capital "T" that seems to be carved into it (along with sort of a cross to its right, creating a square or a tic-tac-toe board).

The markings could be interpreted any number of ways, but T-Cliff works for me as a way of identifying it. This cliff is also sometimes referred to as simply "The Cliff" among Iverson historians — a term that may be a bit too generic considering that the movie ranch features a number of cliffs.

Here's a little bit of that same cliff area, photographed during a recent visit. The tree has grown quite a bit in the half-century-plus since "The Gene Autry Show" taped at Iverson, and much of the cliff is now hidden. But the prominent T-shaped crack still identifies it as the T-Cliff.

Thursday, July 1, 2010

Notch Rock, a prominent member of the Easter Island Committee ("Thunder River Feud," 1942)


"Thunder River Feud" (1942)

Sometimes there's not much to sink your teeth into, but you might have a vague feeling you "know" that rock from somewhere. That was the sense I had when I returned to this shot from Monogram's Range Busters B-Western "Thunder River Feud" after visiting the Upper Iverson Ranch. Sure enough, I had a photo from that Iverson visit that almost exactly duplicated the angle.

The same rock, as it appears today: Notch Rock

The rock is Notch Rock, or simply the Notch, part of a group of rocks that I call the Easter Island Committee, or more commonly, Easter Island. These frequently filmed rocks, also known as the Totem Pole Rocks or the Totem Rocks, are located on the South Rim of the Upper Iverson, which was a hub of activity in the filming days.

Here's a photo of the full committee. You can use the links in this sentence to see shots of Notch Rock in a Tarzan movie, the TV show "Adventures of Superman" and the 1986 movie "The Tomb."

Finally, below is a tab where you should be able to find a reasonably priced DVD of the Iverson masterpiece "Thunder River Feud" on Amazon.com.