Lone Ranger's bushwackers lying in wait at the Phantom

"The Lone Ranger" TV series (1949)

Click here to go to an updated, more detailed and all around better post about this same scene. 

Otherwise, feel free if you still want to read the original post from 2010:

Here's a screen shot from one of the most important scenes in the TV show "The Lone Ranger," shot in 1949. This famous ambush sequence is also seen in the 1952 film version, which was a re-edited version of the first three episodes of the show. It took a while to figure out where this scene was shot. The smaller rock at the top is an obvious clue, but a lot of rocks at Iverson have similar "pebbletops" — including one rock called Pebblehead, located not far from this one. After several months I finally put the pieces together and realized that this rock is the Phantom, which you can get a better look at here. It's in Garden of the Gods on the Lower Iverson Movie Ranch in Chatsworth, Calif.

Glenn Strange as Cavendish — behind him is the rock the Phantom, in Garden of the Gods

These shots of the bad guys lying in wait are part of the infamous sequence that sets up the whole saga of the Lone Ranger, in which bushwhackers led by Glenn Strange's character Cavendish wipe out a party of Rangers in a brutal ambush — including almost killing the man who would go on to become the Lone Ranger. The sequence is spliced together from footage shot here in Garden of the Gods and footage filmed elsewhere in L.A., in Bronson Canyon, where the cave featured in the Batman TV show also plays a part in the Lone Ranger saga.

Hidden Valley Cabin on the Upper Iverson Movie Ranch

"Prairie Outlaws" (1948)

This screen shot from the old Eddie Dean B-Western "Prairie Outlaws" features a cabin that appeared on the South Rim of the Upper Iverson starting in about 1944. The cabin is usually called "Hidden Valley Cabin," and has been alternately referred to simply as "Stone Cabin."

The distinctive rock towering above the cabin, which helps pinpoint the structure's location, has been called Stone Cabin Rock. In this version of the "Prairie Outlaws" screen shot, Stone Cabin Rock is identified, as is the ubiquitous background feature Oat Mountain — along with Hidden Valley Cabin, or Stone Cabin, in the foreground.

"Cheyenne Takes Over" (1947)

This shot from the Lash LaRue B-Western "Cheyenne Takes Over" gives a good look at the porch of the cabin. The term "Stone Cabin" is a reference to its appearance, not its construction. Being a movie cabin, it would have been built as inexpensively as possible. The outer surface was made to look like stones, but was presumably made up of some kind of facing material — in other words, "movie magic."

Stone Cabin Rock and a portion of the old Upper Iverson in recent times

The cabin is long gone, and this shot of Stone Cabin Rock and its surroundings from a recent visit shows some of the mansions that now occupy much of what used to be the Upper Iverson Movie Ranch. The rock's name, Stone Cabin Rock, commemorates that the distinctive feature clearly marks the spot where the cabin previously stood.

Also visible in these photos, in the distance, is Oat Mountain, and in the recent shot, as noted above, microwave towers and related gear can be seen at top right. (You may want to click on the photo to enlarge it to get a better look.) Back in the Cold War years of the 1950s and 1960s a Nike missile base, part of the national defense system, was situated where the microwave towers now stand. I believe the small rectangular white building visible in the smaller blue box on the left was a part of the missile base.

I've blogged about the Nike base before, in an entry I wrote about the Cold War movie "Panic in Year Zero," which you can read by clicking here. That post includes a shot of the missile base that snuck into the background of the movie, which was released in 1962 at the peak of the nuclear scare.

"Prairie Outlaws," made by Producers Releasing Corp., has an interesting backstory. It was an edited version of a movie the company made two years earlier, "Wild West," with additional footage shot for the new movie even though the new movie wound up being shorter than the original.

The earlier production, "Wild West," was out of character for a notoriously cheap B-movie studio such as PRC: It was in color, for one thing, and at 73 minutes, longer than typical B-movie fare. It also had two cowboy stars instead of the usual one, featuring both Eddie Dean and Lash LaRue. And it had a dual love story AND a story about a heroic young boy.

When PRC reinvented the movie two years later as "Prairie Outlaws," the company was clearly targeting the Saturday matinee market, especially young boys. Much of the "mushy stuff" was cut out, but the plot line about the heroic kid was left in. Even with the movie shortened now to about 56 minutes, a batch of new footage was added — mostly action — at the opening of the movie. The number of songs was cut back, and this time the movie was released in black and white.

The outdoor action in the original movie, "Wild West," was shot entirely at Corriganville. But in the two years that had passed before "Prairie Outlaws" was pieced together, PRC had shifted its focus to Iverson, and that's where the new footage was filmed — including a big shootout at Hidden Valley Cabin.

"Prairie Outlaws" (1948): Hidden Valley Cabin, on the Upper Iverson

Many film historians believe Iverson's Gorge Cabin, which first appeared in 1936 and was located on the Lower Iverson, was taken apart and reassembled on the Upper Iverson, becoming what we now know as Hidden Valley Cabin. The move would have taken place in about 1944, as that's when the Gorge Cabin disappears from film footage of the Gorge.

"Adventures of Red Ryder" (1940): Gorge Cabin, on the Lower Iverson

The above shot shows the earlier cabin, located in the Iverson Gorge on the Lower Iverson. I have yet to find a "smoking gun" image of one or the other cabin that confirms whether they're the same cabin, but so far, I would have to say I still need some convincing. Even so, I have to admit the two cabins are pretty similar.

The great Iverson cinematographers: Ernest Miller

Ernest Miller: born March 1885, Pasadena, Calif.

— died April 1957, Los Angeles (age 72)

"Little Big Horn" (Lippert, 1951) — Ernest Miller, director of photography

Oscar-nominated cinematographer Ernest Miller, probably the most prolific DP in the history of the Iverson Movie Ranch, showed a love for the location ranch’s dramatic rocks during a career that included stays at Mascot, Republic, PRC, Western Adventure and eventually Monogram and some of its smaller production house partners.

"Made in Heaven" (silent film, 1921) — Ernest Miller, DP (not an Iverson production)

Miller hailed from Pasadena in the Los Angeles area, and got an early start in the movie business — going all the way back to "Made in Heaven" in 1921, his first credit as cinematographer. He was in his mid-40s by the end of the silent film era and had already amassed a lengthy resume as a DP. 

He hit the ground running in the 1930s, working steadily at Mascot Pictures during the first half of the decade before joining Republic in 1935 as part of the newly formed company’s acquisition of Mascot. He would remain at Republic for the next ten years before jumping to PRC soon after World War II.

Early examples of Miller’s career-long love affair with the Iverson Movie Ranch include the Mascot serials "Fighting With Kit Carson" (1933), "The Law of the Wild" (1934, starring Rin Tin Tin Jr.) and Gene Autry’s breakthrough production "The Phantom Empire" (1935). While at Mascot, where dual DP credits were the norm, he shared cinematography duties on a long list of projects with either Jack Marta or William Nobles, both of whom would make the migration to Republic along with Miller and would continue to shoot extensively at Iverson. 

During his first year at Republic, Miller was often again paired with Marta. Presumably one of the two DPs handled the studio work while the other was sent on location — but which one did which? Sadly, little is known about the working arrangements in those days, but my suspicion is that Miller, who was the veteran DP, would have received the more desirable studio assignments at that point in his career, while Marta — Miller's understudy, in a sense — would have had to suffer the hardships of Iverson, with its weather extremes and general notoriety as a harsh environs for film crews.

Miller was not yet a B-Western specialist when he arrived at Republic in 1935, although he did work on projects starring up-and-coming singing cowboy Gene Autry a few times early on. It was Mascot stablemate William Nobles, who had been shooting B-Westerns steadily since the silent era, who first established himself as the new company’s go-to B-Western shooter, landing the bulk of the prestigious shoots with Autry and John Wayne in those first few years at Republic. Miller typically handled more indoor-oriented fare at that point, and only later proved himself to be a powerhouse in B-Westerns, in outdoor adventure shoots ... and in particular, at Iverson.

"Come On, Cowboys" (1937) — Grumpy Candelabra?

He had a breakthrough in 1937, shooting an Iverson rock spectacle in "Come On, Cowboys," a Three Mesquiteers feature. In the above screen shot from the movie, Bill Rock, a relatively common feature in productions shot at Iverson, is partially visible at top left. Far less common is the rock at center-right, which looks like a grumpy candelabra that might be at home in Beauty and the Beast.

"Army Girl" (1938) — the adobe fort at the western end of Iverson's Sheep Flats

The following year, 1938, Miller shot Republic's "Army Girl" largely at Iverson, along with co-director of photography Harry J. Wild. The two men shared an Academy Award nomination for their work on the film.

"Army Girl" was followed by a period in which Miller's workload at Republic steadily increased, and by the early 1940s he was working regularly with most of the company’s cowboy stars, including Roy Rogers, Gene Autry, Sunset Carson, Don “Red” Barry and Bob Steele. 

"Bells of Rosarita" (Roy Rogers, 1945) — Iverson's Eucalyptus Grove

Miller's cinematography on Republic's "Bells of Rosarita" produced a series of memorable views of the movie ranch, with the Roy Rogers B-Western winding up as one of the strongest entries in Miller's Iverson portfolio. Meanwhile, Miller also continued to shoot much of Republic’s long-running Three Mesquiteers series.

Miller's special flair for showcasing Iverson can be seen as well in a few Allan “Rocky” Lane features from the late 1940s — "The Bold Frontiersman," released in 1948, being a prime example.

"The Hawk of Powder River" (1948) — the rock is Chili Pepper

Miller began working in the mid-1940s with Producers Releasing Corp., with the period from 1947-1951 yielding a wealth of Iverson-rich spectacles in his work with first PRC and then PRC spinoff Western Adventure. Both companies specialized in cheap B-Westerns shot in about a week, and both took advantage of Miller’s eye for Iverson. During this period he filmed a steady string of Eddie Dean and Lash LaRue pictures — "Dead Man’s Gold" (Lash LaRue, Western Adventure, 1948), "The Hawk of Powder River" (Eddie Dean, PRC, 1948), "Check Your Guns" (Eddie Dean, PRC, 1948) and "Outlaw Country" (Lash LaRue, Western Adventure, 1949) being just a few of the many highlights from a location standpoint.

"The Daltons' Women" (Western Adventure Productions, 1950)

During the short lifespan of Western Adventure from 1948-1952, Miller shot 11 of the company’s 12 movies — all of them at Iverson. At the same time he kept up a busy work schedule at Lippert Pictures, Monogram, Republic and others.

"Little Big Horn" (1951)

Miller went on to work with tiny outfit Lippert Pictures for a couple of years, from 1949-1951, shooting Don “Red” Barry Westerns — something he had also done earlier in his career at Republic — and filming a batch of Jimmy Ellison Westerns, which again involved plenty of work at Iverson. It was at Lippert that he shot what might be considered the crowning achievement of his Iverson work, the Lloyd Bridges-John Ireland retelling of Custer's Last Stand, "Little Big Horn" (1951) — adding an impressive coda to a film career filled with Iverson gems.

Whip Wilson's last starring role (1952)

Miller continued to kick around a few minor production houses in the early ‘50s, mainly companies with distribution and production partnerships with Monogram, such as Silvermine Productions, where among other things he shot the last of the Whip Wilson B-Westerns in 1951 and 1952, and Westwood Productions, where he was part of the last gasp of the B-Western as a viable theatrical format, shooting several Wild Bill Elliott features — again reunited with one of his occasional Republic subjects — in 1953 and 1954.

"Gunsmoke" — 11 episodes shot by Ernest Miller, from 1955-1956

Miller eventually made a mark in the early television Westerns, notably shooting episodes of "Hopalong Cassidy" and "Gunsmoke" before calling it a career in 1956. He died the following year in Los Angeles at age 72.

Ernest Miller left his mark on Iverson, on B-Westerns and on film as a whole. Among other things, he left behind one of the longest filmographies I’ve seen for a cinematographer, with 348 movie and TV series credits as DP. But beyond the numbers, his camera work, his appreciation of the rocks, his eye for interesting angles and his intuitive sense of the drama inherent in the Iverson landscape have never been equaled.

Click here to see the Ernest Miller filmography on IMDb

Classic Rock: The Pirate Ship

This blog entry is part of a series on "Classic Rocks" — rocks located on the Iverson Movie Ranch in Chatsworth, Calif., that were featured in old movies, cliffhanger serials and early TV shows.

To me this large cluster of rocks looks like a pirate ship with sails a-billowed, or whatever the proper seafaring term would be. When I discovered it a few years ago in a corner of the Indian Hills Mobile Home Village on a visit to the site of the former Iverson Movie Ranch, I initially didn't recognize the formation from any movies or TV shows. But I had a feeling it would eventually turn up — and it did.

"The Lone Ranger" TV show: "Damsels in Distress" (1950)

Among other productions, it's in some episodes of the "Lone Ranger" TV show, including the "Damsels in Distress" episode as seen above. It's also in episodes of "The Roy Rogers Show," including "Ride of the Ranchers." And it's in a couple of major features: the 1937 Shirley Temple movie "Wee Willie Winkie" and Gary Cooper's 1945 Western "Along Came Jones." Then there's "Ghost-Town Gold," a 1936 Three Mesquiteers picture from Republic. And the list goes on.

From other angles, at least one of the rocks that make up the Pirate Ship is much more common. The rock to the left in the above photos is the western side of a rock that's better-known from its northern side: Split Rock, as seen below.

Split Rock

Split Rock now sits in the swimming pool area of the mobile home park, along with the Cave Rocks (Hook Rock and Big B) and a few others. The riders in the above movie still would be roughly on the deck of the pool if they rested in the same spot today. All of these rocks fall more or less in a straight line running north and south, with the billowed sail of the Pirate Ship representing the southern tip. These rocks can sometimes be seen in the background of shots of Iverson's Western town — usually called El Paso Street or Iverson Village — which was to the west of them (to the left in the top two photos). It's hard to get around to the east side of the Pirate Ship these days, due to signs warning about fierce attack dogs.

Whatever its past glory may have been, these days the Pirate Ship is drydocked up in its obscure corner of the Indian Hills Mobile Home Village, keeping as low a profile as it's possible for something that big and grand to keep. But it's part of what was once a heavily filmed section of the Iverson Movie Ranch.