The Black Widow

★★½
“Stay here. And make me a sandwich!”

This is something of a fringe entry, and illustrates a few of the issues with Hollywood of the time. In particular, a severe reluctance to let female characters act with genuine independence. We see this on both side of the story here. The title character is Sombra (Forman), a vaguely Asiatic woman who is engaged in a plot to steal nuclear secrets from the United States. To this end, she has been trying to bribe acquaintances of a notable scientist, but the trail of spider-envenomed corpses resulting from their refusal to help has brought her to the attention of the Daily Clarion and its ace girl reporter, Joyce Winters (Lindley). Which would be fine, if the women were allowed to go head-to-head on their own terms, in the same way as Perils of Nyoka.

Except, neither of them are. Sombra is basically a puppet of her father, King Hitomu, who pops up through a cloud of smoke in a teleportation device, to keep her in line and hand down decrees that must be obeyed. Worse, the newspaper calls in Steve Colt (Edwards), a hard-boiled crime fiction author, to take lead in their investigation. He truly treats Joyce like crap, repeatedly ordering her to stay behind and refusing to let her drive. This unrepentant chauvinist even handcuffs her to the car at one point, to stop her following. Fortunately for him, Joyce is resourceful enough to unbolt herself, and so is able to stop Steve from being gunned down by Sombra’s minions. His gratitude for saving his life is… largely notable by its absence.

In between the blatant sexism, which definitely hampers things, there are some cool elements. I particularly liked the way Sombra is a woman of a thousand faces, able to disguise herself as any other woman perfectly. So we get some scenes where we have Lindley playing Forman as Sombra, pretending to be Joyce, if you see what I mean. It’s fun. There is a fair amount of technobabble here e.g. a sonic disruption device, but occasionally the script does hit on something a little prophetic, e.g. the tracking device Steve uses to locate Sombra’s lair. Though it is rather larger than the modern equivalent, shall we say! I’m also a little concerned about the ease with which he is allowed to gun down unarmed civilians, and his lack of remorse thereof.

I did like the performances of both Lindley and Forman, though one aspect of the latter is a “Yellow Peril”-like portrayal that hasn’t aged well. But as is often the case, being a villainess does give you a bit more independence, and Sombra is clearly the boss when her father isn’t around. However, if you’re not throwing things at the screen when Steve gets all “No, you’re not coming with me, little lady,” then you’re probably on the wrong website. I was wishing throughout for him to have a close encounter of the poisonous kind with Sombra’s arachnid pals.

Dir: Spencer Gordon Bennet and Fred C. Brannon
Star: Bruce Edwards, Virginia Lindley, Carol Forman, Anthony Warde

Daughter of Don Q

★★★
“No relation to Maggie, presumably.”

Lorna Gray, the lead here, had been the villainess in Perils of Nyoka, but graduates to the role of protagonist. This is notable for its contemporary, urban setting, without any of the “jungle girl” trappings of previous Republic serials. Heroine Dolores Quantero  (Gray, although now billed as Adrian Booth) is a thoroughly modern woman, who happens to be proficient at jiu-jitsu, and also no mean hand with a longbow. The former is of rather more importance than the latter, which only really crops up during one episode. Perhaps this feistiness is genetic, since Dolores is a descendant of Don Quantero, a heroic historical figure [the title of this may be a nod to 1925 silent film, Don Q, Son of Zorro, starring Douglas Fairbanks].

Another member of the family, Carlos Manning (Mason) becomes aware of a land grant given to their ancestor by the Spanish crown, which will allow him to claim ownership of large tracts of property. However, the rights would be divided among all the Don’s descendants, so Carlos decides to start bumping off other family members. The process begins with the attempted theft of a heirloom from Dolores’s house which details the Quintero genealogy. This alerts her to the plan, and along with journalist Cliff Roberts (Alyn), she looks to protect her relatives and get to the bottom of Carlos’s scheme, dodging retaliatory efforts to lop her off the family tree.

While I liked the modern scenario, it’s a bit of a mixed bag, both in terms of story and in Dolores’s character. Even by the low standards of serial villainy, Carlos’s plans seem both ridiculous and ill-conceived. I was particularly unimpressed by the attempt to have Dolores shot with a harpoon gun while dangling in a net, apparently because it would look like a “vendetta killing.” Yeah, between two gangs of whales. The serial even seems to have a bottle episode consisting largely of footage taken from previous parts, with the heroine and hero describing their previous brushes with death. Considering there are only 12 chapters to begin with, this recycling of previous peril is disappointing, as is the apparent inclusion of action footage from earlier serials, such as The Masked Marvel.

However, some of the more imaginative elements do work, such as Dolores going undercover as the target in a knife-throwing act, and some of the supporting characters are surprisingly memorable. That the heroine knows and uses martial arts may also be close to a first for Hollywood, even if it’s a few basic throws at most. Despite this, she does still have a tendency to fall unconscious too easily, and sit back when things kick off – though we’ll give her the benefit of the doubt for the fight where she takes a chair to the face! While overall entertaining, the finale is particularly disappointing in terms of her passivity, with Cliff speeding to her rescue, as the crate she’s tied up in, is about to be thrown off a high bridge. I’d rather she had rescued him, or at least herself. I guess jiu-jitsu and archery was as far as Republic were willing to go, in the way of female empowerment.

Dir: Spencer Gordon Bennet and Fred C. Brannon
Star: Lorna Gray (as Adrian Booth), Kirk Alyn, LeRoy Mason, Roy Barcroft

The Tiger Woman

★★½
“A leopard which changes its spots.”

Am I the only person irrationally annoyed by the title of this 12-episode serial? It takes place in South America, where the only tigers are in captivity. And look at the picture of the heroine. LOOK AT IT. In what universe is that a tiger? I mean, the ears are a nice touch, but it’s very obviously not tiger stripes. Though it has been pointed that in its location, the jaguar is known as el tigre. Which might make sense if there was any other jot of Hispanic culture to be found here. [GWG readers: “Get on with it!”] Oh, alright… if you insist.  

As mentioned, we’re in South America, where two competing oil companies are seeking to establish their territory. The Inter Ocean Oil Company are the current occupants, and have been working in association with the indigenous population, under their white queen (Stirling), known as the Tiger Woman. But if they don’t strike oil soon, their franchise will expire. A predatory, far less friendly (but unnamed) company, is standing by, to make sure that doesn’t happen, allowing them to take over. But Inter Ocean has sent top troubleshooter, Allen Saunders (Rock Lane), to work with the Tiger Queen and block their enemy’s attempts. Those get more desperate as the deadline approaches and Inter Ocean appear to be succeeding. Complicating matters is the Tiger Queen’s original identity as missing heiress, Rita Arnold, something her enemies want to use to their advantage.

The heroine is something of a step forward from Jungle Girl, with Rita/Ms. Tiger at least making an occasional effort to get involved in the fisticuffs (copious, to the point half the oil company’s profits must have gone on replacement furniture). However, it’s rare for this to last more than a few seconds, and it seems she’s as fragile as cut crystal. Run into a wall? Knocked out. Trip on the carpet? Knocked out. Looked at askance by a bad guy? Probably knocked out. I swear, there are times where it feels like she spends half her screen time unconscious.However, as in Jungle Girl, there are odd moments which rise above, though I’m not sure the aeroplane spin would be a move familiar to white goddesses from the sky.

She does have a regal presence (perhaps due to Sterling’s background as a model, before she turned to acting), even if her throne looks a bit like it was built out of banana boxes. Ms. Tiger is also reasonably brave, always willing to put herself in danger when necessary for her tribe – or, probably more relevantly, necessary for cliff-hanger purposes.  I was less impressed with the plotting, especially the shenanigans of the villains, which seem almost random, rather than well-conceived to their particular aims. For instance, they’re supposed to kill Rita, then get someone else to impersonate her and claim the inheritance. If that’s the best plan you can come up with… you need to bring in some kind of outside consultant. Again, it feels as if everything they do is for cliff-hanger purposes, not as a means to an end. It gets kinda repetitive after a while.

Still, this was a big hit, and led to Republic fast-tracking another vehicle for Sterling. Only a few months after this was released, production started on Zorro’s Black Whip, in which she would get to be more of a proper lead.

Dir: Spencer Bennet and Wallace Grissell
Star: Linda Stirling, Allan Lane, Duncan Renaldo, George J. Lewis
Subsequently re-released in 1951 as Perils of the Darkest Jungle, and in a cut-down TV version in 1966 as Jungle Gold.

Perils of Nyoka

★★★½
“Serial thriller.”

After the success of Jungle Girl, Republic looked to repeat the process the following year. However, despite bringing back the heroine, they were able to avoid paying Edgar Rice Burroughs again, because Nyoka was not a character who appeared in the original novel. It may also be why she has a different surname here, and her father is missing, rather than killed. Republic used a different actress too: Kay Aldridge replaced Frances Gifford, who was unavailable. Aldridge had recently seen her contract with 20th Century Fox expire, though had some qualms: “I did it with the attitude we had in that day that to make a B-western or a serial was a comedown for a featured player at Fox. It was a comedown in one way, but it was a comeup in another way because I was the lead. They paid me about $650 a week, which was pretty good money at the time.” Still, it proved her most popular role, though she retired from acting just four years later, to get married.

With a title clearly nodding to 1914’s The Perils of Pauline, this operates at a particularly breathless rush, even by serial standards, over its 15 episodes. The main plot has Nyoka Gordon in search of the Tablets of Hippocrates, both because they offer a cure for cancer, but in order to help find her father, who vanished mysteriously in the African wilderness years previously. Well, I say “African”. There’s really no effort at all made to make Southern California look like anything other than Southern California. Anyway, she’s joined in her quest by Dr. Larry Grayson (Moore, best known as TV’s Lone Ranger) and other scientists, but opposed by the evil Vultura (Gray) and her native minions, who wants the tablets for herself. Actually, from a modern perspective, Vultura probably has more of a claim to the artifacts than the tomb-raiding Westerners, Nyoka’s protestations about them belonging to “humanity” notwithstanding.

This was the first serial I had watched since Zorro’s Black Whip, and I really appreciated the relentless pace with which things moved forward. There’s literally never a dull moment, despite the usual overlap: opening of each episode recaps the previous cliffhanger, then details how (usually) Nyoka gets out of the peril in question. These escapes were a bit varying in quality: some of them were clever, others were more or less cheats, e.g. falling from a great height into a pool of water that wasn’t there previously.

But the show never gives pause to consider such things, moving on to the next treachery, chase or fight sequence. Of particular note is the antagonist also being a woman, and Vultura is every bit as smart, driven and hands-on as Nyoka. There’s potentially an alternative version of this where she is the heroine. It’s definitely an improvement on the “ignorant savages” portrayed in Jungle Girl. Indeed, Nyoka v2.0 is also a clear upgrade on the original, being much more self-reliant, certainly the equal of the men.

Admittedly, the pace is maintained at the expense of just about everything else. When you have perhaps 15 minutes in which to cram a recap, escape, move the plot forward and then set up the next cliffhanger… there’s never going to be much chance to get in a lot of character development. Everybody here is more or less what they appear in episode one, and there’s hardly anything in the way of an arc for anyone across the four hours. Hard to complain though, since it is for understandable reasons. What matters here is not any backstory, it’s a simple matter of hooking the audience into coming back the following Saturday for the next episode. Having shotgunned as many as five episodes back-to-back, I can’t argue with its success on that front.

I also feel I should mention the animals. Fang, Nyoka’s dog, is perhaps the smartest canine I’ve ever seen on a show: to be honest, he’s more intelligent than some of the human characters, and does a remarkable amount, especially considering his lack of opposable thumbs. There’s also a little monkey, belonging to one of her sidekicks, who chips in, while Vultura keeps a pet gorilla. That, however, is a guy in a not particularly convincing suit. Though considering it gets into fisticuffs with Dr. Grayson, I can understand why they didn’t want to use a real primate for that! Their cute presence do make me wonder if this was aimed as much as kids as adults. Though given the amount of violence – there are corpses everywhere, albeit bloodless ones – it feels a little inappropriate for children by modern standards.

The show proved popular enough to be re-released a decade later, under the rather confusing title, Nyoka and the Tigermen. A few years further down the road, it was converted into a 100-minute TV movie, Nyoka and the Lost Secrets of Hippocrates. Normally, hacking out such a large amount of content would render any cinematic product incoherent. But I can see how it would be possible here, though I dread to think how adrenaline-crazed that end product might be!

Dir: Bill Witney
Star: Kay Aldridge, Clayton Moore, Lorna Gray, Charles Middleton

Jungle Girl

★★½
“You can take the girl out of the jungle…”

This is nominally based on Edgar Rice Burroughs’s 1932 novel of the same name, also known as The Land of Hidden Men. Though there’s very little beyond the title in common. The book was set in Cambodia, and told the story of explorer Gordon King, who finds a civilization which has been lost for a thousand years. This… isn’t. It is instead the story of Nyoka Meredith (Gifford), the daughter of a doctor working with the Masamba tribe in the middle of Africa. “Nyoka” is Swahili for snake, and she seems to spend most of her free time swinging through the forest on vines.

But there’s trouble in paradise, as ne’er-do-wells Slick Latimer (Mohr) and Bradley Meredith (Bardette) show up, hoping to get their hands on the tribe’s stash of diamonds. Their plan involves Dr. Meredith’s twin brother, who just got out of jail. They knock off the doctor, replacing him with his sibling, who feigns “amnesia” to explain the holes in his memory. They also team up with disgruntled witch-doctor Shamba, who was displaced from his tribal position by Western medicine. But Nyoka, along with Jack Stanton (Neal) and Curly Rogers, stand in the way of the villains. Though naturally, they will have narrowly to dodge death – I’m guessing, fourteen times, give or take.

While this was the first serial in the sound era to have a female lead, it’s a little disappointing in this regard. It feels like, over the course of the 15 episodes, Nyoka is more rescued than rescuing, though it does work both ways. In terms of getting into the action, there’s more than one occasion where she just yells “Look out!”, then lets the menfolk get on with punching each other. However, Nyoka still has her moments, such as in Episode 5, where she dives into a gorge and goes hand-to-hand with a crocodile, in order to save a native child. I did appreciate the lack of any romance here. Despite the obvious candidacy of Jack, everyone is too busy narrowly dodging those deaths, I think, for emotional entanglements.

Considerably less progressive is the portrayal of the natives. I guess we should be happy Shamba is at least played by a non-American, Frank Lackteen being Lebanese-born. But the native boy saved from the crocodile? Born in Minnesota (the actor, Tommy Cook, was still active almost eighty years later, playing a senator in an episode of Space Force!). Even aside from the blackface, add patronising lines like “It took a white man to figure it out,” and there are a lot of elements which have not aged well, to put it mildly. Some of the plot threads are also a bit implausible, such as Jack and Curly building an impromptu refinery in the native village, to convert crude oil into airplane fuel. I’m fairly sure it’s not that easy.

One of the stunt co-ordinators on this was the legendary Yakima Canutt. He would go on to choreograph the chariot race in Ben-Hur, though there’s none of his renowned equine stuntwork here. Helen Thurston was the main double for Gifford, though for the scenes where she’s swinging from vine to vine, a male stuntman (David Sharpe) took over. Apparently, Gifford said he looked better in the costume than she did! The series was so successful it became the first Republic serial to be re-released, six years later. A lot of the action footage from this was reworked into 1955’s Panther Girl of the Kongo, but we’ll talk more about that in its own review.

Dir: William Witney and John English
Star: Frances Gifford, Tom Neal, Trevor Bardette, Gerald Mohr

Pearl White: The Heroine of a Thousand Dangerous Stunts

American actress Pearl White was dubbed “Queen of the Serials” for her roles in some of the most popular episodic cinema productions. Beginning in 1914 with The Perils of Pauline, she was a pioneer of action heroine roles, famous for doing her own stunts, regardless of the risk. The following interview with her was originally published in the September 1921 issue of The American magazine, and offers a glimpse into the lost world of movie-making, almost a century ago.

This picture shows Miss White walking the pole at the top of a ship’s mainsail, fifty feet or more above the deck. If she had slipped and fallen, she undoubtedly would have been killed. Once, when she was visiting the battleship “Mississippi,” the sailors begged her to do a “stunt.” Whereupon she climbed to the top of the forward “haystack” mast, the only woman who ever did it on any battleship.

Pearl White’s name is a synonym for courage and daring; yet she says she is “a born coward.”
“I have always been afraid,” she declares; “but I would be ashamed to let fear rule me”

By Mary B. Mullett

Pearl White is one of the most amazing human beings I ever have encountered. As I was leaving her dressing-room at the Fox Film Corporation studios in New York, the man who had arranged the interview asked me what I thought of her. “She’s a wonder!” I said. “Yes,” he agreed. “And the most remarkable thing about her is that she is a living wonder. She has done enough hair-raising stunts to kill half a dozen ordinary girls. Of course, she is doing only regular feature pictures now. No more stunts!… Well—that is—”

He hesitated a moment; then we laughed. No more stunts? That was a joke. She has been in danger over and over again during the past year; and she will keep on doing that sort of thing, because she is “that sort of girl.”

“The perils of Pauline” made Pearl White famous as a “stunt” star. Then came “The Exploits of Elaine,” “The Iron Claw,” “The Fatal Ring,” “The Lightning Raider,” and other serial pictures. All over the world, her name became a synonym for courage and daring.

When we sat down to talk, I looked at her curiously. She has fine dark eyes, sensitive nostrils, an expressive mouth. There isn’t an ounce of superfluous flesh on her body. In manner, she is as frank and unaffected as a boy. In fact, when she was talking about some of her experiences, she often said, “There was another boy in the company” — as if she herself were a boy.

As I thought of the things she has done, they seemed incredible; and I asked the question which millions of persons who have seen her on the screen must have wanted to ask:
“Aren’t you ever afraid?”
“Afraid!” she said. “I’m always afraid! I’ve been afraid all my life!
“I was born in Green Ridge, a little Missouri village which doesn’t exist now. My mother was an Italian and my father was Irish, although he was born in this country. An Irishman, you know. isn’t afraid of the devil himself. But as for my brother and me, we were a beautiful pair of cowards.

“I was afraid of people, afraid of animals, afraid of the dark – afraid of everything! We were the poorest children in town, and that’s saying a good deal. Half of the time I didn’t have any shoes. And because we were poor and because we were cowards, all the other kids picked on us.

“When I was only five years old, I played in ‘Uncle Tom’s Cabin’ with a strolling company that came to the village. Of course the other children wanted to do it, and because I got the chance and they didn’t, they were jealous. So they picked on me all the more. But I was such a coward that I never stood up to them. I’d hit back and then run – with the emphasis on the ‘run’. My brother did the same.

“When my father found this out, he got a strap and told us that if he ever heard of our being beaten by any of the children, or of our running away from them, he would give us an extra whipping himself. He did it too. And soon we learned that it was better to stand up to the children than to take our punishment at home

“When my father found that we were afraid of the dark, he set out to cure us of that too. At night he would send us on errands, each of us in a different direction. Often I’ve had to go half a mile, or more, out on some dark and lonely road. And I couldn’t pretend that I had done it; for he made me go after something which I had to bring back as proof that I really had gone where I was sent. He used to send me to the dark cellar for things, and up0stairs to the dark bedrooms. He meant it all right, but it didn’t cure me. I am still afraid of the dark.”

“And do you mean that now, when you do dangerous stunts for the pictures, you are afraid?” I asked.
“I do mean it!” she said emphatically. “I am petrified with fear. Cold! Frozen! Terrified! I tell you. I’m a coward.”
“Yet you never have someone take your place when there is a particularly dangerous stunt to be dangerous gone through with, do you?”
“You mean, do I ever have anyone ‘double’ for me, as we call it in moving pictures? No, I never have done that.”
“Why not?”

“Well, there’s a sort of fascination about it, for one thing. And after it’s all over, there’s a kind of exhilaration in having done it! I suppose it means more to me because I am afraid. You say to yourself ‘I thought I couldn’t go through with it, but I did!’ And that makes you feel good inside.

“Then, too, you must remember that when I began working in the pictures, I didn’t count for much personally. I wasn’t famous. When I did ‘The Perils of Pauline’ it was the picture that drew. If I broke my neck, or my back, or spoiled my poor face, they could get somebody else. After I had made a reputation, it was different. My name counted then, so then they did want me to have someone double for me in any very dangerous stunts.”

“Why didn’t you do it?”

“Partly from pride and partly because, for some reason, I never seem to get hurt doing the big things.” She rapped on the wooden table beside her. “I’ve done a million stunts. I’ve been hurt over and over again. But” (rap, rap, rap) “it never happened when I was doing what looked really dangerous.

“At least, not since I have been in moving pictures. When I was a young girl, I traveled with the circus for a while doing a trapeze act. Once, when I was hanging by my right hand, the ligaments in my wrist pulled out, and I dropped. I fell on the edge of the net, rolled out of it, came down on my shoulder, and broke my collar bone.

“Once I went into the pictures, my serious injuries have come through some slight mischance; not during a big moment of danger. For instance, in one picture I was bound with ropes, my hands tied behind me, and I was left in the cellar of a building, which was then set on fire. The hero was to rescue me just in the nick of time.

“Everything went smoothly until he tried to carry me up the stairs. I was still bound, and he had thrown me over his shoulder, with my head hanging down his back. He had carried me up six or seven steps when he lost his balance, and toppled over backward. I couldn’t help myself, so I struck on the top of my head, displacing several vertebra.

“That was the worst hurt I have received. The pain was terrible. For two years I simply lived with osteopaths, and to this day I have some pretty bad times with my back. Yet you wouldn’t have called that a dangerous stunt, or any stunt at all, so far as I was concerned.

“In another picture, I was thrown into the water from a ferryboat just as it was coming into the ferry slip. The slip is enclosed by high walls of solid planking, reaching down into the water, and it would look as if I could not escape being crushed between the boat and the wall of the slip. But at the crucial moment a rope is thrown to me, I catch it, and am pulled out just in time to miss death.

“Well, the program was carried out all right. I was thrown into the water; then, while the ferry—which looked to me as big as the Woolworth Building—came slowly closer, the rope was thrown to me. I had been afraid I would miss it; but I didn’t and they pulled me up onto the dock just in time.

“Then, as I lay there in somebody’s arms, with my eyes closed, I said, ‘Well, boys! I did it! And with that, I threw out my left arm in a gesture which anyone might have made in those circumstances. As I let it drop, my hand went over the side of the dock; and at that moment the ferryboat crashed in, caught my hand, and broke the bones in all the fingers.

“Do you see? The dangerous part of the stunt went off all right. And then, when it was all over and I was ‘safe,’ I did a simple little thing and got my hand smashed.

As the heroine in “The Black Secret,” Pearl White has a fight with a ruffian who throws her down a flight of stairs. She has had many of these struggles on stairs, one of them continuing down several flights and resulting in her jaw being dislocated.

“In one picture I had to fight with another boy down several flights of stairs. It was real fighting, too; rolling over and over, striking our heads against the banisters and the wall, struggling all the way. I accidentally knocked the other boy unconscious; but aside from that and the inevitable bruises, neither of us was hurt.

“Then we wound up with what looked like a comparatively simple stunt: he was to be sitting on a low bench in the hall below, and I was to jump over the banister from above and land on him. Then we were to roll off onto the floor and continue our fight. It wasn’t a very big jump, and the bench he was on was only about two feet high.

“I made the jump all right, landed on him, and we rolled off. But as we went over, his hand happened to catch me just right, at the side of my neck, and dislocated my jaw! Again the big stunt had gone through safely, and my injury had come in some unexpected mischance.

“Why, I was standing on the curb one day, waiting for a street car. Millions of people do that and never think of danger. Neither did I. But when I stepped off— only about a six-inch step—I somehow fell and broke my ankle.

“When I first went into pictures, we were making some cowboy scenes up in the Bronx, right near New York. I was a good rider; in fact, it was my riding that got me my chance at moving picture work. Although I was a ‘trap’ performer in the circus, I was crazy to be an equestrienne and was always riding the horses around ‘the lot’ in my spare moments. Later, I traveled with a theatrical company, doing one-night stands in the Southwest. And every time I had a chance, I would get a a horse and go cavorting around the country.

“In that way I learned to ride pretty well. When it came to the wild riding necessary in the pictures, I did all kinds of stunts. I’ve been thrown dozens of times; and while I have been knocked out repeatedly, I never was badly injured.

“One day, in making those Wild-West pictures in the Bronx, I was doing a perfectly simple bit of work, just straight riding. However, the sun was in my eyes and 1 didn’t notice a little sapling ahead. It wasn’t thicker than my wrist, anyway. But my pony dashed by so close to the sapling that it struck my knee and broke my knee cap.

“So why worry about the big things? It’s the little ones that get me. There was the time, for instance, when we were making pictures down in Florida. In one scene, I was to jump off a moving steam yacht. And, by the way, I want to say this: I never do a serious stunt without first studying the possibilities of danger, so as to avoid an accident if I can.

“In this case, for example, the director told me to jump from the rail of the yacht, at the middle of the boat, which was to continue steaming ahead until it moved out of the picture. I was to have a life preserver in my hand and was to keep hold of it as I struck the water.

“Well, I did some thinking on my own hook. And then, when the director had gone off to the tug, where the camera man was, and which was to keep abreast of us so as to get a long shot of the whole performance, I hunted up the captain.

‘”Do you know from what part of the boat I am to jump?’ I asked him.
“Why, from toward the stern,’ he said.
‘”Not at all!’ I explained. ‘I’m to jump from the middle of the boat.’
“‘But you can’t do that!’ he said. ‘If I’m steaming ahead, the suction will carry you under the vessel.’
“‘I know that,’ I told him. ‘But if you stop your engine, I will get away, and your momentum will carry you out of the picture all right. I’ll have somebody give you the signal when to stop.’

“I made another change, too. I realized that if I held onto the life preserver when I struck the water, my arm would get an awful wrench. So I let go of the life preserver just before I hit the water, and then caught hold of it again as I came up.

“But,” she went on with a touch of bitterness,”there was one thing which nobody had told me! Perhaps they did not know—certainly I did not know—what was in the water between the yacht and the tug. . . . Sharks! … I saw several of them around me as I swam to the tug; and I was too frightened then to do anything but swim—and pray. I did both as hard as I could.

“Again luck was with me. Or maybe it was Providence. I believe in praying. I confess that I don’t do enough of it, except when I am frightened. But I’m scared so often that I keep in pretty good practice.

“Anyway, I escaped that time, when the risk was really a serious one. And then the next day, when I was doing a scene on the beach, where you wouldn’t have thought I could get hurt if I tried, I stepped on a shell, cut my foot, had blood poisoning, and was laid up for three weeks.

“At one time, I thought I wanted to be an aviator; so I had a couple of months of off-and-on instructions; off and on as to lessons, I mean; for I never went ‘off’ the ground. About that time we were making a picture in which the hero was cast away on a desert island. The place was really Staten Island, in New York Harbor; but there are parts of it which are deserted as anything you will find in the South Seas.

‘They wanted a scene where the heroine lands on the island in an airplane, rescues the hero, and flies away with him. They thought I would double for this scene; have somebody else actually fly the machine for the long shot of it in the air. They could take close-ups of me starting it and landing.

“But I insisted on making the whole trip. The machine they had was an old one-passenger Wright biplane, so I had to go alone. I never had been in the air by myself. My only experience hid been running the machine on the ground. But the director didn’t know this, and I didn’t tell him.

“As a matter of fact, I made the flight safely. But as I came down to make the landing, I miscalculated the distance and ‘landed’ in the water! If it had been a hydroplane, I might have been all right. But it wasn’t. And when the machine struck, the engine simply turned over with a jump, and the whole thing sank. Luckily I got out and swam ashore. Now, that really was a dangerous stunt, because I didn’t know how to fly an airplane. Yet I wasn’t hurt.

“I had another very unpleasant experience in the air. They wanted a scene showing the heroine taking a little pleasure ride in a captive balloon, such as you will find at many amusement parks. But in this case the villain was to cut the ropes and set the balloon adrift.

“We staged the scene at Palisades Park, across the Hudson from New York City. There was no one in the basket but the aeronaut and myself. According to our plan, after the ropes were cut the balloon would go off over New Jersey, and we would descend after being in the air about fifteen minutes.

“But about ten minutes after we were cut loose, a sudden storm broke. It was April and this was a good old-fashioned April thunderstorm, with rain, wind, lightning, and all the trimmings. I don’t suppose it lasted over twenty minutes, but they seemed to me like twenty years. We were drenched to the skin and half frozen.

“In order to rise above the storm, we threw out ballast and got up to about five thousand feet. Then, when the storm passed and we wanted to come down, we found that we were over New York City! We did not dare to descend there. The balloon might land on the edge of a twenty-story building and tip us into the street.

“For three hours and a half we were in the air; most of the time over the city, although once we were carried two miles out to sea. But we didn’t dare to come down in the water, of course. Most of this time, I was busy tearing a long roll of tissue paper in pieces and dropping them over the side of the basket. As they fell, they would show in which direction the currents of the air below were moving. There seemed to be different levels, on which the currents moved in different directions. At first, the aeronaut would throw out ballast in order to rise; or would let some of the gas escape, in order to descend.

“In this way we jockeyed around, trying to get into a current which would carry us to a safe landing place. But we couldn’t make it. Finally, all the ballast was gone and, to complicate the situation still more, the bag was leaking gas. We had settled down until we were only about a thousand feet above the roofs of New York and were slowly sinking still nearer to them.

“But my luck held; for finally the wind veered, carried us clear of the city, and we came down safely. But that was the longest three hours and a half I ever put in.

“As a rule, when you are doing picture stunts, there isn’t any long-drawn-out suspense. It generally goes with a rush, and the danger is over before you have time to lose your nerve.

“For instance, I have walked a board across an open court between two twelve-story apartment houses. The board was perhaps fifteen feet long and was laid from one roof to the other. If I had made a misstep, or had lost my balance, I should have fallen those twelve stories to the paved courtyard below.”

“Perhaps you’re not afraid of being in high places,’ I said.

“Afraid is too mild a way to put it!” was the earnest response. “I am almost rigid with terror. If I looked down, I should be lost. I am a Catholic, you know; and I never do one of these stunts that terrify me, without saying a ‘Hail, Mary’ as I start.

“Often I have had to jump across a four-foot chasm between two buildings. Four feet isn’t very wide a jump, when you have a running start. But suppose my foot slips, or my toe catches, just as I take off. It that happened—Well, it never has.” Again she rapped on the table beside her.

“Are you superstitious?” I asked.

“No! I believe it’s unlucky to break a mirror—because then you’ll have to buy a new one. I think it would be unlucky to fall in front of a street car—because you might be run over. But I don’t have any so-called mascots, or things that I think bring me luck. I try to be careful, and then I let it go at that. The reason I rap on wood is simply because other people do, and I have picked it up from them.

“Experiences like those I have had make you feel that you will die when your time comes—not before. Anyway, the thing I dread is not death, but being maimed or disfigured. That’s another reason why I prefer the big risks. If I missed my footing and fell a hundred feet, it would kill me. If I fell twenty feet, I might only be crippled for life, or hopelessly disfigured.

“Yesterday we were doing a scene here in the studio and I had to fall backward through a large picture hanging on the wall. It was a fall of less than six feet. It didn’t look like much of a stunt, but I’d rather have jumped off a seventy-foot cliff into the water than have done that little backward tumble onto the floor. Yesterday we did the scene from the front. To-day we do it again from the back of the painting. And I’m afraid! Honestly I am.”

“You speak of jumping off a seventy-foot cliff,” 1 said. “Have you ever done it?”

“Oh yes, several times. There’s a cliff that high up at Saranac Lake, and I’ve jumped from it for three different pictures. I’m not good at jumping into the water, either. I can drop all right and strike the water with my toes, which is the proper way. But when I jump, I come down on my heels; and that gives a bad jar to the spine.”

“Of course you are a good swimmer?” I asked.

“I can swim pretty well now. But when I first did stunts where I was thrown into the water, I couldn’t swim a stroke. If there had been any hitch in the program, I should have drowned. But you know,” she laughed, “a company has a very good reason, aside from any considerations of humanity, for wanting to save the actor. Especially if the actor is a star.

“Suppose half the scenes of a picture have been made. They have cost a lot of money. And suppose I am the star who is featured in the play. If I am killed, they can’t substitute somebody else; so they try to protect themselves by having all the scenes which are not dangerous made first. The ones in which the star risks his or her neck are done last. Then, if anything does happen, someone can double for the disabled or deceased star, and the picture can still be shown. The close-ups nave already been made. And in the long shots the double will not be recognized.

“For instance, suppose it is that seventy-foot leap up at Saranac. Three separate views of it are taken. There is a close-up of me, just as I am jumping off, and another close-up as I strike the water. Then there is the long shot. To make this, the camera is far enough away to show the whole height of the cliff, and the actual leap from start to finish. There can be no fake about this. The seventy-foot jump is actually made. But the figure is so far away that you can’t recognize the features.

“The close-ups are probably not made at the real cliff at all. In the one which shows the beginning of the leap, I am jumping from a ledge into a net, or perhaps only about ten feet into the water. For the close-up of me striking the water, I have made only a short jump from a bank or a platform, which does not show in the picture.

“Now suppose all the scenes have been made, except the long shot of the actual seventy-foot leap. And suppose something happens to me when I do make that leap. If I am killed, or injured, they can find an expert diver, dress him in my clothes, put a wig on him that will be like my hair, take the long shot—and the picture is saved. So that’s why the dangerous stunt is kept until the last.”

“What was the worst experience you’ve ever had?” I asked.

She thought for a moment, then gave a little laugh.

When a bunch of moving picture German soldiers thrust their bayonets almost within pricking distance of her throat, Pearl White could only shut her eyes and hope that the men behind those particular guns were good judges of distance.

“I think the hardest thing I ever did was during the drive for the Victory Loan. The New York Fire Department sent out one of its huge ladder trucks, with a crew to operate it, and I went along. They would raise the ladder almost straight into the air—not leaning it against a building —and I climbed it, one rung for each subscription from the crowd below. I think there were seventy-two rungs. I went to the very top; then over the top, and down the other side, one rung at a time.

“The worst thing about it all was the slowness: of it. I used to stand on that ladder, simply praying that somebody would take another bond—and take it quickly! People in the crowd, or in the windows, would call to me. Apparently, I would look down and bow. But I had to shut my eyes when I did it. We went all over the city with that awful ladder.”

“But why did you do it, if you were so frightened?”

“I don’t know—one doesn’t want to be a quitter. Being a coward is one thing. You can’t help that. But acting the coward is very different. I’m not ashamed of feeling fear. But I would be ashamed if I let my fear rule me. I guess that’s it.

“There was another time when I did something which absolutely terrified me, and which wasn’t done for the pictures, or for anything as worth while as patriotism either. It was just a ‘publicity’ stunt. I believe it was in 1915, when one of the picture companies was moving into a new building. The scheme was this; I was to climb down the front of the building to an electric light sign, then down this sign to a painters’ scaffold, and paint one letter of the company’s new sign. Our publicity manager had got a steeplejack to make the attempt first, and the steeplejack had proved that it could be done.

“But the manager began to get cold feet as the day approached. So he arranged for me to wear a harness under my clothing and to have strong wires attached to this harness. The wires would not be visible to the crowd in the street; and they would be fastened to something on the roof and ‘paid out’ as I climbed down. Then, if I lost my footing, or my head, or my nerve, I wouldn’t be killed.

“But when the time came, I found that the manager had let a lot of newspaper men come up where I was to start! Well! It would be a fine story, wouldn’t it, to tell about me! How I was all tied with wires. So I told the manager that I wouldn’t have the wires used. It would simply ‘make a Chinaman’ of me.

“‘Well then,’ he declared, ‘you mustn’t go! We’ll call the whole thing off. We can say that you are sick.’

“I was sick; sick with fear! But if I backed out, I should ‘make a Chinaman’ of myself. So I insisted on going through with it.

“I got to the electric sign safely and began to climb down that. It was one of the meanest things I ever saw—that sign. It shook and swung and behaved as if it were bewitched. But I managed to reach the scaffold all right. While I was climbing down, I looked up occasionally, and I could see the manager, leaning over the top, watching me. His face was dead white.

“I painted the letter as I had been told to do; but before I was half through, the manager began calling me to come back. 1 paid no attention to him. I was safe where I was, and I was in no hurry to take the return trip. I was glad he was suffering. I said to myself, ‘He got me into this. Now he can worry a while.’

“I finished the letter on the sign, and then I deliberately painted my own initials on the wall of the building. I made them good and large, too. It was the Saturday before Easter, I remember. I knew they would have to stay there over Sunday, anyway, and I thought I might as well get what I could for myself out of the experience. I think I must have been down there twenty minutes. Then I climbed back. When they helped me over the ledge at the top—the manager fainted.’

“And you?” I asked.

“Oh, I didn’t faint, if that’s what you mean. I never have fainted. I’ve been knocked unconscious a good many times, but I’ve never fainted.”

“You said you were afraid of animals. Have you ever done stunts with lions and other wild beasts?” I asked.

“Yes, of course. Last year we were making a picture down in Cuba, and they had a famous lion, called Jimmie, for some of the scenes. In one of them, I went into a sort of cave, which was already occupied by Jimmie. I sat down on the sand, according to directions, and was proceeding with the action, when Jimmie suddenly leaped at me. Perhaps I swerved aside. At any rate, he missed me and struck the sharp edge of a rock, cutting his paw. He stopped a minute to lick the cut—and then turned to attack me again. But before he could reach me, the trainers were on him.”

“No more lions for you, after that, I imagine!” I said.

She looked at me with the expression I had noticed so often while we were talking, a curious mixture of nonchalance and intensity.

“Not for half hour or so,” she said; “then we did the scene again. Fortunately, Jimmie behaved better that time. Or maybe he’d lost his taste for me.”

‘If the photographer went on turning the camera handle when Jimmie leaped at you, it must have made a great picture,” I said. “Do they often get these thrilling accidental scenes?”

“They happen once in a while, but I never have known of an accident picture that could be used. You see, they never fit into the story. The time I sank the airplane, for instance, the picture couldn’t be used, because the story required me to land safely and to rescue the hero from his desert island. It is always that way. The accident spoils the story.

“Once I had to make a flying leap from a moving automobile to the running board of another machine which was racing abreast of it. I missed the running board and fell. I had on a leather coat, which caught in the wheel, and 1 was carried for at least one complete revolution before the machine could be stopped. But the picture of the accident couldn’t be used, because in the story I made the leap successfully.”

“Speaking of automobiles, I must tell you of the most wonderful nine days I ever spent. It was one summer during the war. I was sick of New York, fed up with Broadway, disgusted with everything and everybody. We had just finished a picture and I had a six-weeks vacation ahead of me. The very first night of it, I packed a bag, had a roll of blankets put into my car, and started out alone to get away from all the noise and glare and sordidness of the city into the good clean country.

“I told you that I was afraid of the dark. I am! But I slept every night under the car, in some lonely field away from the road. One night I was frightened half out of my wits when a cow almost stepped on my arm, which was sticking out from under the machine. I used to drive at night, too; and when the road ran through woods I was in terror every minute of the time. But I kept on going. I followed no set route, but wandered around in all directions.

“The fourth day, I turned into a little by-road up near Schenectady and came to a shabby farmhouse. The yard seemed to me to be alive with dogs, which set up a tremendous barking. The rumpus brought a woman to the door, and I asked her for a glass of water. I hadn’t been near a hotel since I had left New York. It had rained more than once; but I had a rain coat and had kept right on going. I would buy food at village stores and eat it when I came to some quiet bit of road. It was a wild proceeding; but I was happy, out under God’s stars, as I told myself, and all that sort of thing.

“Well, the woman asked me if I wouldn’t get out and stay a while. I had been sick of people—but not of people of her sort. So I got out and we two sat there on her little porch and talked for five hours! She was wonderful. Uneducated, so far as schooling went; but with a philosophy of wisdom of her own. I never have felt so small as I did sitting there and listening to her.

“We talked of everything; of right and wrong, of why people are what they are, of what is really worth while, and of what is only on the surface and doesn’t count in the long run.

“It was a strange experience; and, for me, a very wonderful one. I had been half inclined to come back to New York. But after my talk with her, I stayed out five days longer. I think I would have spent the whole six weeks that way if I hadn’t gone to Albany. After nine days of roughing it, I went to a hotel there to have a few hours in a bathtub and to replenish my limited supply of clothing. As luck would have it, I met friends there, and they persuaded me to give up what they considered my mad escapade. But those nine days will always be literally the ‘nine days wonder’ of my life.”

Zorro’s Black Whip

★★★
“Masked woman with a whip? Despite being almost 70 years old, still better than Catwoman.”

This 12-part serial from Republic was a spin-off from the success of Zorro – though despite the title, the Z-word is never mentioned. It moves the legend from Spanish California to Idaho in the 1880’s, just before a vote to decide whether it would become a state. Villainous Dan Hammond (McDonald) begins a violent campaign to prevent this, and is opposed by local newspaper owner Randolph Meredith, who has a secret identity as The Black Whip, a masked vigilante. When he is shot dead, his sister Barbara (Stirling) takes up the cape and whip, along with the help of undercover federal agent, Vic Gordon (Lewis). Together, they foil Hammond’s increasingly-desperate plots as voting day nears, and escape from 11 precarious positions. Well, it is a serial, after all…

Within the harsh limitations of the format, it does its best. In less than 15 minutes per episode, they have to fit in opening credits, a recap, replay the previous cliff-hanger, resolve that, set up the next cliff-hanger and finish with the closing credits. It leaves precious little time for plot or character development, which may explain why all the bad guys wear black hats. Seriously. They could reduce crime by 90% simply by banning the sale of non-white headgear, or so it would appear. Vic does most of the heavy lifting, action-wise, brawling frequently; Barbara generally stands back and uses her whip, which makes sense. Though, to be honest, the villains are remarkably oblivious to the Whip’s feminine curves: they’re blinded by their own sexism, at one point rejecting a suggestion Babs is the masked marauder, saying, “She couldn’t be! The Black Whip’s got to be a man!”

While clunky, sporting a dreadful ending for Hammond, and truly a product of its time (1944), the action is frequent and competent, thanks to the second-unit work of the legendary stuntman Yakima Canutt, who was the inspiration for much of John Wayne’s on-screen persona, and is best-known for staging the chariot-race in Ben Hur. The horse-work here is still outstanding: Babe DeFreest was the double for Stirling, and can be seen riding with her here. You could edit this down into a somewhat hyper feature, which would still be complete nonsense, yet given its age, is far from unwatchable.

Dir: Spencer Bennet and Wallace Grissell
Star: Linda Stirling, George J. Lewis, Francis McDonald, Hal Taliaferro