How The West Was Won

During recent years, several improvements have been made. Early last year, the first dramatic story to be filmed in Cinerama, The Wonderful World of the Brothers Grimm, opened in New York City. How The West Was Won is the second story to be filmed in this medium.

The screens on which the films are projected have been enlarged. The original Cinerama screen measured 1,700 square feet. Today the screens are from 3,000 to 5,000 square feet in area. The sevenchannel sound system has been transistorized, and projection and printing techniques have been improved.

How The West Was Won opened at Kachina Cinerama Theatre in Scottsdale, Arizona, in August of this year. We predict it will be running there well beyond August of 1964. And there's a reason for this prediction. We quote film critic Bernard Charman, writing in The Film Daily after How The West Was Won opened in London last year: "If the screen has ever presented anything greater in the way of sheer, overwhelming entertainment impact "If the screen has ever presented anything greater in the way of sheer, overwhelming entertainment impact than M-G-M's Cinerama 'western to end all westerns,' it would need a very long memory to recall it. The lusty family saga of the pioneer days, with its endless array of stars, would be a great show in any projection system; on the vast curved screen it literally hurls itself at the viewer, its violent action, compelling spectacle and thunderous sound building up to irresistible effect. It is nothing short of fabulous. There seems no reason why, in the key cities, it should not be earning coin for many a year."

Pouring out the excitement for 23/4 hours, it needs its intermission to give the audience a breather. Many of the scenes make such a tremendous assault on the nervous system stem that, at the halfway stage, the viewer will be prone to murmur, for this relief, much thanks! But it is a relief that leaves him eager for more, which, in the second stanza, he gets in full measure.

"The story consists of five distinct episodes cleverly held by a single thread - the saga of a pioneering family which sets off down the Ohio River in the 1830's. There are two daughters, one of whom marries a trapper and

settles down to farming, while the other finds her way to St. Louis, marries a gambler and eventually settles down to high life in San Francisco. The death of the first sister and the adventures of her son, first as a soldier in the Civil War, then as a frontier officer in the U. S. Cavalry and finally as a marshal in the rough, tough West carry the action through a span of 60 years. "Highlighting the first episode is a sensational trip on a runaway raft through the rapids, and a sequence involving a gory bout of general mayhem against a vicious gang of riverside jackals. The second section is covered wagon stuff, in which gorgeous shots of rolling prairies contrast with a battle against Indians and lusty gaieties in western saloons. Then follows a quadrant set during the Civil War, in which the battles themselves are the action highlights. The final episodes work up via a terrifying buffalo stampede to an incredible train robbery in which the production pulls every trick out of the bag to leave the viewer breathless. "The whole is assembled uncompromisingly and with great gusto. The hands of three great outdoor directors, Henry Hathaway, John Ford and George Marshall, are Clearly apparent, and the Cinerama cameras are deployed to the maximum advantage. There are strong-blooded performances from James Stewart, Henry Fonda, Gregory Peck, Robert Preston and Richard Widmark. The gals, notably Carroll Baker and Debbie Reynolds, are spirited, pretty and every bit as impressive as the guys. "Cast: Carroll Baker, Lee J. Cobb, Henry Fonda, Carolyn Jones, Karl Malden, Gregory Peck, George Peppard, Robert Preston, Debbie Reynolds, James Stewart, Eli Wallach, John Wayne, Richard Widmark, Brigid Bazlen, Walter Brennan, David Brian, Andy Devine, Raymond Massey, Agnes Moorehead, Henry Morgan, Thelma Ritter, Mickey Shaughnessy, Russ Tamblyn." We first heard about the motion picture, How The West Was Won, two years ago when a Metro-GoldwynMayer location crew, led by the distinguished director, Henry Hathaway, visited the offices of ARIZONA HIGHWAYS. One of the group carried an armload of badly earmarked copies of our magazine each stamped "Property of M-G-M Research Library: Do Not Remove." Mr. Hathaway and his associates were combing Arizona for locations for the Cinerama classic and they eventually found them: Magma Railroad (ARIZONA HIGHWAYS, September, 1959); Oatman, Ghost Town (ARIZONA HIGHWAYS, August, 1960); Railroad Station (ARIZONA HIGHWAYS, June, 1949); and Monument Valley. We are proud to know that Arizona has contributed some of the most memorable scenes to a motion picture full of memorable scenes. In every way How The West Was Won is a triumph in entertainment.

The opening of the Kachina Cinerama Theatre in Scottsdale was a triumph, too, for the Harry L. Nace Theatres, Inc., a story that began back in 1911.

The Harry L. Nace Theatres, Inc., operating twenty theatres and drive-ins in the state, is an Arizona corporation born with Arizona's statehood. Harry L. Nace, Jr., president of the statewide chain, was born and raised in "show business."

His father, the late Harry L. Nace, Sr., first came to Arizona as a circus performer acrobat, clown and general handy-man with the Sells-Floto Circus (later to become the Ringling Brothers Shows) from 1908 through early 1911. The winter of 1910 was rough on Harry Sr.'s arthritis so he decided to quit the circus when it returned to sunny Arizona and Phoenix.

His first job gave Harry Nace a varied knowledge of Western show business. He worked as janitor and

projectionist for Cap Miner in the old Arizona theatre and later for Cap Reeves at the Coliseum in Phoenix. In 1912 Nace with a partner named McNamara opened the La Mara Theatre, the first show house in the aggregate now known as the Harry L. Nace Theatres, Inc., representing $4,500,000 in Arizona's assets. The chain presently employs 259 people for an annual payroll of nearly $700,000. In 1962 Nace Theatres paid approximately $141,340 in state taxes. Nace's future plans include building and operation of more theatres in Arizona and also in adjacent states. The jewel of the Nace collection will be the new Ciner-ama showplace in Phoenix, scheduled to be built in 1964. It is a long way from the old silent movies of 1911 to the magic of Cinerama of today. The name of Nace, so long and so closely identified with entertainment in Arizona, has come a long way, too, in that span of years. As a matter of fact, so has Arizona and Phoenix . . . R.C.

PEON The naked thinness of his feet Flatten in familiar earth dusty with afternoon, Following the donkey's hooves As he plods between cactus Lifting invisible candles to the vivid sky. -Sara Van Alstyne Allen HIGH DESERT, FIRST SNOW So long this sober countryside Was the great sun god's faithful bride, With never a glance for other lovers. But now this frosty dawn discovers A telltale change. Transfigured, she Lies here, smiling dreamily, For all the world to see and trace Winter's kisses on her face. -Ethel Jacobson ECHOES The empty saddle hangs upon a peg In the old barn. The stalls are empty, And no hay is in the loft. The green of meadow grasses No longer grows to feed The mares with their young colts, Nor feels the print of racing hoofs. A car stands by the gate For modern day's convenience. But sometimes, late at night, I seem to hear again Familiar whinnyings From the vacant stalls. -Grace Barker Wilson TETHER THE WIND I go where the wind waits, tethered beyond An oaken hill and silken pond, Eager to trade old words for new, Where thoughts are many and words are few. Only the wind knows how to talk With trees and pond and flower stalk, For each a language lace-designed In ruffled syllables undefined. Tether the wind, nor turn it free Until it talks less secretly! -S. Omar Barker SPACE AND SHADOWS Cloud shadows across the mountains, Spaces of light intervene, Mauve patches in a homemade quilt, Bordered with plum velveteen. -Carrie Lynn Brown DESERT DOWAGER The diamond-bedecked Lady Sky peers into the velvet jewel box of night, searching with eager fingers for one more gem to add to her splendor. Avidly she pulls out the giant opal of a moon, tucking it into her hair at a rakish angle; then, satisfied, she kicks off her shoes and settles back for one night of displaying her jewels. -Violet Emslie Madsen

ORPHEUS CLUB CHRISTMAS ALBUM:

ARIZONA HIGHWAYS' readers will be pleased to know that the Phoenix Orpheus Male Chorus Arizona's Cowboy Ambas-sadors have recorded their second musical album, especially for Christmas 1963. Their first record, issued in 1961, is already an out of print collectors' album. The proceeds from the sales were a major part of the finance which enabled the club to par ticipate in the Deutscher Sanger Bund, in Essen Germany, July 19-23, 1962. This has been the Singing Cowboys' prime year and their new record is a magnificent choral interpretation of twelve most popular international Christmas favorites: A Cow-boy's Christmas Prayer; Sweet Little Jesus Boy; Silver Bells; I'll Be Home for Christ-mas; Caroling, Caroling; Chestnuts Roasting on an Open Fire; German Echo Carol; O Come All Ye Faithful; Angels We Have Heard On High; O Bono Jesu; Break Forth, O Beautiful Heavenly Light; Silent Night. On three numbers are heard the amazing voices of the Phoenix Boys' Choir, sponsored by the Orpheus Club.

The opening piece, A Cowboy's Prayer includes an inspiring recitation with choral background as written by S. Omar Barker for ARIZONA HIGHWAYS in the Christmas, 1960, issue.

Most of the pieces were recorded in St. Agnes Church in Phoenix for the wonderful cathedral sound with organ accompaniment.

The 33-1/3 RPM L.P.'s are available for $5.00 in stereo and $4.00 for monaural -Postpaid anywhere in the U.S.A.; add 50 cents for anywhere else in the world. Write to the Orpheus Male Chorus, P. O. Box 217, Phoenix, Arizona.

Ralph Hess and the men of the Orpheus have asked me to thank the hundreds of ARIZONA HIGHWAYS readers throughout the world, for their interest and help which made possible the fulfillment of their purpose to communicate the message of the brotherhood of good men, through the international lan guage of song.

Joseph Stacey Phoenix, Arizona

YOURS SINCERELY ARTICLES FOR RESEARCH:

With great pleasure, I have just read your Report to the Publishers, the story of ARIZONA HIGHWAYS.

For many years I have enjoyed occasional copies, and for the past several years have had the magazine on a subscription basis. Of course, it must be shared around among other appreciators, and sometimes certain copies will disappear in this fashion.

Like some others I know, if I feel "down-scale" I can feed my very soul on the natural beauties, via the color photography, which is among the finest anywhere occasionally we can make a quick trip over and enjoy a fragment of the beauty at first hand.

Further than this, I have found several extremely interesting and enlightening articles which have meant much to my own educa-tion and research and to that of others. (As a researcher's researcher, I have to keep alert to data in many fields.) McGibbeny's article on The Niman Ceremony, written with understanding and empathy, and illustrated so well by Kacha Honawah, contained material I knew would be of value to a writer I do research for in England. I had extra copies sent out, one to him, and he was desirous of contacting Kacha Honawah, who kindly gave his per-mission to use one of the paintings in a forthcoming book. (This was Brinsley le Poer Trench, and his first book, The Sky People.) White Bear also informed Mr. Trench that he is himself preparing a history of the Hopi people (which we hope will one day be available to the public.) The next article I was able to share to a large extent was Mr. Mars, about Dr. Slipher's work. Since the study of Mars has long been a hobby, I found it especially rewarding.

The latest article I have been richly rewarded by in my work is Paul Coze's The Phoenix Bird, noting the request for further data or Phoenix designs, and having some at hand, I sent them along to Mr. Coze, by your courtesy, and have a thoughtful note of appreciation. I have since followed the letters in the Yours Sincerely Department, regarding the Phoenix-it's amazing and fascinating!

Mrs. Rosemary Decker Fallbrook, California

Joseph Stacey

OPPOSITE PAGE

Phoenix, Arizona

"THE EMPTY LAND" BY LOUIS AND VIRGINIA KAY. Photo was taken on the Navajo Indian Reservation east of Page, Arizona, looking north across Navajo Canyon toward Rainbow Plateau and Tower Butte. The photographers say: "To reach this spot a 4-wheel drive vehicle is necessary and we drove as far as possible to the edge of Navajo Canyon." The photograph dramatizes the bigness, the loneliness and the emptiness of portions of the Navajo Reservation. 4x5 Graflex camera; Ektachrome; f. 16 at 1/60th sec.; 190mm Ektar lens; May; sunny day, late afternoon; 200 Weston Meter reading.

BACK COVER "SAGUARO SOLITUDE" BY DARWIN VAN CAMPEN. Photo was taken in the San Pedro Valley near Redington in Pima County. The area around Redington is rich in historical lore but being off the main arteries of travel is neglected by tourists. The community of Redington, six miles from the present community, was founded by the Redfield brothers in the middle 1870's. When the Post Office Department would not accept "Redfield" for the name of the post office, the brothers coined the name Redington. 4x5 Linhof camera; Ektachrome; f. 32 at 1/25th sec.; 127mm Ektar lens; November; bright sunlight; Weston Meter 400; ASA rating 64.