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It's 1865 and the telegraph is heading west. George Crane, wanting to keep law and order out of his territory, is out to stop the construction. The engineer on the job is Ken Mason and he is the grandson of Zorro. As Crane sends his men or Indians to stop the work, Mason repeatedly puts on the Zorro costume and rides to the rescue in this 12-chapter serial.
Clayton Moore
September 14th, 1914 — December 28th, 1999
Clayton Moore, though best remembered today as television’s Lone Ranger, had a lengthy and distinguished career in serials. Moore was a physically ideal serial lead, but his greatest strengths were his dramatic, quietly intense speaking voice and expressive face. These gifts helped Moore to convey a sincerity that could make the most unbelievable dialogue or situations seem real. The bulk of Moore’s cliffhanger work was done after World War 2, when serials’ shrinking budgets cut back on original action scenes and made the presence of skilled leading players more important than in the serial’s golden age. Moore, with his sincerity and acting skill, was just the type of actor the post-war serials needed.
Clayton Moore was born Jack Carlton Moore in Chicago. He began to train for a career as a circus acrobat at the age of eight, and joined a trapeze act called the Flying Behrs after finishing high school; as a member of the Behrs, Moore would perform for two circuses and at the 1934 World’s Fair. An injury to his left leg around 1935 forced him out of the aerialist business, and after working briefly as a male model in New York he moved to Hollywood in 1937, beginning his film career as a stuntman. He played numerous bit roles in addition to his stunt work for the next three years, among them a miniscule part in his first serial, Zorro’s Fighting Legion (Republic, 1939), as one of the members of the titular group. Edward Small, an independent producer allied with United Artists, cast Moore in his first credited parts in a pair of 1940 films, Kit Carson and The Son of Monte Cristo. The former featured Moore as a heroic young pioneer, the latter as an army officer aiding masked avenger Louis Hayward. Following these two films, Moore began to get credited speaking parts in other pictures. In 1941 he played the romantic lead in Tuxedo Junction, one of Republic Pictures’ “Weaver Brothers and Elviry” comedies, and the next year the studio signed him for his first starring serial, Perils of Nyoka (Republic, 1942).
Perils of Nyoka (Republic, 1942) was a vehicle for Republic’s new “Serial Queen,” Kay Aldridge, who played Nyoka Gordon, a girl seeking her missing scientist father in the deserts of North Africa. Moore was the heroic Dr. Larry Grayson, a member of an expedition searching for the “Tablets of Hippocrates,” an ancient list of medical cures sought by Nyoka’s father before he disappeared. Nyoka joined forces with Grayson and his expedition to locate Professor Gordon and the tablets–and to battle Arab ruler Vultura (Lorna Gray) and her band of desert cutthroats, who were after the Tablets and the treasure hidden with them. Perils of Nyoka was a highly exciting serial, with consistently imaginative and varied action sequences, and colorful characters and locales. Although Moore took second billing to Aldridge, his character received as much screen time as hers and his performance was a major part of the serial’s success. Moore, with his intense sincerity, made his nearly superhuman physician character believable; the audience never felt like questioning Dr. Grayson’s ability to perform emergency brain surgery on Nyoka’s amnesiac father in a desert cave, or his amazing powers of riding, wall-scaling, marksmanship, and sword-fighting, far beyond those of the average medical school graduate.
Moore went into the army in 1942, almost immediately after the release of Perils of Nyoka. He served throughout World War Two, and didn’t resume his film career until 1946, when he returned to Republic Pictures to appear in The Crimson Ghost. The impact of his starring turn in Perils of Nyoka was diminished by his long hiatus, and he found himself playing a supporting role in this new serial. He was cast as Ashe, the chief henchman of the mysterious Crimson Ghost, and aided that villain in his attempts to steal a counter-atomic weapon called a “Cyclotrode.” Ashe was ultimately brought to justice, along with his nefarious master, by stars Charles Quigley and Linda Stirling. The Crimson Ghost showed that Moore could play intensely mean villains as well as intensely courageous heroes. His sneering, bullying Ashe came off as thoroughly unpleasant, as he stalked through the serial doing his best to kill off hero and heroine.
Moore returned to heroic parts in his next cliffhanger, Jesse James Rides Again (Republic, 1947). The serial’s plot had Jesse, retired from outlawry, forced to go on the run because of new crimes committed in his name. Jesse and his pal Steve (John Compton) wound up in Tennessee, where, under the alias of “Mr. Howard,” Jesse came to the aid of a group of farmers victimized by an outlaw gang called the Black Raiders. The Raiders, secretly bossed by local businessman Jim Clark (Tristram Coffin), were after oil reserves beneath the local farmland, but Mr. Howard ultimately outgunned them. James’ own identity was exposed in the process, but he was allowed to escape arrest by a sympathetic marshal. Jesse James Rides Again was Republic’s best post-war Western serial, thanks in part to the unusual plot device of an ex-badman hero. Moore was able to give Jesse James a dangerous edge that most other serial leads couldn’t have pulled off; his cold, steely-eyed glare when gunning down villains seemed very much in keeping with dialogue references to Jesse’s outlaw past.
G-Men Never Forget (Republic, 1947), Moore’s next serial, cast him as Ted O’Hara, an FBI agent battling a racketeer boss named Vic Murkland (Roy Barcroft). O’Hara broke up various protection rackets organized by Murkland, but his efforts were hampered by Murkland’s impersonation of a kidnaped police commissioner (also played by Barcroft). G-Men Never Forget possessed a tough and realistic atmosphere not typical of gang-busting serials, and Moore delivered a grimly determined performance well-fitted to the serial’s mood. Moore’s acting, good supporting performances, skilled direction, and a well-written script made G-Men Never Forget a superior serial, one that could hold its own against earlier gang-busting chapterplays like the Dick Tracy outings.
Moore’s next serial was Adventures of Frank and Jesse James (Republic, 1948), in which he reprised his Jesse James role. Joined this time by Steve Darrell as Frank James, Moore tried to help a former gang member named John Powell (Stanley Andrews) develop a silver mine. Part of the mine’s proceeds were to be used to pay back victims of James Gang robberies, but the plan was derailed by a crooked mining engineer (John Crawford), who discovered the mine contained gold instead of silver and murdered Powell to keep this find secret. Crawford then used every trick in the book to keep Moore, Darrell, and Noel Neill (as Powell’s daughter) from developing the mine, but the James Boys unmasked his treachery by the end. Frank and Jesse James drew heavily on stock footage and plot elements from Republic’s earlier Adventures of Red Ryder, and was thus more predictable than its predecessor, but it was still an entertaining and well-made serial. Moore again made Jesse seem both sympathetic and (when fighting the bad guys) somewhat frightening.
By now, Moore was established as Republic’s premiere serial hero; however, his next cliffhanger would lead to his departure from the studio and change the course of his career. The last in a long line of Republic Zorro serials, Ghost of Zorro (1949) starred Moore as Ken Mason, the original Zorro’s grandson, who donned his ancestor’s mask to help a telegraph company establish a line in the wild West in the face of outlaw sabotage. Like Adventures of Frank and Jesse James, the serial was somewhat derivative of earlier outings (particularly Son of Zorro), but smoothly and professionally done. Moore delivered another strong performance, but for some odd reason Republic chose to have his voice dubbed by another actor in scenes where he was masked as Zorro. This strange production decision did not diminish Moore’s potential as a masked hero in the eyes of a group of television producers who were trying to find an actor to play the Lone Ranger on a soon-to-be-launched TV show; Moore’s turn in Ghost of Zorro landed him the part. Moore debuted as the Ranger in 1949, and played the part for two seasons on TV. During this period, he did make one apparent serial appearance in Flying Disc Man From Mars (Republic, 1950), but all his footage actually came from The Crimson Ghost.
In 1952, Moore was dropped from The Lone Ranger without any explanation from the producers, who apparently feared that Moore was becoming too identified as the Lone Ranger, and that he might become so sure of his position that he’d ask for a bigger salary. John Hart replaced Moore as the Ranger for the show’s third season, and Moore returned to freelance acting. He played numerous small roles in feature films, made multiple guest appearances (usually as a heavy) on TV shows like Range Rider and The Gene Autry Show, and also found time to make four more serials.
The first of these was Radar Men from the Moon (Republic, 1952), which featured Moore as a gangster named Graber, who was working with lunar invaders to bring the Earth under the dominion of Retik, Emperor of the Moon (Roy Barcroft). Scientist “Commando” Cody (George Wallace) opposed the planned conquest with the aid of his flying rocket suit and other handy gadgets. Moore met a fiery demise when his car plummeted off a cliff in the last chapter, and Retik came to a similarly sticky end shortly thereafter. Moore’s characterization in Radar Men from the Moon was reminiscent of his performance as “Ashe;” once again he performed deeds of villainy with swaggering relish.
Moore’s next serial, Columbia’s Son of Geronimo (1952), was his first non-Republic cliffhanger. He returned to playing a hero in this outing, an undercover cavalry officer named Jim Scott out to quell an Indian uprising led by Rodd Redwing as Porico, son of Geronimo. The uprising was being encouraged by outlaws John Crawford and Marshall Reed to serve their own ends, and Scott and Porico ultimately joined forces to defeat them. Son of Geronimo remains one of the few popular late Columbia serials, due to its strong and unusually violent action scenes and the forceful performances of Moore and his co-stars, particularly Reed and Redwing.
Moore’s last Republic serial was Jungle Drums of Africa (1952), in which he played Alan King, an American mining engineer developing a valuable uranium deposit in the African jungles. Moore was assisted by lady doctor Phyllis Coates and fellow engineer Johnny Sands and opposed by a group of Communist spies (Henry Rowland, John Cason) and their witch-doctor accomplice (Roy Glenn). While Drums drew extensively on stock shots of African animals to augment its jungle atmosphere, it relied to an unusually large extent on original footage for its action scenes and chapter endings, and the result was a modestly-budgeted but enjoyable serial that served as a good finish to Moore’s career at Republic.
Gunfighters of the Northwest (Columbia, 1953), Moore’s final serial, cast him as the second lead, a Mountie named Bram Nevin who backed up RCMP Sergeant Jock Mahoney. Moore, in his first and only “sidekick” role, played well off Mahoney; while the latter’s character was the focus of the serial’s action, Moore’s role was really more that of co-hero than of a traditional sidekick. The serial pitted the two leads against the “White Horse Rebels,” a gang of outlaws trying to overthrow the Canadian government. Though thinly-plotted, Gunfighters, with its nice location photography and good acting, was the last really interesting Columbia serial; it was also Moore’s last serial. In 1954, he returned to the Lone Ranger series, its producers having been forced to realize that Moore was firmly established as the Ranger and that audiences wouldn’t warm up to his substitute John Hart. The fourth and fifth seasons of the show featured Moore in his familiar place as the “daring and resourceful masked rider of the plains.”
After the Lone Ranger series ended in 1956, Moore reprised the role in two big-screen movies and then retired from acting. He remained in the public view, however, making personal appearances throughout the country in his Lone Ranger garb. Publicly and privately, he upheld the ideals that the Lone Ranger–and his serial heroes–had upheld on the screen: courage, charity, and a sense of justice. In 1979, he was barred by court order from making personal appearances as the Lone Ranger because the property’s owners worried that Moore’s close identification with the character would undercut a new Lone Ranger film. Moore nevertheless maintained his status as the “real” Lone Ranger in the eyes of fans, and, after the failure of the new Ranger feature, he was allowed to resume his mask in 1984. Moore died in Los Angeles in 1999, leaving behind several generations of fans that honored him not only for his TV persona, but for the kindess that characterized the off-screen man behind the mask.
Part of Clayton Moore’s success as the Lone Ranger was due to his respectful attitude towards the character. While some actors would have had a hard time taking a masked cowboy from a children’s radio show seriously, Moore’s performance was as heartfelt as if he had been playing a Shakespearian role; he gave the part all the benefit of his considerable acting talent. Moore played his cliffhanger roles, heroic and villainous, with the same respect and the same wholeheartedness. It’s no wonder that serial fans hold him in the same high regard that the Lone Ranger’s fans do.
The nation of Israel had long been interested in the F-15 Eagle for the Tsvah Haganah le Israel-Heyl Ha'Avir (Israel Defense Force/Air Force, or IDF/AF). As early as 1974, IDF/AF pilots had evaluated the TF-15A demonstrator (F-15B-3-MC, serial number 71-0290). The aircraft was impressive and an order for 25 F-15A aircraft was placed in 1975. Four FSD F-15As (F-15A-5-MC, serial numbers 72-0116/0118 and 72-0120) were delivered to Israel beginning on 10 December 1976 under a Foreign Military Sales project known as Peace Fox. These were followed in Peace Fox II by the delivery of 19 F-15As (F-15A-17-MC, serial numbers 76-1505/1523) and two F-15Bs (F-15B-16-MC, serial numbers 76-1524/1525). They entered service with 133 Squadron at Tel Nof in late 1978. The F-15A/B is known as Baz (Eagle) in IDF/AF service.
In this image, two F-15A Baz fly patrol over Israeli skies (F-15A-6-MC serial number 72-0120 reserialed to IDF/AF 646 and F-15A-18-MC serial number 76-1521 reserialed to IDF/AF 695). The IDF/AF Baz first saw combat on 27 June 1979 and has confirmed 24 aerial combat victories over Syrian MiG-21 and MiG-23 aircraft during border clashes. More than twice as many are expected but not confirmed due to the Israeli’s strict military security, with the Lebanon War in 1982 accounting for the majority of these losses. The IDF/AF F-15A also scored the first aerial victory over the MiG-25 Foxbat and is generally considered to have the most aerial victories than any other air force, including the USAF. Both aircraft in this image, 646 and 695, would go on to score four aerial victories each, but with different pilots.
c/n 21962
Built in 1944 with the US military serial 42-25068.
The P-47G was a P-47D built under license by Curtiss-Wright and this is one of only two surviving examples.
She flew again in April 2012 and is painted in very authentic colour scheme representing a Thunderbolt of the 84th Fighter Squadron, part of the 78th Fighter Group based here at Duxford.
Seen displaying at the Imperial War Museum’s 2012 Autumn Airshow.
Duxford Airfield, Cambridgeshire, UK
8th September 2012
The following information on G-CDVX is from The Fighter Collection website:-
"The Fighter Collection 'Razorback' P-47G is one of only two Curtiss-built examples left in the world. She was the 129th P-47G built at the Curtiss facility in Buffalo, New York in early 1944. The fighter was accepted by the USAAF in September 1944 and transferred to the Third Air Force at Tallahassee, Florida. It was here that she was re-designated as a TP-47G to reflect the training role she undertook with a number of Advanced Fighter Transition Units.
Our P-47G was struck from the USAAF inventory in late June 1945 and was eventually passed to the Aero Industries Technical Institute at Oakland Airport, California. It was here that she taught hydraulic and electrical systems to aeronautical students until 1952 when she was bought by Jack Hardwick, a former Cleveland National Air Race pilot, who rented her out in 1953 to Allied Artists for ground scenes in the film Fighter Attack.
Following her silver screen appearance she was parked up in El Monte, California, with a number of other World War Two aircraft until 1975 when she passed to a new owner who commenced a restoration of this rare machine. The work was not completed and the unfinished project passed to Ray Stutsman in late 1979 where a full restoration begun the following year which culminated in a first flight during April 1982, which was rewarded with the Grand Champion Warbird trophy at Oshkosh in July of that year. It flew with Stutsman at many events across North America until 1987 when she passed to the Lone Star Flight Museum, based at Galveston, Texas. She flew rarely during her time at Lone Star, when she passed to Flying A Services in the early 1990s and was shipped to the UK.
The fighter remained in her shipping container until she joined The Fighter Collection fleet in 2006. A full restoration programme was undertaken in order to bring the P-47G back to stock wartime condition The scheme our P-47G wears is that of 84th Fighter Squadron P-47D 42-74742 - 'Snafu', the mount of Lt Severino B Calderon in late 1944."
Laird and Broadway (Leaside). Five Santas aired out by knife carrying killer. Toronto. street photography / cellphone street photography
Battery C, 1st Battalion, 150th Field Artillery, Indiana Army National Guard
Indiana National Guard Armory
Lebanon, IN
M110A2 s/n BMY005
Cereal killer maybe but the only thing Jojo strangles in Shreaded Wheat and Wheetabix at breakfastime.
My Serial Killers inspired photo. After profiling all my best friends as serial killers for my stand-up material, asking myself: what if things in their lives hadn't gone the way the did? What type of Serial Killers would have they become? Here is my take from a photography point of view. Cannot think of a better song to accompany this photo than Hurt by Johnny Cash
c/n 172
Built in 1959 for the Spanish Air Force with the serial C.4K-102
One of 27 Buchons bought by Spitfire Productions in July 1966 for the filming of the movie ‘Battle of Britain’, she was civil registered as G-AWHK and took part in flying scenes. After the filming she was shipped to the USA and was reregistered as N9938. She flew with the Confederate Air Force from 1971 to 1987, when she went on static display. She returned to the UK in 1993 and flew again in 2006, registered as G-BWUE. Operated by the Aeroplane Restoration Company (ARCo) and based at Duxford, she has since been returned to her original British civil registration of G-AWHK.
Wearing a temporary desert colour scheme for filming, she is seen displaying at the Shuttleworth Collection’s 2021 Military Airshow,
Old Warden, Bedfordshire, UK
4th July 2021
(Original shot take with Canon Eos 5, on Ilford 400 Delta Professional)
Wein the month of
May my point of
view suddenly changed.
This time
I was more sure
that I would be
able to hold on,
hold onto it.
We repeatedly
left the same places
with more lung capacity,
and I stopped a number of
times to keep the path
in my mind.
It was necessary to remember
the steps that brought me
to those places,
memorising every footprint
in order to return there
in darker times.
That day
I was probably worrying too much
and this understandingbrought
about my first step.
That day - yellow rain on the bay.
That day the same rain through the veins.
The night of fires
came earlier than usualin
the dept of winter.
Gathered in the house,
the light dimwe talk in wispers,
waiting for some good news,
listenig from here.
Midnight comes,
the spirit pushes
And we push just as hard.
We run downhill - our shoulders
covered by long shadows.
But motorbikes are still
bicycles-the headlights lanterns.
The mountain is turning upside down.
That day - yellow rain on the slate.
Hot slate led the rain
through the veins.
E’ visione insostenibile il
proprio riflesso e comunque
non si vede mai
Allora cechi ammirate la vostra proiezione artefatta
Da operatori imperiali
e pessimi architetti
Come protesi
di membra castrate
Noi dunque distrutti
ci vedremo ancora per accendere
un cero sotto il nuovo monumento
Trattino sepolcro e per oggi la
propria ombra resta comunque
la più fedele immagine di se.
And then we met impero.
(We - Meganoidi)
Tha video: www.youtube.com/watch?feature=player_embedded&v=GLLYO...
Junto a mi homie Serial en territorio comanche! Da gusto improvisar muros así. Chekead la web de la crew www.abdtcrew.wix.com/abdt#!home
to voltando aos poucos e acho que
dessa vez eu acertei...de princípio eu
não tinha uma idéia concreta, mas depois
tentei me inspirar num clima vintage [da lana]
e o "sangue" ali é como "matei alguém e espirrou
sangue em mim" *enfim, ignorem essa explicação*
-
espero que gostem, continua simples mas dessa
vez eu gostei bastante e acho que tudo ficou em harmonia.
-
segunda versão que eu prefiro, sem tipo e com o trat um pouco diferente <3
(L)
The rodeo champeen who just won the big belt buckle could not have done it better. Yessir, this doggie was really a-buckin' out here at Big MacIntosh. Nice footwork. Though he barely looped the steer's horns, Tex is about ready to toss and hog tie him. Maybe he could just grab him by the tail and flip him over. Talk about horns, all the cowgirls lost their hearts over Dead Eye Tex, here!
Boy, that Kavenaugh critter got nuttin' on Tex here. The fact that Kavenaugh was President of the"100 Kegs Club" has nuttin' to do with his actions during and after school. Well, except that psychologists say a person's character is formed by their teens - kind of like Tangerine Trump. It's easy to see in their total lack concern for anyone other than themselves. One comedian said he'd remain sub-rosa if he stopped his sexual assaults under 23... like Trump? I hate to tell Kavanaugh that a hundred kegs a year is a weenie goal. I was part of the C.U. junior class council when we voted all our yearly funds to a Boulder Reservoir party for juniors with a hundred kegs on one Saturday. I bet Kavenaugh would not have measured up to that a lick. They told me a good time was had by all! Who knows if there was anything more than self-assault. Dang good thing Kavenaugh never visited CU Boulder. They had a beer drinking caste system that would have left him soaking up spilled beer on the "Sink" floor.
I showed up for the kid's crafts day at McIntosh Ag Museum and found participatory events like the roping event. I found the kid and her father "on the ropes for the rope-a-dope shot." It looks to me that Tex needs more practice. Maybe he needs a bona-fried ropin horse? I got a kick from trying to get a good shot of Dead Eye.
Well, I started by heading toward the Loop Trail around McIntosh Lake. This was another dandy day with interesting clouds streaming from the mountains. I originally thought that I better get some exercise but here I am at a standstill shooting various craft displays. There is always something at McIntosh. I am fighting against time poorly spent behind this keyboard and monitor. Amazon and Echo don't want you to get up and move but scientists say that after all their studies on longevity; the most reliable way to extend life is to exercise.
Serial number 339. Built in 1975. Former F-WMKH, N4461F, N200GN, N100GN, N200GN, (N200GX), N131DB, (N402NC), N22FS (Frank Sinatra!) & N19MX.
Later to N38TJ & N239CD. Still flying! www.flightradar24.com/data/aircraft/n239cd
Betty Burton's. This is a comparison of the original scan and after I cleaned it up. The little boy was so faint that I had to outline all of the lines before I could turn it into a black and white. Thanks Luann for clearing that up for me. Just-a-mere posted these some time ago and here's a link to the one she posted of the little boy. www.flickr.com/photos/just-a-mere/4533312593/in/set-72157...
aircraft history:
Serial 85A-707 year 1985
1985 LZ-BTW Balkan Bulgarian Air lines
1998 EP-LBI Kish Air
2001 LZ-HMW Hemus Air
2001 LZ-HMW Albanian Airlines
2002 LZ-HMW BH Air
2009 EP-MCX Iran Air Tours
Serials
93-0550
93-0552
91-0389
91-0378
91-0385
91-0384
91-0355
90-0830
96-0084
93-0532
94-0042
94-0049
91-0395
98-0003
91-0381
01-0053
97-0111
94-0045
KC135s - 61-0264 60-0366 & 58-0030
KC10s - 83-0080 84-0185 86-0037
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Aircraft Type - Serial - (c/n) . . Boeing KC-135R Stratotanker - 62-3563 - (18546)
Owner/Operator . . Turkish Air Force
Location & Date . . RAF Fairford (FFD/EGVA) England UK - 22nd July 2024
Airline: Wizz Air
Reg: HA-LWQ
Aircraft: Airbus A320-232
Serial: 5196
Delivery Date: 2012-06-29
Engine Model: V2527-A5
Production still.
This serial is mostly a fun ride with a lot of positive factors going for it (but also two or three big drawbacks). We start with a quick rundown of Superman's origin on doomed Krypton, his upbringing by the upright Kents and his arrival as a goofy Clark Kent at the Daily Planet, then most of the story shows him going after the nefarious Spider Lady.
Superman's considerable physical advantages are offset by the villains' clever tricks, the threatening of Lois and Jimmy to distract the Man of Steel and the fortuitous arrival of a Kryptonite meteor right near Metropolis (lucky for the bad guys that it didn't crash unnoticed somewhere in the Outback, eh?). So it's not a five minute serial showing Superman smashing through a few walls and rounding up the crooks.
Kirk Alyn gives an energetic performance as both Superman and Clark Kent (who he plays as distinct personalities). Alyn isn't imposing in the muscular way Tom Tyler was as Captain Marvel, who looked like he could actually slam you across the room. Alyn's Superman is agile as a dancer, light on his feet and grinning delightedly as bullets ricochet of his chest. Noel Neill as Lois Lane has the same likeable qualities she showed on the TV show, although here she looks like she got the Dailey Planet job right after high school; Tommy Bond is a funny looking kid, and his Jimmy is more like a Lower East Side ruffian than the gee whiz youngster we usually find. It's very cool to see Perry White as a hardnosed old-school editor who has no hesitation trading punches with a thug (hard to imagine John Hamilton throwing a few hooks) and who, after being hurled out his office window and barely hanging on, immediately barks that they still have a paper to get out. That's a newspaperman of the classic type.
The Spider Lady herself is a disappointment. For a supposed criminal mastermind, she never seems shrewd or intimidating enough to even be in a gang, much less lead one. Despite the fact she's an impressive blonde in a black gown, she's not using sex appeal as a tool either. Carol Forman seems to be trying to sound tough, but it falls flat. Either she should have gone for the seductive female spy angle, or they should have picked an older actress who could have put some cold menace in her performance. (Her best moments come when posing dramatically in front of the big metal spiderweb she uses to electrocute folks.)
And then there are the flying scenes. Come on, Sam Katzman, spring for a few bucks. Since THE WIZARD OF OZ a decade earlier and the Republic serials with their life-size papier-mache figures, it was shown a convincing flying man could be done. Instead, cheap cartoon animation was used here. Whenever Superman takes off, he's replaced in midframe by a flat unshaded cartoon figure. Once or twice, this seems effective but most of the time, it just slaps the viewer in the face and dares us to believe it. Even worse, as long as they were using this technique, they might as well have shown our hero hurtling through the sky with real momentum and forcefulness; instead, he wavers and sways from side to side as he were about to drop back down.
Too bad. Aside from the dismal flying scenes and a lame mastermind, SUPERMAN is brisk and inventive. The Reducer Ray (which is a long range disintegrator, not something that shrinks objects as you might expect) gives the Spider Lady a little extra leverage. Superman roughing up the thugs is staged with some enthusiasm. They don't even try to break their fists on him, usually making a run for it after bouncing a few bullets at that S symbol, and he flings them all over the place, picking up two at a time and clunking their heads together in a way George Reeves would later emulate.
Praha
8656 is a 1995 built T6A5 type (serial number 179961).
T6A5 8656 with a 7 service at Anděl on Sunday, April 19th, 2009.
Serial number: UE362
Test registration: N23627
Engines 2 x PW PT6A-67D
N196NW 28/01/2000 Executive Beechcraft
N196NW 14/05/2001 Intel Corporation
N196NW 26/08/2008 Red Line Air
C-GROK 01/01/2014 Sunwest Aviation
Vintage Spanish collector's card (minicard). The Trans-Atlantic Film Co. Ltd. Distr. J. Verdaguer. Chocolate Pi, Barcelona. Series of 36 cromos (colored minicards), card 20. Scene from the - now lost - serial in 22 episodes of The Broken Coin (Francis Ford, Universal Film Manufacturing 1915), starring Francis Ford and Grace Cunard. The Spanish release title was La Moneda Rota. Trans-Atlantic aka Transatlantic was the European distribution branch of Universal in the 1910s, with central office in London.
Kitty imprisoned in the enemy's dungeon.
Grace Cunard (1893–1967) was one of Universal's most important serial queens in the 1910s. Typical for the pioneer years, Cunard also wrote some 100 film scripts, directed 11 films and produced two others. See wfpp.cdrs.columbia.edu/pioneer/ccp-grace-cunard/