Latterly converted by Eastern National as a wheelchair accessible coach, 2203, XOO 878L sits in a state of disarray at J. Sykes' yard at Carlton.

Shawano is a city in Shawano County, Wisconsin, United States. The population was 9,243 at the 2020 census. It is the county seat of Shawano County.

 

According to the United States Census Bureau, the city has a total area of 6.67 square miles (17.28 km2), of which, 6.57 square miles (17.02 km2) is land and 0.10 square miles (0.26 km2) is water.

 

Shawano County originally Shawanaw County) is a county located in the U.S. state of Wisconsin. As of the 2020 census, the population was 40,881.[1] Its county seat is Shawano.

 

Shawano County is included in the Shawano, WI Micropolitan Statistical Area, which is also included in the Green Bay–Shawano, WI Combined Statistical Area.

 

Its name is from a modified Ojibwa term meaning "southern"; it was the southern boundary of the Ojibwa nation. A Menominee chief named Sawanoh led a band that lived in the area. Many citizens of Shawano believe the lake, county, and city (Town of Shawanaw founded 1853 and changed to Shawano in 1856), were named after Chief Sawanoh. A historical marker placed in 1958 near the lake along Highway 22 states the lake was named as the southern boundary of Chippewa (Ojibwe) territory.

 

Various historical recordings of the spelling of Shawano include Sawanoh, Shawanaw, Sharuno, Shabin, Savannah, and Savanah. This shows the influence of French, German, and English translation (v's, w's, and b's sounding very similar and thus being recorded incorrectly at times). Similar differences in spelling have been seen in the Mahican/Mahikan/Maikens tribe or Mohecan/Morhican/Mohican tribe, all referring to the same Algonquian-speaking people.

 

The federally recognized Stockbridge-Munsee Community (made up of Algonquian-speaking Mahican and Lenape), whose ancestors traditionally lived in the East along the Hudson River Valley, is located in Shawano County. Their reservation encompasses the towns of Bartelme and Red Springs.

 

It was created as a separate county in 1853 under the name Shawanaw County. The county, unlike the city, retained the old spelling until 1864.

 

From the mid-nineteenth century on, the county was settled by European Americans, including many German, and later, Polish immigrants. They developed the county for agriculture. Before that, French-Canadian and British fur traders traveled widely through the area, trading with the Chippewa and other Native American peoples of the region.

 

The first non-Indian credited with exploring the region where Shawano is now located is Samuel Farnsworth. He paddled up the Wolf River in 1843 with a few men to scout the area for logging the vast forests. A small Menominee village was located along the Shawano lake Channel when their party arrived, and the Indians were friendly and cooperative. Charles Wescott and the Farnsworth group then set up a sawmill where the Channel meets the Wolf River.

 

Captain William Powell, an officer of the Black Hawk War, established a trading post on the Wolf River about two miles from the village in 1844. He had been an interpreter for the government when the treaties were signed allowing white people to settle this area of Wisconsin.

 

E. F. Sawyer platted a village near Powell's trading post in 1854 but public favor clung to the region adjacent to the old mill property and it was decided by popular vote to locate the county seat at Shawanaw, which was the name of the newly formed county.

 

The county, which was organized in 1853, was formed from areas of Oconto and Outagamie Counties. Forty-seven votes were cast and Elias Murray, Charles D Wescott and Elisha Alexander were elected supervisors. At that time there were 254 registered inhabitants, but only the men were allowed to vote.

 

When the county was first organized the name was spelled Shawanaw, taken from the Indian Sha-wa-Nah-Pay-Sa which meant “lake to the south” in Menominee and Chippewa. The spelling was changed in 1864 to its present Shawano, with three townships: Richmond, Waukechon and Shawano. Later others were added, making 25 townships.

 

In 1860 the first school house was erected in the county and Orlin Andrews was employed as its teacher. In 1898 there were 108 public schools in the county with 124 teachers.

 

A courthouse was erected on Main Street in 1857 and was replaced in 1879–80 at a cost of $17,000.00. The County Board authorized a new courthouse and jail in June 1953.

 

The earliest settlers who came to Shawano County consisted mostly of people from the New England States, Canada, and a few from British Columbia. A large influx of Bohemians settled in the Leopolis area and near Powell's Trading Post in the area about two miles from the city on Highway K. Norwegians settled in the area around Wittenberg, Lessor, Lunds and Navarino. Germans have been very predominate in the entire county, with 4,524 of the 27,475 inhabitants in 1900 born in Germany.

 

Wisconsin is a state in the Upper Midwestern region of the United States. It borders Minnesota to the west, Iowa to the southwest, Illinois to the south, Lake Michigan to the east, Michigan to the northeast, and Lake Superior to the north. Wisconsin is the 25th-largest state by land area and the 20th-most populous.

 

The bulk of Wisconsin's population live in areas situated along the shores of Lake Michigan. The largest city, Milwaukee, anchors its largest metropolitan area, followed by Green Bay and Kenosha, the third- and fourth-most-populated Wisconsin cities, respectively. The state capital, Madison, is currently the second-most-populated and fastest-growing city in the state. Wisconsin is divided into 72 counties and as of the 2020 census had a population of nearly 5.9 million.

 

Wisconsin's geography is diverse, having been greatly impacted by glaciers during the Ice Age with the exception of the Driftless Area. The Northern Highland and Western Upland along with a part of the Central Plain occupy the western part of the state, with lowlands stretching to the shore of Lake Michigan. Wisconsin is third to Ontario and Michigan in the length of its Great Lakes coastline. The northern portion of the state is home to the Chequamegon-Nicolet National Forest. At the time of European contact, the area was inhabited by Algonquian and Siouan nations, and today it is home to eleven federally recognized tribes. During the 19th and early 20th centuries, many European settlers entered the state, most of whom emigrated from Germany and Scandinavia. Wisconsin remains a center of German American and Scandinavian American culture, particularly in respect to its cuisine, with foods such as bratwurst and kringle. Wisconsin is home to one UNESCO World Heritage Site, comprising two of the most significant buildings designed by Wisconsin-born architect Frank Lloyd Wright: his studio at Taliesin near Spring Green and his Jacobs I House in Madison.

 

The Republican Party was founded in Wisconsin in 1854. In more recent years, Wisconsin has been a battleground state in presidential elections, notably in 2016 and 2020.

 

Wisconsin is one of the nation's leading dairy producers and is known as "America's Dairyland"; it is particularly famous for its cheese. The state is also famous for its beer, particularly and historically in Milwaukee, most notably as the headquarters of the Miller Brewing Company. Wisconsin has some of the most permissive alcohol laws in the country and is well known for its drinking culture. Its economy is dominated by manufacturing, healthcare, information technology, and agriculture—specifically dairy, cranberries, and ginseng. Tourism is also a major contributor to the state's economy. The gross domestic product in 2020 was $348 billion.

 

The history of Wisconsin encompasses the story not only of the people who have lived in Wisconsin since it became a state of the U.S., but also that of the Native American tribes who made their homeland in Wisconsin, the French and British colonists who were the first Europeans to live there, and the American settlers who lived in Wisconsin when it was a territory.

 

Since its admission to the Union on May 29, 1848, as the 30th state, Wisconsin has been ethnically heterogeneous, with Yankees being among the first to arrive from New York and New England. They dominated the state's heavy industry, finance, politics and education. Large numbers of European immigrants followed them, including German Americans, mostly between 1850 and 1900, Scandinavians (the largest group being Norwegian Americans) and smaller groups of Belgian Americans, Dutch Americans, Swiss Americans, Finnish Americans, Irish Americans and others; in the 20th century, large numbers of Polish Americans and African Americans came, settling mainly in Milwaukee.

 

Politically the state was predominantly Republican until recent years, when it became more evenly balanced. The state took a national leadership role in the Progressive Movement, under the aegis of Robert M. "Fighting Bob" La Follette and his family, who fought the old guard bitterly at the state and national levels. The "Wisconsin Idea" called for the use of the higher learning in modernizing government, and the state is notable for its strong network of state universities.

 

The first known inhabitants of what is now Wisconsin were Paleo-Indians, who first arrived in the region in about 10,000 BC at the end of the Ice Age. The retreating glaciers left behind a tundra in Wisconsin inhabited by large animals, such as mammoths, mastodons, bison, giant beaver, and muskox. The Boaz mastodon and the Clovis artifacts discovered in Boaz, Wisconsin show that the Paleo-Indians hunted these large animals. They also gathered plants as conifer forests grew in the glaciers' wake. With the decline and extinction of many large mammals in the Americas, the Paleo-Indian diet shifted toward smaller mammals like deer and bison.

 

During the Archaic Period, from 6000 to 1000 BC, mixed conifer-hardwood forests as well as mixed prairie-forests replaced Wisconsin's conifer forests. People continued to depend on hunting and gathering. Around 4000 BC they developed spear-throwers and copper tools such as axes, adzes, projectile points, knives, perforators, fishhooks and harpoons. Copper ornaments like beaded necklaces also appeared around 1500 BC. These people gathered copper ore at quarries on the Keweenaw Peninsula in Michigan and on Isle Royale in Lake Superior. They may have crafted copper artifacts by hammering and folding the metal and also by heating it to increase its malleability. However it is not certain if these people reached the level of copper smelting. Regardless, the Copper Culture of the Great Lakes region reached a level of sophistication unprecedented in North America. The Late Archaic Period also saw the emergence of cemeteries and ritual burials, such as the one in Oconto.

 

The Early Woodland Period began in 1000 BC as plants became an increasingly important part of the people's diet. Small scale agriculture and pottery arrived in southern Wisconsin at this time. The primary crops were maize, beans and squash. Agriculture, however, could not sufficiently support these people, who also had to hunt and gather. Agriculture at this time was more akin to gardening than to farming. Villages emerged along rivers, streams and lakes, and the earliest earthen burial mounds were constructed. The Havana Hopewell culture arrived in Wisconsin in the Middle Woodland Period, settling along the Mississippi River. The Hopewell people connected Wisconsin to their trade practices, which stretched from Ohio to Yellowstone and from Wisconsin to the Gulf of Mexico. They constructed elaborate mounds, made elaborately decorated pottery and brought a wide range of traded minerals to the area. The Hopewell people may have influenced the other inhabitants of Wisconsin, rather than displacing them. The Late Woodland Period began in about 400 AD, following the disappearance of the Hopewell culture from the area. The people of Wisconsin first used the bow and arrow in the final centuries of the Woodland Period, and agriculture continued to be practiced in the southern part of the state. The effigy mound culture dominated Southern Wisconsin during this time, building earthen burial mounds in the shapes of animals. Examples of effigy mounds still exist at High Cliff State Park and at Lizard Mound County Park. In northern Wisconsin people continued to survive on hunting and gathering, and constructed conical mounds.

 

People of the Mississippian culture expanded into Wisconsin around 1050 AD and established a settlement at Aztalan along the Crawfish River. While begun by the Caddoan people, other cultures began to borrow & adapt the Mississippian cultural structure. This elaborately planned site may have been the northernmost outpost of Cahokia, although it is also now known that some Siouan peoples along the Mississippi River may have taken part in the culture as well. Regardless, the Mississippian site traded with and was clearly influenced in its civic and defensive planning, as well as culturally, by its much larger southern neighbor. A rectangular wood-and-clay stockade surrounded the twenty acre site, which contained two large earthen mounds and a central plaza. One mound may have been used for food storage, as a residence for high-ranking officials, or as a temple, and the other may have been used as a mortuary. The Mississippian culture cultivated maize intensively, and their fields probably stretched far beyond the stockade at Aztalan, although modern agriculture has erased any traces of Mississippian practices in the area. Some rumors also speculate that the people of Aztalan may have experimented slightly with stone architecture in the making of a man-made, stone-line pond, at the very least. While the first settler on the land of what is now the city supposedly reported this, he filled it in and it has yet to be rediscovered.

 

Both Woodland and Mississippian peoples inhabited Aztalan, which was connected to the extensive Mississippian trade network. Shells from the Gulf of Mexico, copper from Lake Superior and Mill Creek chert have been found at the site. Aztalan was abandoned around 1200 AD. The Oneota people later built agriculturally based villages, similar to those of the Mississippians but without the extensive trade networks, in the state.

 

By the time the first Europeans arrived in Wisconsin, the Oneota had disappeared. The historically documented inhabitants, as of the first European incursions, were the Siouan speaking Dakota Oyate to the northwest, the Chiwere speaking Ho-Chunk (Winnebago) and the Algonquian Menominee to the northeast, with their lands beginning approximately north of Green Bay. The Chiwere lands were south of Green Bay and followed rivers to the southwest. Over time, other tribes moved to Wisconsin, including the Ojibwe, the Illinois, the Fauk, the Sauk and the Mahican. The Mahican were one of the last groups to arrived, coming from New York after the U.S. congress passed the Indian Removal Act of 1830.

 

The first European known to have landed in Wisconsin was Jean Nicolet. In 1634, Samuel de Champlain, governor of New France, sent Nicolet to contact the Ho-Chunk people, make peace between them and the Huron and expand the fur trade, and possibly to also find a water route to Asia. Accompanied by seven Huron guides, Nicolet left New France and canoed through Lake Huron and Lake Superior, and then became the first European known to have entered Lake Michigan. Nicolet proceeded into Green Bay, which he named La Baie des Puants (literally "The Stinking Bay"), and probably came ashore near the Red Banks. He made contact with the Ho-Chunk and Menominee living in the area and established peaceful relations. Nicolet remained with the Ho-Chunk the winter before he returned to Quebec.

 

The Beaver Wars fought between the Iroquois and the French prevented French explorers from returning to Wisconsin until 1652–1654, when Pierre Radisson and Médard des Groseilliers arrived at La Baie des Puants to trade furs. They returned to Wisconsin in 1659–1660, this time at Chequamegon Bay on Lake Superior. On their second voyage they found that the Ojibwe had expanded into northern Wisconsin, as they continued to prosper in the fur trade. They also were the first Europeans to contact the Santee Dakota. They built a trading post and wintered near Ashland, before returning to Montreal.

 

In 1665 Claude-Jean Allouez, a Jesuit missionary, built a mission on Lake Superior. Five years later he abandoned the mission, and journeyed to La Baie des Puants. Two years later he built St. Francis Xavier Mission near present-day De Pere. In his journeys through Wisconsin, he encountered groups of Native Americans who had been displaced by Iroquois in the Beaver Wars. He evangelized the Algonquin-speaking Potawatomi, who had settled on the Door Peninsula after fleeing Iroquois attacks in Michigan. He also encountered the Algonquin-speaking Sauk, who had been forced into Michigan by the Iroquois, and then had been forced into central Wisconsin by the Ojibwe and the Huron.

 

The next major expedition into Wisconsin was that of Father Jacques Marquette and Louis Jolliet in 1673. After hearing rumors from Indians telling of the existence of the Mississippi River, Marquette and Joliet set out from St. Ignace, in what is now Michigan, and entered the Fox River at Green Bay. They canoed up the Fox until they reached the river's westernmost point, and then portaged, or carried their boats, to the nearby Wisconsin River, where they resumed canoeing downstream to the Mississippi River. Marquette and Joliet reached the Mississippi near what is now Prairie du Chien, Wisconsin in June, 1673.

 

Nicolas Perrot, French commander of the west, established Fort St. Nicholas at Prairie du Chien, Wisconsin in May, 1685, near the southwest end of the Fox-Wisconsin Waterway. Perrot also built a fort on the shores of Lake Pepin called Fort St. Antoine in 1686, and a second fort, called Fort Perrot, on an island on Lake Peppin shortly after. In 1727, Fort Beauharnois was constructed on what is now the Minnesota side of Lake Pepin to replace the two previous forts. A fort and a Jesuit mission were also built on the shores of Lake Superior at La Pointe, in present-day Wisconsin, in 1693 and operated until 1698. A second fort was built on the same site in 1718 and operated until 1759. These were not military posts, but rather small storehouses for furs.

 

During the French colonial period, the first black people came to Wisconsin. The first record of a black person comes from 1725, when a black slave was killed along with four Frenchmen in a Native American raid on Green Bay. Other French fur traders and military personnel brought slaves with them to Wisconsin later in 1700s.

 

None of the French posts had permanent settlers; fur traders and missionaries simply visited them from time to time to conduct business.

 

In the 1720s, the anti-French Fox tribe, led by war chief Kiala, raided French settlements on the Mississippi River and disrupted French trade on Lake Michigan. From 1728 to 1733, the Fox fought against the French-supported Potawatomi, Ojibwa, Huron and Ottawa tribes. In 1733, Kiala was captured and sold into slavery in the West Indies along with other captured Fox.

 

Before the war, the Fox tribe numbered 1500, but by 1733, only 500 Fox were left. As a result, the Fox joined the Sauk people.

 

The details are unclear, but this war appears to have been part of the conflict that expelled the Dakota & Illinois peoples out onto the Great Plains, causing further displacement of other Chiwere, Caddoan & Algonquian peoples there—including the ancestors of the Ioway, Osage, Pawnee, Arikara, A'ani, Arapaho, Hidatsa, Cheyenne & Blackfoot.

 

The British gradually took over Wisconsin during the French and Indian War, taking control of Green Bay in 1761, gaining control of all of Wisconsin in 1763, and annexing the area to the Province of Quebec in 1774. Like the French, the British were interested in little but the fur trade. One notable event in the fur trading industry in Wisconsin occurred in 1791, when two free African Americans set up a fur trading post among the Menominee at present day Marinette. The first permanent settlers, mostly French Canadians, some Anglo-New Englanders and a few African American freedmen, arrived in Wisconsin while it was under British control. Charles Michel de Langlade is generally recognized as the first settler, establishing a trading post at Green Bay in 1745, and moving there permanently in 1764. In 1766 the Royal Governor of the new territory, Robert Rogers, engaged Jonathan Carver to explore and map the newly acquired territories for the Crown, and to search for a possible Northwest Passage. Carver left Fort Michilimackinac that spring and spent the next three years exploring and mapping what is now Wisconsin and parts of Minnesota.

 

Settlement began at Prairie du Chien around 1781. The French residents at the trading post in what is now Green Bay, referred to the town as "La Bey", however British fur traders referred to it as "Green Bay", because the water and the shore assumed green tints in early spring. The old French title was gradually dropped, and the British name of "Green Bay" eventually stuck. The region coming under British rule had virtually no adverse effect on the French residents as the British needed the cooperation of the French fur traders and the French fur traders needed the goodwill of the British. During the French occupation of the region licenses for fur trading had been issued scarcely and only to select groups of traders, whereas the British, in an effort to make as much money as possible from the region, issued licenses for fur trading freely, both to British and French residents. The fur trade in what is now Wisconsin reached its height under British rule, and the first self-sustaining farms in the state were established at this time as well. From 1763 to 1780, Green Bay was a prosperous community which produced its own foodstuff, built graceful cottages and held dances and festivities.

 

The United States acquired Wisconsin in the Treaty of Paris (1783). Massachusetts claimed the territory east of the Mississippi River between the present-day Wisconsin-Illinois border and present-day La Crosse, Wisconsin. Virginia claimed the territory north of La Crosse to Lake Superior and all of present-day Minnesota east of the Mississippi River. Shortly afterward, in 1787, the Americans made Wisconsin part of the new Northwest Territory. Later, in 1800, Wisconsin became part of Indiana Territory. Despite the fact that Wisconsin belonged to the United States at this time, the British continued to control the local fur trade and maintain military alliances with Wisconsin Indians in an effort to stall American expansion westward by creating a pro-British Indian barrier state.

 

The United States did not firmly exercise control over Wisconsin until the War of 1812. In 1814, the Americans built Fort Shelby at Prairie du Chien. During the war, the Americans and British fought one battle in Wisconsin, the July, 1814 Siege of Prairie du Chien, which ended as a British victory. The British captured Fort Shelby and renamed it Fort McKay, after Major William McKay, the British commander who led the forces that won the Battle of Prairie du Chien. However, the 1815 Treaty of Ghent reaffirmed American jurisdiction over Wisconsin, which was by then a part of Illinois Territory. Following the treaty, British troops burned Fort McKay, rather than giving it back to the Americans, and departed Wisconsin. To protect Prairie du Chien from future attacks, the United States Army constructed Fort Crawford in 1816, on the same site as Fort Shelby. Fort Howard was also built in 1816 in Green Bay.

 

Significant American settlement in Wisconsin, a part of Michigan Territory beginning in 1818, was delayed by two Indian wars, the minor Winnebago War of 1827 and the larger Black Hawk War of 1832.

 

The Winnebago War started when, in 1826, two Winnebago men were detained at Fort Crawford on charges of murder and then transferred to Fort Snelling in present-day Minnesota. The Winnebago in the area believed that both men had been executed. On June 27, 1827, a Winnebago war band led by Chief Red Bird and the prophet White Cloud (Wabokieshiek) attacked a family of settlers outside of Prairie du Chien, killing two. They then went on to attack two keel-boats on the Mississippi River that were heading toward Fort Snelling, killing two settlers and injuring four more. Seven Winnebago warriors were killed in those attacks. The war band also attacked settlers on the lower Wisconsin River and the lead mines at Galena, Illinois. The war band surrendered at Portage, Wisconsin, rather than fighting the United States Army that was pursuing them.

 

In the Black Hawk War, Sac, Fox, and Kickapoo Native Americans, otherwise known as the British Band, led by Chief Black Hawk, who had been relocated from Illinois to Iowa, attempted to resettle in their Illinois homeland on April 5, 1832, in violation of Treaty. On May 10 Chief Black Hawk decided to go back to Iowa. On May 14, Black Hawk's forces met with a group of militiamen led by Isaiah Stillman. All three members of Black Hawk's parley were shot and one was killed. The Battle of Stillman's Run ensued, leaving twelve militiamen and three to five Sac and Fox warriors dead. Of the fifteen battles of the war, six took place in Wisconsin. The other nine as well as several smaller skirmishes took place in Illinois. The first confrontation to take place in Wisconsin was the first attack on Fort Blue Mounds on June 6, in which one member of the local militia was killed outside of the fort. There was also the Spafford Farm Massacre on June 14, the Battle of Horseshoe Bend on June 16, which was a United States victory, the second attack on Fort Blue Mounds on June 20, and the Sinsinawa Mound raid on June 29. The Native Americans were defeated at the Battle of Wisconsin Heights on July 21, with forty to seventy killed and only one killed on the United States side. The Ho Chunk Nation fought on the side of the United States. The Black Hawk War ended with the Battle of Bad Axe on August 1–2, with over 150 of the British Band dead and 75 captured and only five killed in the United States forces. Those crossing the Mississippi were killed by Lakota, American and Ho Chunk Forces. Many of the British Band survivors were handed over to the United States on August 20 by the Lakota Tribe, with the exception of Black Hawk, who had retreated into Vernon County, Wisconsin and White Cloud, who surrendered on August 27, 1832. Black Hawk was captured by Decorah south of Bangor, Wisconsin, south of the headwaters of the La Crosse River. He was then sold to the U.S. military at Prairie du Chien, accepted by future Confederate president, Stephen Davis, who was a soldier at the time. Black Hawk's tribe had killed his daughter. Black Hawk moved back to Iowa in 1833, after being held prisoner by the United States government.

 

The Francois Vertefeuille House in Prairie du Chien was built in the 1810s by fur traders. A rare example of the pièce-sur-pièce à coulisse technique once common in French-Canadian architecture, it is one of the oldest buildings in the state and is listed on the National Register of Historic Places.

 

The Cornish immigrants who worked in Wisconsin's lead mines build simple stone cabins from limestone. Six cabins are preserved at the Pendarvis Historic Site in Mineral Point.

The resolution of these Indian conflicts opened the way for Wisconsin's settlement. Many of the region's first settlers were drawn by the prospect of lead mining in southwest Wisconsin. This area had traditionally been mined by Native Americans. However, after a series of treaties removed the Indians, the lead mining region was opened to white miners. Thousands rushed in from across the country to dig for the "gray gold". By 1829, 4,253 miners and 52 licensed smelting works were in the region. Expert miners from Cornwall in Britain informed a large part of the wave of immigrants. Boom towns like Mineral Point, Platteville, Shullsburg, Belmont, and New Diggings sprang up around mines. The first two federal land offices in Wisconsin were opened in 1834 at Green Bay and at Mineral Point. By the 1840s, southwest Wisconsin mines were producing more than half of the nation's lead, which was no small amount, as the United States was producing annually some 31 million pounds of lead. Wisconsin was dubbed the "Badger State" because of the lead miners who first settled there in the 1820s and 1830s. Without shelter in the winter, they had to "live like badgers" in tunnels burrowed into hillsides.

 

Although the lead mining area drew the first major wave of settlers, its population would soon be eclipsed by growth in Milwaukee. Milwaukee, along with Sheboygan, Manitowoc, and Kewaunee, can be traced back to a series of trading posts established by the French trader Jacques Vieau in 1795. Vieau's post at the mouth of the Milwaukee River was purchased in 1820 by Solomon Juneau, who had visited the area as early as 1818. Juneau moved to what is now Milwaukee and took over the trading post's operation in 1825.

 

When the fur trade began to decline, Juneau focused on developing the land around his trading post. In the 1830s, he formed a partnership with Green Bay lawyer Morgan Martin, and the two men bought 160 acres (0.6 km2) of land between Lake Michigan and the Milwaukee River. There they founded the settlement of Juneautown. Meanwhile, an Ohio businessman named Byron Kilbourn began to invest in the land west of the Milwaukee River, forming the settlement of Kilbourntown. South of these two settlements, George H. Walker founded the town of Walker's Point in 1835. Each of these three settlements engaged in a fierce competition to attract the most residents and become the largest of the three towns. In 1840, the Wisconsin State Legislature ordered the construction of a bridge over the Milwaukee River to replace the inadequate ferry system. In 1845, Byron Kilbourn, who had been trying to isolate Juneautown to make it more dependent on Kilbourntown, destroyed a portion of the bridge, which started the Milwaukee Bridge War. For several weeks, skirmishes broke out between the residents of both towns. No one was killed but several people were injured, some seriously. On January 31, 1846, the settlements of Juneautown, Kilbourntown, and Walker's Point merged into the incorporated city of Milwaukee. Solomon Juneau was elected mayor. The new city had a population of about 10,000 people, making it the largest city in the territory. Milwaukee remains the largest city in Wisconsin to this day.

 

Wisconsin Territory was created by an act of the United States Congress on April 20, 1836. By fall of that year, the best prairie groves of the counties surrounding Milwaukee were occupied by New England farmers. The new territory initially included all of the present day states of Wisconsin, Minnesota, and Iowa, as well as parts of North and South Dakota. At the time the Congress called it the "Wiskonsin Territory".

 

The first territorial governor of Wisconsin was Henry Dodge. He and other territorial lawmakers were initially busied by organizing the territory's government and selecting a capital city. The selection of a location to build a capitol caused a heated debate among the territorial politicians. At first, Governor Dodge selected Belmont, located in the heavily populated lead mining district, to be capital. Shortly after the new legislature convened there, however, it became obvious that Wisconsin's first capitol was inadequate. Numerous other suggestions for the location of the capital were given representing nearly every city that existed in the territory at the time, and Governor Dodge left the decision up to the other lawmakers. The legislature accepted a proposal by James Duane Doty to build a new city named Madison on an isthmus between lakes Mendota and Monona and put the territory's permanent capital there. In 1837, while Madison was being built, the capitol was temporarily moved to Burlington. This city was transferred to Iowa Territory in 1838, along with all the lands of Wisconsin Territory west of the Mississippi River.

 

Wyman calls Wisconsin a "palimpsest" of layer upon layer of peoples and forces, each imprinting permanent influences. He identified these layers as multiple "frontiers" over three centuries: Native American frontier, French frontier, English frontier, fur-trade frontier, mining frontier, and the logging frontier. Finally the coming of the railroad brought the end of the frontier.

 

The historian of the frontier, Frederick Jackson Turner, grew up in Wisconsin during its last frontier stage, and in his travels around the state he could see the layers of social and political development. One of Turner's last students, Merle Curti used in-depth analysis of local history in Trempealeau County to test Turner's thesis about democracy. Turner's view was that American democracy, "involved widespread participation in the making of decisions affecting the common life, the development of initiative and self-reliance, and equality of economic and cultural opportunity. It thus also involved Americanization of immigrant." Curti found that from 1840 to 1860 in Wisconsin the poorest groups gained rapidly in land ownership, and often rose to political leadership at the local level. He found that even landless young farm workers were soon able to obtain their own farms. Free land on the frontier therefore created opportunity and democracy, for both European immigrants as well as old stock Yankees.

 

By the mid-1840s, the population of Wisconsin Territory had exceeded 150,000, more than twice the number of people required for Wisconsin to become a state. In 1846, the territorial legislature voted to apply for statehood. That fall, 124 delegates debated the state constitution. The document produced by this convention was considered extremely progressive for its time. It banned commercial banking, granted married women the right to own property, and left the question of African-American suffrage to a popular vote. Most Wisconsinites considered the first constitution to be too radical, however, and voted it down in an April 1847 referendum.

 

In December 1847, a second constitutional convention was called. This convention resulted in a new, more moderate state constitution that Wisconsinites approved in a March 1848 referendum, enabling Wisconsin to become the 30th state on May 29, 1848. Wisconsin was the last state entirely east of the Mississippi River (and by extension the last state formed entirely from territory assigned to the U.S. in the 1783 Treaty of Paris) to be admitted to the Union.

 

With statehood, came the creation of the University of Wisconsin–Madison, which is the state's oldest public university. The creation of this university was set aside in the state charter.

 

In 1847, the Mineral Point Tribune reported that the town's furnaces were producing 43,800 pounds (19,900 kg) of lead each day. Lead mining in southwest Wisconsin began to decline after 1848 and 1849 when the combination of less easily accessible lead ore and the California Gold Rush made miners leave the area. The lead mining industry in mining communities such as Mineral Point managed to survive into the 1860s, but the industry was never as prosperous as it was before the decline.

 

By 1850 Wisconsin's population was 305,000. Roughly a third (103,000) were Yankees from New England and western New York state. The second largest group were the Germans, numbering roughly 38,000, followed by 28,000 British immigrants from England, Scotland and Wales. There were roughly 63,000 Wisconsin-born residents of the state. The Yankee migrants would be the dominant political class in Wisconsin for many years.

 

A railroad frenzy swept Wisconsin shortly after it achieved statehood. The first railroad line in the state was opened between Milwaukee and Waukesha in 1851 by the Chicago, Milwaukee, St. Paul and Pacific Railroad. The railroad pushed on, reaching Milton, Wisconsin in 1852, Stoughton, Wisconsin in 1853, and the capital city of Madison in 1854. The company reached its goal of completing a rail line across the state from Lake Michigan to the Mississippi River when the line to Prairie du Chien was completed in 1857. Shortly after this, other railroad companies completed their own tracks, reaching La Crosse in the west and Superior in the north, spurring development in those cities. By the end of the 1850s, railroads crisscrossed the state, enabling the growth of other industries that could now easily ship products to markets across the country.

 

Nelson Dewey, the first governor of Wisconsin, was a Democrat. Born in Lebanon, Connecticut, Dewey's father's family had lived in New England since 1633, when their ancestor, Thomas Due, had come to America from Kent County, England. Dewey oversaw the transition from the territorial to the new state government. He encouraged the development of the state's infrastructure, particularly the construction of new roads, railroads, canals, and harbors, as well as the improvement of the Fox and Wisconsin Rivers. During his administration, the State Board of Public Works was organized. Dewey was an abolitionist and the first of many Wisconsin governors to advocate against the spread of slavery into new states and territories. The home Dewey built near Cassville is now a state park.

 

Between 1848 and 1862, Wisconsin had three Democratic governors, all of whom were in office prior to 1856, four Republican governors, all of whom were in office after 1856, and one Whig governor, Leonard J. Farwell, who served from 1852 to 1854. Under Farwell's governorship, Wisconsin became the second state to abolish capital punishment.

 

In the presidential elections of 1848 and 1852, the Democratic Party won Wisconsin. In the elections of 1856, 1860, and 1864, the Republican Party won the state.

 

Between the 1840s and 1860s, settlers from New England, New York and Germany arrived in Wisconsin. Some of them brought radical political ideas to the state. In the 1850s, stop-overs on the underground railroad were set up in the state and abolitionist groups were formed. Some abolitionist and free-soil activists left the Whig and Democratic parties, running and in some cases being elected as candidates of the Liberty Party and Free Soil Party. The most successful such group was the Republican Party. On March 20, 1854, the first county meeting of the Republican Party of the United States, consisting of about thirty people, was held in the Little White Schoolhouse in Ripon, Wisconsin. Ripon claims to be the birthplace of the Republican Party, as does Jackson, Michigan, where the first statewide convention was held. The new party absorbed most of the former Free Soil and Liberty Party members.

 

A notable instance of abolitionism in Wisconsin was the rescue of Joshua Glover, an escaped slave from St. Louis who sought refuge in Racine, Wisconsin in 1852. He was caught in 1854 by federal marshals and put in a jail at Cathedral Square in Milwaukee, where he waited to be returned to his owner. A mob of 5,000 people led by Milwaukee abolitionist Sherman Booth, himself a "Yankee" transplant from rural New York, sprung Glover from jail and helped him escape to Canada via the underground railroad.

 

In the 1850s, two-thirds of immigrants to Wisconsin came from the eastern United States, the other one-third being foreign-born. The majority of the foreign born were German immigrants. Many Irish and Norwegian immigrants also came to Wisconsin in the 1850s. Northern Europeans, many of whom were persecuted in their home countries because of their support for the failed bourgeois Revolutions of 1848, often chose Wisconsin because of the liberal constitution of human rights such as the state's unusual recognition of immigrants' right to vote and rights to citizenship.

 

Yankee settlers from New England started arriving in Wisconsin in the 1830s spread throughout the southern half of the territory. They dominated early politics. Most of them started as farmers, but the larger proportion moved to towns and cities as entrepreneurs, businessmen and professionals.

 

Historian John Bunker has examined the worldview of the Yankee settlers in the Wisconsin:

 

Because they arrived first and had a strong sense of community and mission, Yankees were able to transplant New England institutions, values, and mores, altered only by the conditions of frontier life. They established a public culture that emphasized the work ethic, the sanctity of private property, individual responsibility, faith in residential and social mobility, practicality, piety, public order and decorum, reverence for public education, activists, honest, and frugal government, town meeting democracy, and he believed that there was a public interest that transcends particular and stick ambitions. Regarding themselves as the elect and just in a world rife with sin, air, and corruption, they felt a strong moral obligation to define and enforce standards of community and personal behavior....This pietistic worldview was substantially shared by British, Scandinavian, Swiss, English-Canadian and Dutch Reformed immigrants, as well as by German Protestants and many of the "Forty-Niners."

 

The color guard of the Wisconsin 8th Infantry with Old Abe

Wisconsin enrolled 91,379 soldiers in the Union Army during the American Civil War. 272 of enlisted Wisconsin troops were African American, with the rest being white. Of these, 3,794 were killed in action or mortally wounded, 8,022 died of disease, and 400 were killed in accidents. The total mortality was 12,216 men, about 13.4 percent of total enlistments. Many soldiers trained at Camp Randall currently the site of the University of Wisconsin's athletic stadium.

 

The draft implemented by President Lincoln in 1862 was unpopular in some Wisconsin communities, particularly among German and Luxembourgish immigrants. In November 1862, draft riots broke out in Milwaukee, Port Washington, and West Bend, which were quelled by deploying U.S. troops in the cities.

 

Most Wisconsin troops served in the western theater, although several Wisconsin regiments fought in the east, such as the 2nd Wisconsin Volunteer Infantry Regiment, 6th Wisconsin Volunteer Infantry Regiment, and 7th Wisconsin Volunteer Infantry Regiment, which formed part of the Iron Brigade. These three regiments fought in the Northern Virginia Campaign, the Maryland Campaign, the Battle of Fredericksburg, the Battle of Chancellorsville, the Gettysburg Campaign, the Battle of Mine Run, the Overland Campaign, the Siege of Petersburg, and the Appomattox Campaign.

 

The 8th Wisconsin Volunteer Infantry Regiment, which fought in the western theater of war, is also worthy of mention, having fought at the Battle of Iuka, the Siege of Vicksburg, the Red River Campaign, and the Battle of Nashville. The 8th Wisconsin is also known for its mascot, Old Abe.

 

Agriculture was a major component of the Wisconsin economy during the 19th century. Wheat was a primary crop on early Wisconsin farms. In fact, during the mid 19th century, Wisconsin produced about one sixth of the wheat grown in the United States. However, wheat rapidly depleted nutrients in the soil, especially nitrogen, and was vulnerable to insects, bad weather, and wheat leaf rust. In the 1860s, chinch bugs arrived in Wisconsin and damaged wheat across the state. As the soil lost its quality and prices dropped, the practice of wheat farming moved west into Iowa and Minnesota. Some Wisconsin farmers responded by experimenting with crop rotation and other methods to restore the soil's fertility, but a larger number turned to alternatives to wheat.

 

In parts of northern Wisconsin, farmers cultivated cranberries and in a few counties in south central Wisconsin, farmers had success growing tobacco, but the most popular replacement for wheat was dairy farming. As wheat fell out of favor, many Wisconsin farmers started raising dairy cattle and growing feed crops, which were better suited to Wisconsin's climate and soil. One reason for the popularity of dairy farming was that many of Wisconsin's farmers had come to the state from New York, the leading producer of dairy products at the time. In addition, many immigrants from Europe brought an extensive knowledge of cheese making. Dairying was also promoted by the University of Wisconsin–Madison's school of agriculture, which offered education to dairy farmers and researched ways to produce better dairy products. The first test of butterfat content in milk was developed at the university, which allowed for consistency in the quality of butter and cheese. By 1899, over ninety percent of Wisconsin farms raised dairy cows and by 1915, Wisconsin had become the leading producer of dairy products in the United States, a position it held until the 1990s. The term America's Dairyland appeared in newspapers as early as 1913 when the state's butterfat production became first in the nation. In 1939 the state legislature enacted a bill to add the slogan to the state's automobile license plates. It continues to be the nation's largest producer of cheese, no longer focusing on the raw material (milk) but rather the value-added products. Because of this, Wisconsin continues to promote itself as "America's Dairyland", Wisconsinites are referred to as cheeseheads in some parts of the country, including Wisconsin, and foam cheesehead hats are associated with Wisconsin and its NFL team, the Green Bay Packers.

 

The first brewery in Wisconsin was opened in 1835 in Mineral Point by brewer John Phillips. A year later, he opened a second brewery in Elk Grove. In 1840, the first brewery in Milwaukee was opened by Richard G. Owens, William Pawlett, and John Davis, all Welsh immigrants. By 1860, nearly 200 breweries operated in Wisconsin, more than 40 of them in Milwaukee. The huge growth in the brewing industry can be accredited, in part, to the influx of German immigrants to Wisconsin in the 1840s and 1850s. Milwaukee breweries also grew in volume due to the destruction of Chicago's breweries during the great Chicago fire. In the second half of the 19th century, four of the largest breweries in the United States opened in Milwaukee: Miller Brewing Company, Pabst Brewing Company, Valentin Blatz Brewing Company, and Joseph Schlitz Brewing Company. In the 20th century Pabst absorbed Blatz and Schlitz, and moved its brewery and corporate headquarters to California. Miller continues to operate in Milwaukee. The Jacob Leinenkugel Brewing Company opened in Chippewa Falls, Wisconsin in 1867 and continues to operate there to this day.

 

Agriculture was not viable in the densely forested northern and central parts of Wisconsin. Settlers came to this region for logging. The timber industry first set up along the Wisconsin River. Rivers were used to transport lumber from where the wood was being cut, to the sawmills. Sawmills in cities like Wausau and Stevens Point sawed the lumber into boards that were used for construction. The Wolf River also saw considerable logging by industrious Menominee. The Black and Chippewa Rivers formed a third major logging region. That area was dominated by one company owned by Frederick Weyerhaeuser. The construction of railroads allowed loggers to log year round, after rivers froze, and go deeper into the forests to cut down previously unshippable wood supplies. Wood products from Wisconsin's forests such as doors, furniture, beams, shipping boxes, and ships were made in industrial cities with connects to the Wisconsin lumber industry such as Chicago, Milwaukee, Sheboygan, and Manitowoc. Milwaukee and Manitowoc were centers for commercial ship building in Wisconsin. Many cargo ships built in these communities were used to transport lumber from logging ports to major industrial cities. Later a growing paper industry in the Fox River Valley made use of wood pulp from the state's lumber industry.

 

Logging was a dangerous trade, with high accident rates. On October 8, 1871, the Peshtigo Fire burned 1,875 square miles (4,850 km2) of forest land around the timber industry town of Peshtigo, Wisconsin, killing between 1,200 and 2,500 people. It was the deadliest fire in United States history.

 

From the 1870s to the 1890s, much of the logging in Wisconsin was done by immigrants from Scandinavia.

 

By the beginning of the twentieth century, logging in Wisconsin had gone into decline. Many forests had been cleared and never replanted and large corporations in the Pacific Northwest took business away from the Wisconsin industry. The logging companies sold their land to immigrants and out of work lumberjacks who hoped to turn the acres of pine stumps into farms, but few met with success.

 

Wisconsin is known in the 18th century to have discovered gold deposits in western Wisconsin. Such discoveries occurred around the town of St. Croix Falls where a settler stumbled across a gold nugget valued to be worth lots at the time. It's no surprise Wisconsin's western region was once the site of volcanic eruptions so it makes sense that minerals that weren't commonly found in other parts of the state would be present here.

 

Wisconsin was a regional and national model for innovation and organization in the Progressive Era in the early 20th century. The direct primary law of 1904 made it possible to mobilize voters against the previously dominant political machines. The first factors involved the La Follette family going back and forth between trying control of the Republican Party and third-party activity. Secondly the Wisconsin idea, of intellectuals and planners based at the University of Wisconsin shaping government policy. LaFollette started as a traditional Republican in the 1890s, where he fought against populism and other radical movements. He broke decisively with the state Republican leadership, and took control of the party by 1900, all the time quarrelling endlessly with ex-allies.

 

Wisconsin at this time was a de facto one party state, as the Democratic Party was then a minor conservative group in the state. Serious opposition more often than not came from the Socialist Party, with a strong German and union constituency in Milwaukee. The socialists often collaborated with the progressive Republicans in statewide politics. Senator Robert M. La Follette tried to use his national reputation to challenge President Taft for the Republican nomination in 1912. However, as soon as Roosevelt declared his candidacy, most of La Follette's supporters switched to the former president. During the Wilson administration he supported many of Wilson's domestic programs in Congress, however he strongly opposed Wilson's foreign policy, and mobilized the large German and Scandinavian populations in Wisconsin to demand neutrality during World War I. During the final years of his career, he split with the Republican Party and ran an independent campaign for president in 1924. In his bid for the presidency he won 1/6 of the national popular vote, but was only able to win his home state.

 

Following his death, his two sons assumed control of the Wisconsin Republican Party after a brief period of intraparty factional disputes. Following in their father's footsteps they helped form the Wisconsin Progressive Party, in many ways a spiritual successor to the party La Follette had founded in 1924. The party surged to popularity during the mid-1930s off of the inaction of the moderately conservative Schmedeman administration, and were able to gain the support of then president Franklin D. Roosevelt. Much of the new party's support could be owed to the personalities leading it, and the support of Roosevelt and progressive Democrats. The party saw success across Wisconsin's elected offices in the state and congress. Despite its popularity the party eventually declined as Philip, engulfed in scandal and accusations of authoritarianism and fiscal responsibility, lost re-election for the final time in 1938. Following this defeat Philip left electoral politics and joined World War II in the Pacific Theater. Due to joining the war, the National Progressives of America, an organization the La Follettes had hoped would precede a national realignment, faltered. Both organizations began to tear themselves apart as La Follette's absence led to vicious intraparty fighting which ultimately led to a vote to dissolve itself, which Philip was told to stay away from.

 

The Wisconsin Idea was the commitment of the University of Wisconsin under President Charles R. Van Hise, with LaFollette support, to use the university's powerful intellectual resources to develop practical progressive reforms for the state and indeed for the nation.

 

Between 1901 and 1911, Progressive Republicans in Wisconsin created the nation's first comprehensive statewide primary election system, the first effective workplace injury compensation law, and the first state income tax, making taxation proportional to actual earnings. The key leaders were Robert M. La Follette and (in 1910) Governor Francis E. McGovern. However, in 1912 McGovern supported Roosevelt for president and LaFollette was outraged. He made sure the next legislature defeated the governor's programs, and that McGovern was defeated in his bid for the Senate in 1914. The Progressive movement split into hostile factions. Some was based on personalities—especially La Follette's style of violent personal attacks against other Progressives, and some was based on who should pay, with the division between farmers (who paid property taxes) and the urban element (which paid income taxes). This disarray enabled the conservatives (called "Stalwarts") to elect Emanuel Philipp as governor in 1914. The Stalwart counterattack said the Progressives were too haughty, too beholden to experts, too eager to regulate, and too expensive. Economy and budget cutting was their formula.

 

During World War I, due to the neutrality of Wisconsin and many Wisconsin Republicans, progressives, and German immigrants which made up 30 to 40 percent of the state population, Wisconsin would gain the nickname "Traitor State" which was used by many "hyper patriots".

 

As the war raged on in Europe, Robert M. La Follette, leader of the anti-war movement in Wisconsin, led a group of progressive senators in blocking a bill by president Woodrow Wilson which would have armed merchant ships with guns. Many Wisconsin politicians such as Governor Phillipp and senator Irvine Lernroot were accused of having divided loyalties. Even with outspoken opponents to the war, at the onset of the war many Wisconsinites would abandon neutrality. Businesses, labor and farms all enjoyed prosperity from the war. With over 118,000 going into military service, Wisconsin was the first state to report for four national drafts conducted by the U.S. military.

 

The progressive Wisconsin Idea promoted the use of the University of Wisconsin faculty as intellectual resources for state government, and as guides for local government. It promoted expansion of the university through the UW-Extension system to reach all the state's farming communities. University economics professors John R. Commons and Harold Groves enabled Wisconsin to create the first unemployment compensation program in the United States in 1932. Other Wisconsin Idea scholars at the university generated the plan that became the New Deal's Social Security Act of 1935, with Wisconsin expert Arthur J. Altmeyer playing the key role. The Stalwarts counterattacked by arguing if the university became embedded in the state, then its internal affairs became fair game, especially the faculty preference for advanced research over undergraduate teaching. The Stalwarts controlled the Regents, and their interference in academic freedom outraged the faculty. Historian Frederick Jackson Turner, the most famous professor, quit and went to Harvard.

 

Wisconsin took part in several political extremes in the mid to late 20th century, ranging from the anti-communist crusades of Senator Joseph McCarthy in the 1950s to the radical antiwar protests at UW-Madison that culminated in the Sterling Hall bombing in August 1970. The state became a leader in welfare reform under Republican Governor Tommy Thompson during the 1990s. The state's economy also underwent further transformations towards the close of the 20th century, as heavy industry and manufacturing declined in favor of a service economy based on medicine, education, agribusiness, and tourism.

 

In 2011, Wisconsin became the focus of some controversy when newly elected governor Scott Walker proposed and then successfully passed and enacted 2011 Wisconsin Act 10, which made large changes in the areas of collective bargaining, compensation, retirement, health insurance, and sick leave of public sector employees, among other changes. A series of major protests by union supporters took place that year in protest to the changes, and Walker survived a recall election held the next year, becoming the first governor in United States history to do so. Walker enacted other bills promoting conservative governance, such as a right-to-work law, abortion restrictions, and legislation removing certain gun controls. Walker's administration also made critical changes to Wisconsin's election process, enacting one of the most aggressive legislative gerrymanders in the country and replacing Wisconsin's nonpartisan state elections board with a commission of political appointees. When Walker lost re-election in 2018, he collaborated with the gerrymandered Republican legislature to strip powers from the incoming Governor and Attorney General. Since 2011, Wisconsin has seen increasing governmental dysfunction and paralysis, as the durable gerrymander insulated the legislature from electoral consequences.

 

Following the election of Tony Evers as governor in 2018, Wisconsin has seen a string of liberal victories at every level of government which have slowly chipped away at the conservative dominance within the state. This eventually led to the Wisconsin supreme court overturning the Walker-era legislative gerrymander in Clarke v. Wisconsin Elections Commission.

Night's Mardi Gras

By Edward J. Wheeler

1859-1922

 

Night is the true democracy. When day

Like some great monarch with his train has passed,

In regal pomp and splendor to the last,

The stars troop forth along the Milky Way,

A jostling crowd, in radiant disarray,

On heaven's broad boulevard in pageants vast,

And things of earth, the hunted and outcast,

Come from their haunts and hiding-places; yea,

Even from the nooks and crannies of the mind

Visions uncouth and vagrant fancies start,

And specters of dead joy, that shun the light,

And impotent regrets and terrors blind,

Each one, in form grotesque, playing its part

In the fantastic Mardi Gras of Night.

Pawhuska, Oklahoma.

 

The Triangle Building was built in the middle of two streets that, when joined together.....created a triangle. I guess when this building was constructed that Pawhuska was a busy enough city to warrant building on every square inch available.

 

I've been coming up to Pawhuska now since about 1992 to visit the Tallgrass Prairie, and to look around on some of my solo photo jaunts. I've seen this building in various states of repair and disarray. It seems like several years ago the building had been renovated and was ready to see life once again. Last weekend, though, I found the building looking perhaps the most vulnerable I've ever seen it.....no windows anywhere? What's going on with it?

 

Update 1/16/22: This has been, for several years now, the Frontier Hotel. Many people seem to believe it's a Ree Drummond property; it's not (she has her own really nice hotel/b&b). It's actually managed by the same people who run the Mayo Hotel in downtown Tulsa.

Bain News Service,, publisher.

 

Room in villa at Tilsit occupied by Russian officers

 

[between ca. 1914 and ca. 1915]

 

1 negative : glass ; 5 x 7 in. or smaller.

 

Notes:

Title from data provided by the Bain News Service on the negative.

Photograph shows a room in a villa occupied by Russian soldiers during World War I, in Sovetsk (Tilsit), Russia. (Source: Flickr Commons project, 2011)

Forms part of: George Grantham Bain Collection (Library of Congress).

 

Subjects:

World War, 1914-1918.

 

Format: Glass negatives.

 

Rights Info: No known restrictions on publication.

 

Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print

 

General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain

 

Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.17984

 

Call Number: LC-B2- 3316-12

  

Fingal was our last stop of the day. Dad and I had to have a chuckle at the name "Fingal" because it just sounds so silly. But it's a cute, quiet community with a lovely park and some neat old buildings!

This old place got my attention right away! I can only hope someone is fixing it up? Or wants to? I mean, you can't let this place go to waste! As always, I wished to see inside. But it was posted. Boo. From what I could see through the windows it was in a state of disarray. Through the windows you can see beautiful trim and even solid old doors. I think there is hope for this place yet! Dear whoever owns this house: may I please come see inside? I promise I won't sue you if I fall through the floor! I'm just insanely curious about old houses and history.

Read more here:

pictureprairieplaces.weebly.com/adventures/se-nd-day-trip...

"Chief of Aries, Jupiter and Saturn,

Eternal God what mutations?

Then by long century its maling time returns,

Gaul and Italy, what emotions?"

 

This text does not refer to a food famine, but to a spiritual confusion, which symbolizes the interest of many Christians in other religions and religious groups. They have chosen to adopt other beliefs in order to discover religious truth. This text concerns spiritual thirst. The human tide will decide to adopt the Catholic religion.

 

Nostradamus' predictions indicate that climate change will continue to affect our planet and that political leaders will reach an agreement to reduce air pollutant emissions.

The prophet announces that "We will see the waters rise and the earth collapse under them" in 2019. We will experience many climate changes during this period and the hurricanes that will ravage several regions of the United States will shape the grim landscape described by Nostradamus.

Many category 1 hurricanes will hit the United States in 2019, these phenomena will cause winds reaching 40 mph.

Americans residing in Florida, Texas and New Orleans will have to be prepared for severe weather. Andrew Cuomo, Governor of New York, also said, "Extreme weather conditions are a reality. We are experiencing storms of unprecedented violence.

Global warming will cause a large number of armed conflicts. A strategic decision will enable China to become the new world leader.

Two superpowers will fight during the Third World War and this conflict will last 27 years. Predictions indicate that the Third World War will begin after the death of the last Pope (the successor to Pope Benedict XVI) who will be assassinated by the antichrist.

"Mount Aventine will burn in the night:

The sky will darken in Flanders:

When the monarch chases away his nephew,

Church members will cause scandals."

 

This text probably refers to Saint Aventine, who is considered to be the protector of people suffering from mental disorders.

But it can also concern the Aventine, which is one of the Seven Hills of Rome. A (total) solar eclipse will take place on July 23, 2019 and this event could mark the beginning of the unrest that will affect the Catholic Church, but also all other Christian churches.

The assassination of the leader of the Catholic Church will cause chaos throughout the world and this event will take place in the following months.

 

People residing in the United States must be prepared for the "Great Earthquake". The subduction zone extends over more than 500 miles and the entire area between California (USA) and Vancouver Island (Canada).

Two tectonic plates come into contact in this area and one of them gradually sinks below the second (subduction).

The displacement of the Cascadia subduction zone will cause an earthquake whose magnitude could reach 8.0 to 8.6 degrees on the Richter scale, and if the fault is fully opened, this zone will suffer an earthquake whose magnitude could reach 8.7 to 9.2 degrees: "The Great Earthquake".

This phenomenon will ravage this region over 225,000 square miles. This area includes Seattle, Tacoma, Portland, Portland, Eugene, Salem (the capital of Oregon) and Olympia (the capital of Washington).

This area has more than 7,000,000 inhabitants. These people will suffer the most significant natural disaster in the history of the United States.

The prophet also announced that humans will be able to communicate with animals. The prophet announces that in 2019 "The pigs will become brothers to man". Some people think that this text announces that human beings will stop mutilating animals. Other people think it indicates that technology will allow us to communicate with animals.

Many advances will be made in the field of medicine. Medical innovations will increase human life expectancy. People who have read the prophecies of Nostradamus say that humans will be able to live up to 200 years

A prediction also contains the following sentence: "After the invention of a new engine, the world will return to the way it was before the creation of the Tower of Babel."

Many people think that this engine refers to the Internet and that this prediction indicates that technology will allow us to create a new global language. Other people think that this prediction concerns social networks that are constantly developing.

 

Nostradamus' prophecies announce that justice will be one of the most important themes of 2019.

His predictions also indicate that earthquakes and hurricanes are likely to affect many states in the United States (including Florida, Georgia, South Carolina and Texas).

 

These phenomena are expected to occur mainly during the months under the Earth's sign (January, April, July and October).

 

This year will not be a year that will be conducive to financial gains, but this inconvenience will prove useful as it will encourage us to take further steps to improve our situation.

 

During this period, we will have to make more efforts, opt for new strategies, avoid risky situations and become effectively informed, and also focus on the right methods to attract prosperity.

 

Our social life will be more active, we will devote more time to our relationships and we will meet new friends.

 

However, we will have to be careful because a new meeting could disrupt our relationship.

 

Stock market activities will be more successful during the summer and also during the fall. Researchers will make several interesting discoveries in the health field during 2019.

 

This period will encourage us to take better care of our health and take action to preserve our heart, circulatory system, stomach and pancreas.

 

It is therefore essential that we adopt a healthy diet and engage in relaxing activities, but also avoid sleeping in rooms located in the West (this concerns pregnant women and the elderly in particular) and reduce our stress.

 

Nostradamus was an apothecary fascinated by the occult, he almost provoked the anger of the Catholic Church when he predicted the future over a period of twenty centuries. Was he really a visionary or are his visions just myths?

 

This small dynamic man, endowed with a long thick beard, was in a state of disarray at the Court of King Henry II of France. Known as the son of a converted Jewish couple, passionate about astrology and the occult sciences, Nostradamus was invited to Paris in 1556 mainly to entertain the Court.

 

But it is the prophecies he has established about the king that will make him known throughout the world. One of them seemed both absurd and true, suggesting that a "blind man" would soon ascend the throne.

 

Another, both enigmatic and explainable, stated that: "The young lion will triumph over the eldest on the battlefield, in a single battle. He will pierce his eyes in the golden cage, two wounds in one, and suddenly he will give up his soul."

 

On June 1, 1559, when the king was participating in a tournament, by accident, the spear of his friend who was also his opponent, pierced the royal golden helmet before sinking into his eye. The unfortunate culprit, the Earl of Montgomery, was younger than the ruler. A splinter from the weapon caused a secondary wound, and the king was in great pain for ten days in a row, before he died.

 

Everyone remembered the words of Nostradamus. The leaders of the Roman Catholic Church would have preferred to burn this dangerous prophet alive, because they heavily condemned magicians and wizards. The peasants, who believed that his prophecies were actually curses, burned statuettes of him. It was only thanks to Queen Catherine de Médicis, now a widow, that he managed to escape execution.

 

Recluded in the dark

 

On the brink of civil war, France was the ideal environment for Nostradamus' enigmatic and obscure prophecies, which were published in 1555 - the first hundred of about 2000 that he would announce until 1557. These works met with immediate success, which enabled him to join the Court.

 

Nostradamus admitted that he deliberately opted for an "enigmatic language". He wrote his texts using obscure language, originating in the French language and including many Italian, Greek, Jewish and Latin expressions. Each of these predictions includes four verses and forms a quatrain that looks nothing like a poem.

 

The visionary said that this style of writing allowed him to escape the punishments inflicted by the powerful, who really did not like his texts.

 

Some skeptics admit that this vague style was deliberately chosen to allow readers to interpret the

texts. As a result, there are currently more than 400 different interpretations based on his prophecies. Each of them was established to explain prophecies dating back to 3797.

 

Nostradamus becomes Royal Advisor

 

The country seemed to be on the verge of a national conflict and many people, like Queen Catherine, did not need evidence to believe the apothecary's predictions were true. The prediction he had made concerning the death of the sovereign was more than enough to convince them. Convinced of his good faith, she had him appointed as the personal doctor of her son, Charles IX.

 

According to a famous story, Nostradamus once called upon an angel named Anael, and asked him to use a magic mirror to reveal to him the future of the queen's children. The mirror indicated that his three sons would temporarily rule the country and that their dishonoured son-in-law, Henri of Navarre, would occupy the throne for 23 years. Frightened by this show, the queen asked her to interrupt it.

 

In fact, it is likely that Nostradamus only visited her at the Court to make predictions for her and her children. Nostradamus seems gifted enough to describe his fateful visions using ambiguous formulas to protect himself from the wrath of the monarchs, for the latter did not hesitate to punish those who gave them bad news.

 

Predictions that herald a troubled century

Many experts who have studied Nostradamus' texts claim that they contain a large number of prophecies that evoke violent events of the contemporary era - the ascension of Hitler, the assassinations of John F. Kennedy and his brother Robert. The German people were convinced of the authenticity of the prophecies consecrated to the Third Reich.

 

In England and Germany, people also modified a series of quatrains and printed them before throwing them out of an airplane for use as propaganda tools.

And on the other hand, many people were convinced that one of his authentic quatrains announced the beginning of the war: "A bright fire and death hidden in globes will be terribly unleashed. At nightfall, enemy forces will destroy the entire city."

 

Interest in the prophet of rebirth was revived following the tragic events in Iran, when the Shah was banned by supporters of Ayatollah Khomeiny, who had previously been exiled to France. According to the translation, Nostradamus wrote: "Rain, famine and war will continue in Persia. A belief too deep will betray the monarch.

 

What started in France will end there, a secret sign will be locked up. "Was it a reliable prediction or a modified interpretation? Could it give credibility to another prophecy that was to be fulfilled in the future, one of the few that included a specific date?"

 

He predicted his own death

 

One of France's most famous poets, Pierre de Ronsard, wrote this about him: "Like an ancient oracle, he predicted much of our destiny for many years. The prophet had visibly earned the respect of the royal family and his fame extended even further until his death in 1566. Of course, some people were not convinced by his predictions or, worse, only saw him as an intelligent man who abused the credulity of others. Some researchers claim that Nostradamus also predicted his own death: "Near this bench and this bed, I will be found dead." Then one evening he announced that he would not survive the coming night. He was found dead in his room the next morning next to his office. His death was probably caused by gout.

 

www.horoscope-annuel.com/nostradamus-2019/

Green Bay is a city in the U.S. state of Wisconsin. The county seat of Brown County, it is at the head of Green Bay (known locally as "the bay of Green Bay"), a sub-basin of Lake Michigan at the mouth of the Fox River. As of the 2020 Census, Green Bay had a population of 107,395, making it the third-most populous city in Wisconsin, after Milwaukee and Madison, and the third-largest city on Lake Michigan, after Chicago and Milwaukee.

 

Green Bay is the principal city of the Green Bay Metropolitan Statistical Area, which covers Brown, Kewaunee, and Oconto counties. Green Bay is the home city of the National Football League (NFL)'s Green Bay Packers.

 

Samuel de Champlain, the founder of New France, commissioned Jean Nicolet to form a peaceful alliance with Native Americans in the western areas, whose unrest interfered with the French fur trade, and to search for a shorter trade route to China through Canada. Nicolet and others had learned from other First Nations of the Ho-Chunk (Winnebago) people, who identified as "People of the Sea", and believed they must reside on or near an Ocean. Champlain had also heard about natural resources in the area, including fertile soil, forests, and animals. Nicolet began his journey for this new land shortly before winter in 1634. In what later became a French fur-trading route, he sailed up the Ottawa River, through Lake Nipissing and down the French River to Lake Huron, then through the straits of Michilimackinac into Lake Michigan. He is believed to have landed at Red Banks, near the site of the modern-day city of Green Bay, Wisconsin.

 

Nicolet founded a small trading post here in 1634, originally named La Baye or La Baie des Puants (French for "the Bay of Stinking Waters"). Nicolet's settlement was one of the oldest European permanent settlements in America.

 

When Nicolet arrived in the Green Bay area, he encountered the Menominee, who occupied this territory. He also met the Ho-Chunk (also known as the Winnebago), a people who spoke a Siouan language.

 

The Winnebago hunted and fished, and also cultivated corn, beans, squash, and tobacco. Wild rice, which they had incorporated as a dietary staple, grew in abundance along the riverbanks. The women regularly harvested and cooked this, along with a wide variety of nuts, berries, and edible roots which they gathered in the woods. The men typically hunted and fished for food, and the women processed game and other foods in cooking. They prepared and made clothing from the furs, as well as using other parts of animals to make tools, cord, etc. Women also had a role in the political process, as no action could be taken without agreement of half of the women. Nicolet stayed with this tribe for about a year, becoming an ally. He helped open up opportunities for trade and commerce with them before returning to Quebec.

 

A few months after Nicolet returned to Quebec, Champlain died. His death halted other journeys to La Baie Verte (French for "The Green Bay"). Père Claude Allouez sent Nicolas Perrot to La Baie. After this, the French avoided the area for some decades, because of the intensity of First Nations and European conflicts in the east. In 1671, a Jesuit Mission was set up in the area. A fort was added in 1717 and gradually associated development took place. The town was incorporated in 1754.

 

Great Britain took control of some French areas during the Seven Years' War, known as the French and Indian War in some areas of North America. They took control of this town in 1761. After the British defeated the French in 1763, France ceded its lands east of the Mississippi in North America.

 

The first permanent settlers were Charles de Langlade and his family from Quebec, who moved to Green Bay in 1765. They are considered the first European settlers in the present-day state of Wisconsin. Langlade, called the "Founder and Father of Wisconsin", was a métis or mixed-race, son of a French-Canadian father and an Ottawa woman. He grew up with his mother's family among the Ottawa people and became a war chief. The Ottawa were allies of the French during the French and Indian War, and Langlade is credited with planning the ambush of British General Braddock and George Washington. His family was followed to Green Bay by the Grignons, Porliers and Lawes, who brought French-Canadian culture with them. Colorful "jack-knife Judge" Reaume dispensed British justice in the territory after Great Britain took it over following the war. These early ethnic French settlers set the tone for many who followed.

 

The British gradually took over Wisconsin during the French and Indian War, taking control of Green Bay in 1761 and gaining control of all of Wisconsin in 1763. Like the French, the British were interested in little but the fur trade. The first permanent settlers, mostly French Canadians, some Anglo-New Englanders and a few African American freedmen, arrived in Wisconsin while it was under British control. Charles Michel de Langlade is generally recognized as the first settler, establishing a trading post at Green Bay in 1745, and moving there permanently in 1764. Settlement began at Prairie du Chien around 1781. The French residents at the trading post in what is now Green Bay, referred to the town as "La Bey," however British fur traders referred to it as "Green Bay," because the water and the shore assumed green tints in early spring. The old French title was gradually dropped, and the British name of "Green Bay" stuck. The region coming under British rule had virtually no adverse effect on the French residents as the British needed the cooperation of the French fur traders and the French fur traders needed the goodwill of the British. During the French occupation of the region licenses for fur trading had been issued scarcely and only to select groups of traders, whereas the British, in an effort to make as much money as possible from the region, issued licenses for fur trading freely, both to British and French residents. The fur trade in what is now Wisconsin reached its height under British rule, and the first self-sustaining farms in the state were established as well. From 1763 to 1780, Green Bay was a prosperous community which produced its own foodstuff, built graceful cottages and held dances and festivities. In 1791, two free African Americans set up a fur trading post among the Menominee at present day Marinette.

 

The Green Bay area was still under British control until the 1783 treaty formally ended the American Revolutionary War. Following the War of 1812, which in part was over disputes related to the border with Canada, the United States built Fort Howard on the Fox River in 1816 to protect its northern border. Doty, Whitney, Arndt, Baird and Martin were among the many British-American settlers whose numbers pushed French culture into the background.

 

The Erie Canal was completed in 1825, linking New England with the Great Lakes. This led to the advance of Green Bay as a trading center. The end of the Black Hawk War in 1832 also gave impetus to settlement of the region. Most of the settlers were farmers from New England who began using the Erie Canal to pour into Wisconsin. As more and more New England settlers arrived, Green Bay developed into a trading center for this population.

 

Wisconsin's first newspaper, The Green Bay Intelligencer, was started in 1833 by Albert Ellis and John V. Suydam. The borough of Green Bay, created in 1838, is the center of the present-day city. The borough combined the town of Astor (a company town of the American Fur Company) with Navarino, platted by Daniel Whitney. Before Wisconsin became a state in 1848, its commerce was based on the fur trade, which became dominated by John Jacob Astor's American Fur Company. After statehood, there was a shift away from fur trading toward lumbering. "For a short time in 1860s and 1870s, iron smelting in charcoal kilns rivaled the timber industry while the port handled increasing amounts of fuel, feed, and lumber. Today's major local industry had its start in 1865 when the first paper mill was built."

 

By 1850 the town had a population of 1,923. The town was incorporated as the city of Green Bay in 1854. The Green Bay Area Public School District was founded in 1856. Throughout the 1850s, word spread of America's cheap land and good soil, bringing in an influx of Belgian people, German, Scandinavian, Irish and Dutch immigrants, each adding to the culture. The greatest concentration of newcomers came from Belgium. They cleared the land to farm and build their homes.

 

The railroad arrived in the 1860s. The three railroads that would reach Green Bay were the Chicago & North Western (C&NW), SOO Line, (SOO), and the Milwaukee Road (MILW). These railroads were highways which allowed people and products to travel all over the state, increasing business and trade opportunities. The area was able to grow and enrich itself with the use of the plentiful timber resources. This led to the paper industry becoming the major employer in Green Bay, and opened up the port for international trade.

 

Large numbers of Belgians immigrated to Green Bay in the thirty-year period between 1880 and 1910. Significant numbers of English immigrants, many having lived first in Canada, also moved to Green Bay during this period, usually arriving as large families. There was also a small Dutch community in Green Bay at this time. Green Bay had a larger portion of first generation immigrants from France than any other city in Wisconsin at this time as well.

 

In 1934, President Franklin D. Roosevelt came to Green Bay to honor its tercentenary.[18] By 1950, the city had a population of 52,735. In 1964, the Town of Preble was consolidated with the city of Green Bay.

 

Wisconsin is a state in the Upper Midwestern region of the United States. It borders Minnesota to the west, Iowa to the southwest, Illinois to the south, Lake Michigan to the east, Michigan to the northeast, and Lake Superior to the north. Wisconsin is the 25th-largest state by land area and the 20th-most populous.

 

The bulk of Wisconsin's population live in areas situated along the shores of Lake Michigan. The largest city, Milwaukee, anchors its largest metropolitan area, followed by Green Bay and Kenosha, the third- and fourth-most-populated Wisconsin cities, respectively. The state capital, Madison, is currently the second-most-populated and fastest-growing city in the state. Wisconsin is divided into 72 counties and as of the 2020 census had a population of nearly 5.9 million.

 

Wisconsin's geography is diverse, having been greatly impacted by glaciers during the Ice Age with the exception of the Driftless Area. The Northern Highland and Western Upland along with a part of the Central Plain occupy the western part of the state, with lowlands stretching to the shore of Lake Michigan. Wisconsin is third to Ontario and Michigan in the length of its Great Lakes coastline. The northern portion of the state is home to the Chequamegon-Nicolet National Forest. At the time of European contact, the area was inhabited by Algonquian and Siouan nations, and today it is home to eleven federally recognized tribes. During the 19th and early 20th centuries, many European settlers entered the state, most of whom emigrated from Germany and Scandinavia. Wisconsin remains a center of German American and Scandinavian American culture, particularly in respect to its cuisine, with foods such as bratwurst and kringle. Wisconsin is home to one UNESCO World Heritage Site, comprising two of the most significant buildings designed by Wisconsin-born architect Frank Lloyd Wright: his studio at Taliesin near Spring Green and his Jacobs I House in Madison.

 

The Republican Party was founded in Wisconsin in 1854. In more recent years, Wisconsin has been a battleground state in presidential elections, notably in 2016 and 2020.

 

Wisconsin is one of the nation's leading dairy producers and is known as "America's Dairyland"; it is particularly famous for its cheese. The state is also famous for its beer, particularly and historically in Milwaukee, most notably as the headquarters of the Miller Brewing Company. Wisconsin has some of the most permissive alcohol laws in the country and is well known for its drinking culture. Its economy is dominated by manufacturing, healthcare, information technology, and agriculture—specifically dairy, cranberries, and ginseng. Tourism is also a major contributor to the state's economy. The gross domestic product in 2020 was $348 billion.

 

The history of Wisconsin encompasses the story not only of the people who have lived in Wisconsin since it became a state of the U.S., but also that of the Native American tribes who made their homeland in Wisconsin, the French and British colonists who were the first Europeans to live there, and the American settlers who lived in Wisconsin when it was a territory.

 

Since its admission to the Union on May 29, 1848, as the 30th state, Wisconsin has been ethnically heterogeneous, with Yankees being among the first to arrive from New York and New England. They dominated the state's heavy industry, finance, politics and education. Large numbers of European immigrants followed them, including German Americans, mostly between 1850 and 1900, Scandinavians (the largest group being Norwegian Americans) and smaller groups of Belgian Americans, Dutch Americans, Swiss Americans, Finnish Americans, Irish Americans and others; in the 20th century, large numbers of Polish Americans and African Americans came, settling mainly in Milwaukee.

 

Politically the state was predominantly Republican until recent years, when it became more evenly balanced. The state took a national leadership role in the Progressive Movement, under the aegis of Robert M. "Fighting Bob" La Follette and his family, who fought the old guard bitterly at the state and national levels. The "Wisconsin Idea" called for the use of the higher learning in modernizing government, and the state is notable for its strong network of state universities.

 

The first known inhabitants of what is now Wisconsin were Paleo-Indians, who first arrived in the region in about 10,000 BC at the end of the Ice Age. The retreating glaciers left behind a tundra in Wisconsin inhabited by large animals, such as mammoths, mastodons, bison, giant beaver, and muskox. The Boaz mastodon and the Clovis artifacts discovered in Boaz, Wisconsin show that the Paleo-Indians hunted these large animals. They also gathered plants as conifer forests grew in the glaciers' wake. With the decline and extinction of many large mammals in the Americas, the Paleo-Indian diet shifted toward smaller mammals like deer and bison.

 

During the Archaic Period, from 6000 to 1000 BC, mixed conifer-hardwood forests as well as mixed prairie-forests replaced Wisconsin's conifer forests. People continued to depend on hunting and gathering. Around 4000 BC they developed spear-throwers and copper tools such as axes, adzes, projectile points, knives, perforators, fishhooks and harpoons. Copper ornaments like beaded necklaces also appeared around 1500 BC. These people gathered copper ore at quarries on the Keweenaw Peninsula in Michigan and on Isle Royale in Lake Superior. They may have crafted copper artifacts by hammering and folding the metal and also by heating it to increase its malleability. However it is not certain if these people reached the level of copper smelting. Regardless, the Copper Culture of the Great Lakes region reached a level of sophistication unprecedented in North America. The Late Archaic Period also saw the emergence of cemeteries and ritual burials, such as the one in Oconto.

 

The Early Woodland Period began in 1000 BC as plants became an increasingly important part of the people's diet. Small scale agriculture and pottery arrived in southern Wisconsin at this time. The primary crops were maize, beans and squash. Agriculture, however, could not sufficiently support these people, who also had to hunt and gather. Agriculture at this time was more akin to gardening than to farming. Villages emerged along rivers, streams and lakes, and the earliest earthen burial mounds were constructed. The Havana Hopewell culture arrived in Wisconsin in the Middle Woodland Period, settling along the Mississippi River. The Hopewell people connected Wisconsin to their trade practices, which stretched from Ohio to Yellowstone and from Wisconsin to the Gulf of Mexico. They constructed elaborate mounds, made elaborately decorated pottery and brought a wide range of traded minerals to the area. The Hopewell people may have influenced the other inhabitants of Wisconsin, rather than displacing them. The Late Woodland Period began in about 400 AD, following the disappearance of the Hopewell culture from the area. The people of Wisconsin first used the bow and arrow in the final centuries of the Woodland Period, and agriculture continued to be practiced in the southern part of the state. The effigy mound culture dominated Southern Wisconsin during this time, building earthen burial mounds in the shapes of animals. Examples of effigy mounds still exist at High Cliff State Park and at Lizard Mound County Park. In northern Wisconsin people continued to survive on hunting and gathering, and constructed conical mounds.

 

People of the Mississippian culture expanded into Wisconsin around 1050 AD and established a settlement at Aztalan along the Crawfish River. While begun by the Caddoan people, other cultures began to borrow & adapt the Mississippian cultural structure. This elaborately planned site may have been the northernmost outpost of Cahokia, although it is also now known that some Siouan peoples along the Mississippi River may have taken part in the culture as well. Regardless, the Mississippian site traded with and was clearly influenced in its civic and defensive planning, as well as culturally, by its much larger southern neighbor. A rectangular wood-and-clay stockade surrounded the twenty acre site, which contained two large earthen mounds and a central plaza. One mound may have been used for food storage, as a residence for high-ranking officials, or as a temple, and the other may have been used as a mortuary. The Mississippian culture cultivated maize intensively, and their fields probably stretched far beyond the stockade at Aztalan, although modern agriculture has erased any traces of Mississippian practices in the area. Some rumors also speculate that the people of Aztalan may have experimented slightly with stone architecture in the making of a man-made, stone-line pond, at the very least. While the first settler on the land of what is now the city supposedly reported this, he filled it in and it has yet to be rediscovered.

 

Both Woodland and Mississippian peoples inhabited Aztalan, which was connected to the extensive Mississippian trade network. Shells from the Gulf of Mexico, copper from Lake Superior and Mill Creek chert have been found at the site. Aztalan was abandoned around 1200 AD. The Oneota people later built agriculturally based villages, similar to those of the Mississippians but without the extensive trade networks, in the state.

 

By the time the first Europeans arrived in Wisconsin, the Oneota had disappeared. The historically documented inhabitants, as of the first European incursions, were the Siouan speaking Dakota Oyate to the northwest, the Chiwere speaking Ho-Chunk (Winnebago) and the Algonquian Menominee to the northeast, with their lands beginning approximately north of Green Bay. The Chiwere lands were south of Green Bay and followed rivers to the southwest. Over time, other tribes moved to Wisconsin, including the Ojibwe, the Illinois, the Fauk, the Sauk and the Mahican. The Mahican were one of the last groups to arrived, coming from New York after the U.S. congress passed the Indian Removal Act of 1830.

 

The first European known to have landed in Wisconsin was Jean Nicolet. In 1634, Samuel de Champlain, governor of New France, sent Nicolet to contact the Ho-Chunk people, make peace between them and the Huron and expand the fur trade, and possibly to also find a water route to Asia. Accompanied by seven Huron guides, Nicolet left New France and canoed through Lake Huron and Lake Superior, and then became the first European known to have entered Lake Michigan. Nicolet proceeded into Green Bay, which he named La Baie des Puants (literally "The Stinking Bay"), and probably came ashore near the Red Banks. He made contact with the Ho-Chunk and Menominee living in the area and established peaceful relations. Nicolet remained with the Ho-Chunk the winter before he returned to Quebec.

 

The Beaver Wars fought between the Iroquois and the French prevented French explorers from returning to Wisconsin until 1652–1654, when Pierre Radisson and Médard des Groseilliers arrived at La Baie des Puants to trade furs. They returned to Wisconsin in 1659–1660, this time at Chequamegon Bay on Lake Superior. On their second voyage they found that the Ojibwe had expanded into northern Wisconsin, as they continued to prosper in the fur trade. They also were the first Europeans to contact the Santee Dakota. They built a trading post and wintered near Ashland, before returning to Montreal.

 

In 1665 Claude-Jean Allouez, a Jesuit missionary, built a mission on Lake Superior. Five years later he abandoned the mission, and journeyed to La Baie des Puants. Two years later he built St. Francis Xavier Mission near present-day De Pere. In his journeys through Wisconsin, he encountered groups of Native Americans who had been displaced by Iroquois in the Beaver Wars. He evangelized the Algonquin-speaking Potawatomi, who had settled on the Door Peninsula after fleeing Iroquois attacks in Michigan. He also encountered the Algonquin-speaking Sauk, who had been forced into Michigan by the Iroquois, and then had been forced into central Wisconsin by the Ojibwe and the Huron.

 

The next major expedition into Wisconsin was that of Father Jacques Marquette and Louis Jolliet in 1673. After hearing rumors from Indians telling of the existence of the Mississippi River, Marquette and Joliet set out from St. Ignace, in what is now Michigan, and entered the Fox River at Green Bay. They canoed up the Fox until they reached the river's westernmost point, and then portaged, or carried their boats, to the nearby Wisconsin River, where they resumed canoeing downstream to the Mississippi River. Marquette and Joliet reached the Mississippi near what is now Prairie du Chien, Wisconsin in June, 1673.

 

Nicolas Perrot, French commander of the west, established Fort St. Nicholas at Prairie du Chien, Wisconsin in May, 1685, near the southwest end of the Fox-Wisconsin Waterway. Perrot also built a fort on the shores of Lake Pepin called Fort St. Antoine in 1686, and a second fort, called Fort Perrot, on an island on Lake Peppin shortly after. In 1727, Fort Beauharnois was constructed on what is now the Minnesota side of Lake Pepin to replace the two previous forts. A fort and a Jesuit mission were also built on the shores of Lake Superior at La Pointe, in present-day Wisconsin, in 1693 and operated until 1698. A second fort was built on the same site in 1718 and operated until 1759. These were not military posts, but rather small storehouses for furs.

 

During the French colonial period, the first black people came to Wisconsin. The first record of a black person comes from 1725, when a black slave was killed along with four Frenchmen in a Native American raid on Green Bay. Other French fur traders and military personnel brought slaves with them to Wisconsin later in 1700s.

 

None of the French posts had permanent settlers; fur traders and missionaries simply visited them from time to time to conduct business.

 

In the 1720s, the anti-French Fox tribe, led by war chief Kiala, raided French settlements on the Mississippi River and disrupted French trade on Lake Michigan. From 1728 to 1733, the Fox fought against the French-supported Potawatomi, Ojibwa, Huron and Ottawa tribes. In 1733, Kiala was captured and sold into slavery in the West Indies along with other captured Fox.

 

Before the war, the Fox tribe numbered 1500, but by 1733, only 500 Fox were left. As a result, the Fox joined the Sauk people.

 

The details are unclear, but this war appears to have been part of the conflict that expelled the Dakota & Illinois peoples out onto the Great Plains, causing further displacement of other Chiwere, Caddoan & Algonquian peoples there—including the ancestors of the Ioway, Osage, Pawnee, Arikara, A'ani, Arapaho, Hidatsa, Cheyenne & Blackfoot.

 

The British gradually took over Wisconsin during the French and Indian War, taking control of Green Bay in 1761, gaining control of all of Wisconsin in 1763, and annexing the area to the Province of Quebec in 1774. Like the French, the British were interested in little but the fur trade. One notable event in the fur trading industry in Wisconsin occurred in 1791, when two free African Americans set up a fur trading post among the Menominee at present day Marinette. The first permanent settlers, mostly French Canadians, some Anglo-New Englanders and a few African American freedmen, arrived in Wisconsin while it was under British control. Charles Michel de Langlade is generally recognized as the first settler, establishing a trading post at Green Bay in 1745, and moving there permanently in 1764. In 1766 the Royal Governor of the new territory, Robert Rogers, engaged Jonathan Carver to explore and map the newly acquired territories for the Crown, and to search for a possible Northwest Passage. Carver left Fort Michilimackinac that spring and spent the next three years exploring and mapping what is now Wisconsin and parts of Minnesota.

 

Settlement began at Prairie du Chien around 1781. The French residents at the trading post in what is now Green Bay, referred to the town as "La Bey", however British fur traders referred to it as "Green Bay", because the water and the shore assumed green tints in early spring. The old French title was gradually dropped, and the British name of "Green Bay" eventually stuck. The region coming under British rule had virtually no adverse effect on the French residents as the British needed the cooperation of the French fur traders and the French fur traders needed the goodwill of the British. During the French occupation of the region licenses for fur trading had been issued scarcely and only to select groups of traders, whereas the British, in an effort to make as much money as possible from the region, issued licenses for fur trading freely, both to British and French residents. The fur trade in what is now Wisconsin reached its height under British rule, and the first self-sustaining farms in the state were established at this time as well. From 1763 to 1780, Green Bay was a prosperous community which produced its own foodstuff, built graceful cottages and held dances and festivities.

 

The United States acquired Wisconsin in the Treaty of Paris (1783). Massachusetts claimed the territory east of the Mississippi River between the present-day Wisconsin-Illinois border and present-day La Crosse, Wisconsin. Virginia claimed the territory north of La Crosse to Lake Superior and all of present-day Minnesota east of the Mississippi River. Shortly afterward, in 1787, the Americans made Wisconsin part of the new Northwest Territory. Later, in 1800, Wisconsin became part of Indiana Territory. Despite the fact that Wisconsin belonged to the United States at this time, the British continued to control the local fur trade and maintain military alliances with Wisconsin Indians in an effort to stall American expansion westward by creating a pro-British Indian barrier state.

 

The United States did not firmly exercise control over Wisconsin until the War of 1812. In 1814, the Americans built Fort Shelby at Prairie du Chien. During the war, the Americans and British fought one battle in Wisconsin, the July, 1814 Siege of Prairie du Chien, which ended as a British victory. The British captured Fort Shelby and renamed it Fort McKay, after Major William McKay, the British commander who led the forces that won the Battle of Prairie du Chien. However, the 1815 Treaty of Ghent reaffirmed American jurisdiction over Wisconsin, which was by then a part of Illinois Territory. Following the treaty, British troops burned Fort McKay, rather than giving it back to the Americans, and departed Wisconsin. To protect Prairie du Chien from future attacks, the United States Army constructed Fort Crawford in 1816, on the same site as Fort Shelby. Fort Howard was also built in 1816 in Green Bay.

 

Significant American settlement in Wisconsin, a part of Michigan Territory beginning in 1818, was delayed by two Indian wars, the minor Winnebago War of 1827 and the larger Black Hawk War of 1832.

 

The Winnebago War started when, in 1826, two Winnebago men were detained at Fort Crawford on charges of murder and then transferred to Fort Snelling in present-day Minnesota. The Winnebago in the area believed that both men had been executed. On June 27, 1827, a Winnebago war band led by Chief Red Bird and the prophet White Cloud (Wabokieshiek) attacked a family of settlers outside of Prairie du Chien, killing two. They then went on to attack two keel-boats on the Mississippi River that were heading toward Fort Snelling, killing two settlers and injuring four more. Seven Winnebago warriors were killed in those attacks. The war band also attacked settlers on the lower Wisconsin River and the lead mines at Galena, Illinois. The war band surrendered at Portage, Wisconsin, rather than fighting the United States Army that was pursuing them.

 

In the Black Hawk War, Sac, Fox, and Kickapoo Native Americans, otherwise known as the British Band, led by Chief Black Hawk, who had been relocated from Illinois to Iowa, attempted to resettle in their Illinois homeland on April 5, 1832, in violation of Treaty. On May 10 Chief Black Hawk decided to go back to Iowa. On May 14, Black Hawk's forces met with a group of militiamen led by Isaiah Stillman. All three members of Black Hawk's parley were shot and one was killed. The Battle of Stillman's Run ensued, leaving twelve militiamen and three to five Sac and Fox warriors dead. Of the fifteen battles of the war, six took place in Wisconsin. The other nine as well as several smaller skirmishes took place in Illinois. The first confrontation to take place in Wisconsin was the first attack on Fort Blue Mounds on June 6, in which one member of the local militia was killed outside of the fort. There was also the Spafford Farm Massacre on June 14, the Battle of Horseshoe Bend on June 16, which was a United States victory, the second attack on Fort Blue Mounds on June 20, and the Sinsinawa Mound raid on June 29. The Native Americans were defeated at the Battle of Wisconsin Heights on July 21, with forty to seventy killed and only one killed on the United States side. The Ho Chunk Nation fought on the side of the United States. The Black Hawk War ended with the Battle of Bad Axe on August 1–2, with over 150 of the British Band dead and 75 captured and only five killed in the United States forces. Those crossing the Mississippi were killed by Lakota, American and Ho Chunk Forces. Many of the British Band survivors were handed over to the United States on August 20 by the Lakota Tribe, with the exception of Black Hawk, who had retreated into Vernon County, Wisconsin and White Cloud, who surrendered on August 27, 1832. Black Hawk was captured by Decorah south of Bangor, Wisconsin, south of the headwaters of the La Crosse River. He was then sold to the U.S. military at Prairie du Chien, accepted by future Confederate president, Stephen Davis, who was a soldier at the time. Black Hawk's tribe had killed his daughter. Black Hawk moved back to Iowa in 1833, after being held prisoner by the United States government.

 

The Francois Vertefeuille House in Prairie du Chien was built in the 1810s by fur traders. A rare example of the pièce-sur-pièce à coulisse technique once common in French-Canadian architecture, it is one of the oldest buildings in the state and is listed on the National Register of Historic Places.

 

The Cornish immigrants who worked in Wisconsin's lead mines build simple stone cabins from limestone. Six cabins are preserved at the Pendarvis Historic Site in Mineral Point.

The resolution of these Indian conflicts opened the way for Wisconsin's settlement. Many of the region's first settlers were drawn by the prospect of lead mining in southwest Wisconsin. This area had traditionally been mined by Native Americans. However, after a series of treaties removed the Indians, the lead mining region was opened to white miners. Thousands rushed in from across the country to dig for the "gray gold". By 1829, 4,253 miners and 52 licensed smelting works were in the region. Expert miners from Cornwall in Britain informed a large part of the wave of immigrants. Boom towns like Mineral Point, Platteville, Shullsburg, Belmont, and New Diggings sprang up around mines. The first two federal land offices in Wisconsin were opened in 1834 at Green Bay and at Mineral Point. By the 1840s, southwest Wisconsin mines were producing more than half of the nation's lead, which was no small amount, as the United States was producing annually some 31 million pounds of lead. Wisconsin was dubbed the "Badger State" because of the lead miners who first settled there in the 1820s and 1830s. Without shelter in the winter, they had to "live like badgers" in tunnels burrowed into hillsides.

 

Although the lead mining area drew the first major wave of settlers, its population would soon be eclipsed by growth in Milwaukee. Milwaukee, along with Sheboygan, Manitowoc, and Kewaunee, can be traced back to a series of trading posts established by the French trader Jacques Vieau in 1795. Vieau's post at the mouth of the Milwaukee River was purchased in 1820 by Solomon Juneau, who had visited the area as early as 1818. Juneau moved to what is now Milwaukee and took over the trading post's operation in 1825.

 

When the fur trade began to decline, Juneau focused on developing the land around his trading post. In the 1830s, he formed a partnership with Green Bay lawyer Morgan Martin, and the two men bought 160 acres (0.6 km2) of land between Lake Michigan and the Milwaukee River. There they founded the settlement of Juneautown. Meanwhile, an Ohio businessman named Byron Kilbourn began to invest in the land west of the Milwaukee River, forming the settlement of Kilbourntown. South of these two settlements, George H. Walker founded the town of Walker's Point in 1835. Each of these three settlements engaged in a fierce competition to attract the most residents and become the largest of the three towns. In 1840, the Wisconsin State Legislature ordered the construction of a bridge over the Milwaukee River to replace the inadequate ferry system. In 1845, Byron Kilbourn, who had been trying to isolate Juneautown to make it more dependent on Kilbourntown, destroyed a portion of the bridge, which started the Milwaukee Bridge War. For several weeks, skirmishes broke out between the residents of both towns. No one was killed but several people were injured, some seriously. On January 31, 1846, the settlements of Juneautown, Kilbourntown, and Walker's Point merged into the incorporated city of Milwaukee. Solomon Juneau was elected mayor. The new city had a population of about 10,000 people, making it the largest city in the territory. Milwaukee remains the largest city in Wisconsin to this day.

 

Wisconsin Territory was created by an act of the United States Congress on April 20, 1836. By fall of that year, the best prairie groves of the counties surrounding Milwaukee were occupied by New England farmers. The new territory initially included all of the present day states of Wisconsin, Minnesota, and Iowa, as well as parts of North and South Dakota. At the time the Congress called it the "Wiskonsin Territory".

 

The first territorial governor of Wisconsin was Henry Dodge. He and other territorial lawmakers were initially busied by organizing the territory's government and selecting a capital city. The selection of a location to build a capitol caused a heated debate among the territorial politicians. At first, Governor Dodge selected Belmont, located in the heavily populated lead mining district, to be capital. Shortly after the new legislature convened there, however, it became obvious that Wisconsin's first capitol was inadequate. Numerous other suggestions for the location of the capital were given representing nearly every city that existed in the territory at the time, and Governor Dodge left the decision up to the other lawmakers. The legislature accepted a proposal by James Duane Doty to build a new city named Madison on an isthmus between lakes Mendota and Monona and put the territory's permanent capital there. In 1837, while Madison was being built, the capitol was temporarily moved to Burlington. This city was transferred to Iowa Territory in 1838, along with all the lands of Wisconsin Territory west of the Mississippi River.

 

Wyman calls Wisconsin a "palimpsest" of layer upon layer of peoples and forces, each imprinting permanent influences. He identified these layers as multiple "frontiers" over three centuries: Native American frontier, French frontier, English frontier, fur-trade frontier, mining frontier, and the logging frontier. Finally the coming of the railroad brought the end of the frontier.

 

The historian of the frontier, Frederick Jackson Turner, grew up in Wisconsin during its last frontier stage, and in his travels around the state he could see the layers of social and political development. One of Turner's last students, Merle Curti used in-depth analysis of local history in Trempealeau County to test Turner's thesis about democracy. Turner's view was that American democracy, "involved widespread participation in the making of decisions affecting the common life, the development of initiative and self-reliance, and equality of economic and cultural opportunity. It thus also involved Americanization of immigrant." Curti found that from 1840 to 1860 in Wisconsin the poorest groups gained rapidly in land ownership, and often rose to political leadership at the local level. He found that even landless young farm workers were soon able to obtain their own farms. Free land on the frontier therefore created opportunity and democracy, for both European immigrants as well as old stock Yankees.

 

By the mid-1840s, the population of Wisconsin Territory had exceeded 150,000, more than twice the number of people required for Wisconsin to become a state. In 1846, the territorial legislature voted to apply for statehood. That fall, 124 delegates debated the state constitution. The document produced by this convention was considered extremely progressive for its time. It banned commercial banking, granted married women the right to own property, and left the question of African-American suffrage to a popular vote. Most Wisconsinites considered the first constitution to be too radical, however, and voted it down in an April 1847 referendum.

 

In December 1847, a second constitutional convention was called. This convention resulted in a new, more moderate state constitution that Wisconsinites approved in a March 1848 referendum, enabling Wisconsin to become the 30th state on May 29, 1848. Wisconsin was the last state entirely east of the Mississippi River (and by extension the last state formed entirely from territory assigned to the U.S. in the 1783 Treaty of Paris) to be admitted to the Union.

 

With statehood, came the creation of the University of Wisconsin–Madison, which is the state's oldest public university. The creation of this university was set aside in the state charter.

 

In 1847, the Mineral Point Tribune reported that the town's furnaces were producing 43,800 pounds (19,900 kg) of lead each day. Lead mining in southwest Wisconsin began to decline after 1848 and 1849 when the combination of less easily accessible lead ore and the California Gold Rush made miners leave the area. The lead mining industry in mining communities such as Mineral Point managed to survive into the 1860s, but the industry was never as prosperous as it was before the decline.

 

By 1850 Wisconsin's population was 305,000. Roughly a third (103,000) were Yankees from New England and western New York state. The second largest group were the Germans, numbering roughly 38,000, followed by 28,000 British immigrants from England, Scotland and Wales. There were roughly 63,000 Wisconsin-born residents of the state. The Yankee migrants would be the dominant political class in Wisconsin for many years.

 

A railroad frenzy swept Wisconsin shortly after it achieved statehood. The first railroad line in the state was opened between Milwaukee and Waukesha in 1851 by the Chicago, Milwaukee, St. Paul and Pacific Railroad. The railroad pushed on, reaching Milton, Wisconsin in 1852, Stoughton, Wisconsin in 1853, and the capital city of Madison in 1854. The company reached its goal of completing a rail line across the state from Lake Michigan to the Mississippi River when the line to Prairie du Chien was completed in 1857. Shortly after this, other railroad companies completed their own tracks, reaching La Crosse in the west and Superior in the north, spurring development in those cities. By the end of the 1850s, railroads crisscrossed the state, enabling the growth of other industries that could now easily ship products to markets across the country.

 

Nelson Dewey, the first governor of Wisconsin, was a Democrat. Born in Lebanon, Connecticut, Dewey's father's family had lived in New England since 1633, when their ancestor, Thomas Due, had come to America from Kent County, England. Dewey oversaw the transition from the territorial to the new state government. He encouraged the development of the state's infrastructure, particularly the construction of new roads, railroads, canals, and harbors, as well as the improvement of the Fox and Wisconsin Rivers. During his administration, the State Board of Public Works was organized. Dewey was an abolitionist and the first of many Wisconsin governors to advocate against the spread of slavery into new states and territories. The home Dewey built near Cassville is now a state park.

 

Between 1848 and 1862, Wisconsin had three Democratic governors, all of whom were in office prior to 1856, four Republican governors, all of whom were in office after 1856, and one Whig governor, Leonard J. Farwell, who served from 1852 to 1854. Under Farwell's governorship, Wisconsin became the second state to abolish capital punishment.

 

In the presidential elections of 1848 and 1852, the Democratic Party won Wisconsin. In the elections of 1856, 1860, and 1864, the Republican Party won the state.

 

Between the 1840s and 1860s, settlers from New England, New York and Germany arrived in Wisconsin. Some of them brought radical political ideas to the state. In the 1850s, stop-overs on the underground railroad were set up in the state and abolitionist groups were formed. Some abolitionist and free-soil activists left the Whig and Democratic parties, running and in some cases being elected as candidates of the Liberty Party and Free Soil Party. The most successful such group was the Republican Party. On March 20, 1854, the first county meeting of the Republican Party of the United States, consisting of about thirty people, was held in the Little White Schoolhouse in Ripon, Wisconsin. Ripon claims to be the birthplace of the Republican Party, as does Jackson, Michigan, where the first statewide convention was held. The new party absorbed most of the former Free Soil and Liberty Party members.

 

A notable instance of abolitionism in Wisconsin was the rescue of Joshua Glover, an escaped slave from St. Louis who sought refuge in Racine, Wisconsin in 1852. He was caught in 1854 by federal marshals and put in a jail at Cathedral Square in Milwaukee, where he waited to be returned to his owner. A mob of 5,000 people led by Milwaukee abolitionist Sherman Booth, himself a "Yankee" transplant from rural New York, sprung Glover from jail and helped him escape to Canada via the underground railroad.

 

In the 1850s, two-thirds of immigrants to Wisconsin came from the eastern United States, the other one-third being foreign-born. The majority of the foreign born were German immigrants. Many Irish and Norwegian immigrants also came to Wisconsin in the 1850s. Northern Europeans, many of whom were persecuted in their home countries because of their support for the failed bourgeois Revolutions of 1848, often chose Wisconsin because of the liberal constitution of human rights such as the state's unusual recognition of immigrants' right to vote and rights to citizenship.

 

Yankee settlers from New England started arriving in Wisconsin in the 1830s spread throughout the southern half of the territory. They dominated early politics. Most of them started as farmers, but the larger proportion moved to towns and cities as entrepreneurs, businessmen and professionals.

 

Historian John Bunker has examined the worldview of the Yankee settlers in the Wisconsin:

 

Because they arrived first and had a strong sense of community and mission, Yankees were able to transplant New England institutions, values, and mores, altered only by the conditions of frontier life. They established a public culture that emphasized the work ethic, the sanctity of private property, individual responsibility, faith in residential and social mobility, practicality, piety, public order and decorum, reverence for public education, activists, honest, and frugal government, town meeting democracy, and he believed that there was a public interest that transcends particular and stick ambitions. Regarding themselves as the elect and just in a world rife with sin, air, and corruption, they felt a strong moral obligation to define and enforce standards of community and personal behavior....This pietistic worldview was substantially shared by British, Scandinavian, Swiss, English-Canadian and Dutch Reformed immigrants, as well as by German Protestants and many of the "Forty-Niners."

 

The color guard of the Wisconsin 8th Infantry with Old Abe

Wisconsin enrolled 91,379 soldiers in the Union Army during the American Civil War. 272 of enlisted Wisconsin troops were African American, with the rest being white. Of these, 3,794 were killed in action or mortally wounded, 8,022 died of disease, and 400 were killed in accidents. The total mortality was 12,216 men, about 13.4 percent of total enlistments. Many soldiers trained at Camp Randall currently the site of the University of Wisconsin's athletic stadium.

 

The draft implemented by President Lincoln in 1862 was unpopular in some Wisconsin communities, particularly among German and Luxembourgish immigrants. In November 1862, draft riots broke out in Milwaukee, Port Washington, and West Bend, which were quelled by deploying U.S. troops in the cities.

 

Most Wisconsin troops served in the western theater, although several Wisconsin regiments fought in the east, such as the 2nd Wisconsin Volunteer Infantry Regiment, 6th Wisconsin Volunteer Infantry Regiment, and 7th Wisconsin Volunteer Infantry Regiment, which formed part of the Iron Brigade. These three regiments fought in the Northern Virginia Campaign, the Maryland Campaign, the Battle of Fredericksburg, the Battle of Chancellorsville, the Gettysburg Campaign, the Battle of Mine Run, the Overland Campaign, the Siege of Petersburg, and the Appomattox Campaign.

 

The 8th Wisconsin Volunteer Infantry Regiment, which fought in the western theater of war, is also worthy of mention, having fought at the Battle of Iuka, the Siege of Vicksburg, the Red River Campaign, and the Battle of Nashville. The 8th Wisconsin is also known for its mascot, Old Abe.

 

Agriculture was a major component of the Wisconsin economy during the 19th century. Wheat was a primary crop on early Wisconsin farms. In fact, during the mid 19th century, Wisconsin produced about one sixth of the wheat grown in the United States. However, wheat rapidly depleted nutrients in the soil, especially nitrogen, and was vulnerable to insects, bad weather, and wheat leaf rust. In the 1860s, chinch bugs arrived in Wisconsin and damaged wheat across the state. As the soil lost its quality and prices dropped, the practice of wheat farming moved west into Iowa and Minnesota. Some Wisconsin farmers responded by experimenting with crop rotation and other methods to restore the soil's fertility, but a larger number turned to alternatives to wheat.

 

In parts of northern Wisconsin, farmers cultivated cranberries and in a few counties in south central Wisconsin, farmers had success growing tobacco, but the most popular replacement for wheat was dairy farming. As wheat fell out of favor, many Wisconsin farmers started raising dairy cattle and growing feed crops, which were better suited to Wisconsin's climate and soil. One reason for the popularity of dairy farming was that many of Wisconsin's farmers had come to the state from New York, the leading producer of dairy products at the time. In addition, many immigrants from Europe brought an extensive knowledge of cheese making. Dairying was also promoted by the University of Wisconsin–Madison's school of agriculture, which offered education to dairy farmers and researched ways to produce better dairy products. The first test of butterfat content in milk was developed at the university, which allowed for consistency in the quality of butter and cheese. By 1899, over ninety percent of Wisconsin farms raised dairy cows and by 1915, Wisconsin had become the leading producer of dairy products in the United States, a position it held until the 1990s. The term America's Dairyland appeared in newspapers as early as 1913 when the state's butterfat production became first in the nation. In 1939 the state legislature enacted a bill to add the slogan to the state's automobile license plates. It continues to be the nation's largest producer of cheese, no longer focusing on the raw material (milk) but rather the value-added products. Because of this, Wisconsin continues to promote itself as "America's Dairyland", Wisconsinites are referred to as cheeseheads in some parts of the country, including Wisconsin, and foam cheesehead hats are associated with Wisconsin and its NFL team, the Green Bay Packers.

 

The first brewery in Wisconsin was opened in 1835 in Mineral Point by brewer John Phillips. A year later, he opened a second brewery in Elk Grove. In 1840, the first brewery in Milwaukee was opened by Richard G. Owens, William Pawlett, and John Davis, all Welsh immigrants. By 1860, nearly 200 breweries operated in Wisconsin, more than 40 of them in Milwaukee. The huge growth in the brewing industry can be accredited, in part, to the influx of German immigrants to Wisconsin in the 1840s and 1850s. Milwaukee breweries also grew in volume due to the destruction of Chicago's breweries during the great Chicago fire. In the second half of the 19th century, four of the largest breweries in the United States opened in Milwaukee: Miller Brewing Company, Pabst Brewing Company, Valentin Blatz Brewing Company, and Joseph Schlitz Brewing Company. In the 20th century Pabst absorbed Blatz and Schlitz, and moved its brewery and corporate headquarters to California. Miller continues to operate in Milwaukee. The Jacob Leinenkugel Brewing Company opened in Chippewa Falls, Wisconsin in 1867 and continues to operate there to this day.

 

Agriculture was not viable in the densely forested northern and central parts of Wisconsin. Settlers came to this region for logging. The timber industry first set up along the Wisconsin River. Rivers were used to transport lumber from where the wood was being cut, to the sawmills. Sawmills in cities like Wausau and Stevens Point sawed the lumber into boards that were used for construction. The Wolf River also saw considerable logging by industrious Menominee. The Black and Chippewa Rivers formed a third major logging region. That area was dominated by one company owned by Frederick Weyerhaeuser. The construction of railroads allowed loggers to log year round, after rivers froze, and go deeper into the forests to cut down previously unshippable wood supplies. Wood products from Wisconsin's forests such as doors, furniture, beams, shipping boxes, and ships were made in industrial cities with connects to the Wisconsin lumber industry such as Chicago, Milwaukee, Sheboygan, and Manitowoc. Milwaukee and Manitowoc were centers for commercial ship building in Wisconsin. Many cargo ships built in these communities were used to transport lumber from logging ports to major industrial cities. Later a growing paper industry in the Fox River Valley made use of wood pulp from the state's lumber industry.

 

Logging was a dangerous trade, with high accident rates. On October 8, 1871, the Peshtigo Fire burned 1,875 square miles (4,850 km2) of forest land around the timber industry town of Peshtigo, Wisconsin, killing between 1,200 and 2,500 people. It was the deadliest fire in United States history.

 

From the 1870s to the 1890s, much of the logging in Wisconsin was done by immigrants from Scandinavia.

 

By the beginning of the twentieth century, logging in Wisconsin had gone into decline. Many forests had been cleared and never replanted and large corporations in the Pacific Northwest took business away from the Wisconsin industry. The logging companies sold their land to immigrants and out of work lumberjacks who hoped to turn the acres of pine stumps into farms, but few met with success.

 

Wisconsin is known in the 18th century to have discovered gold deposits in western Wisconsin. Such discoveries occurred around the town of St. Croix Falls where a settler stumbled across a gold nugget valued to be worth lots at the time. It's no surprise Wisconsin's western region was once the site of volcanic eruptions so it makes sense that minerals that weren't commonly found in other parts of the state would be present here.

 

Wisconsin was a regional and national model for innovation and organization in the Progressive Era in the early 20th century. The direct primary law of 1904 made it possible to mobilize voters against the previously dominant political machines. The first factors involved the La Follette family going back and forth between trying control of the Republican Party and third-party activity. Secondly the Wisconsin idea, of intellectuals and planners based at the University of Wisconsin shaping government policy. LaFollette started as a traditional Republican in the 1890s, where he fought against populism and other radical movements. He broke decisively with the state Republican leadership, and took control of the party by 1900, all the time quarrelling endlessly with ex-allies.

 

Wisconsin at this time was a de facto one party state, as the Democratic Party was then a minor conservative group in the state. Serious opposition more often than not came from the Socialist Party, with a strong German and union constituency in Milwaukee. The socialists often collaborated with the progressive Republicans in statewide politics. Senator Robert M. La Follette tried to use his national reputation to challenge President Taft for the Republican nomination in 1912. However, as soon as Roosevelt declared his candidacy, most of La Follette's supporters switched to the former president. During the Wilson administration he supported many of Wilson's domestic programs in Congress, however he strongly opposed Wilson's foreign policy, and mobilized the large German and Scandinavian populations in Wisconsin to demand neutrality during World War I. During the final years of his career, he split with the Republican Party and ran an independent campaign for president in 1924. In his bid for the presidency he won 1/6 of the national popular vote, but was only able to win his home state.

 

Following his death, his two sons assumed control of the Wisconsin Republican Party after a brief period of intraparty factional disputes. Following in their father's footsteps they helped form the Wisconsin Progressive Party, in many ways a spiritual successor to the party La Follette had founded in 1924. The party surged to popularity during the mid-1930s off of the inaction of the moderately conservative Schmedeman administration, and were able to gain the support of then president Franklin D. Roosevelt. Much of the new party's support could be owed to the personalities leading it, and the support of Roosevelt and progressive Democrats. The party saw success across Wisconsin's elected offices in the state and congress. Despite its popularity the party eventually declined as Philip, engulfed in scandal and accusations of authoritarianism and fiscal responsibility, lost re-election for the final time in 1938. Following this defeat Philip left electoral politics and joined World War II in the Pacific Theater. Due to joining the war, the National Progressives of America, an organization the La Follettes had hoped would precede a national realignment, faltered. Both organizations began to tear themselves apart as La Follette's absence led to vicious intraparty fighting which ultimately led to a vote to dissolve itself, which Philip was told to stay away from.

 

The Wisconsin Idea was the commitment of the University of Wisconsin under President Charles R. Van Hise, with LaFollette support, to use the university's powerful intellectual resources to develop practical progressive reforms for the state and indeed for the nation.

 

Between 1901 and 1911, Progressive Republicans in Wisconsin created the nation's first comprehensive statewide primary election system, the first effective workplace injury compensation law, and the first state income tax, making taxation proportional to actual earnings. The key leaders were Robert M. La Follette and (in 1910) Governor Francis E. McGovern. However, in 1912 McGovern supported Roosevelt for president and LaFollette was outraged. He made sure the next legislature defeated the governor's programs, and that McGovern was defeated in his bid for the Senate in 1914. The Progressive movement split into hostile factions. Some was based on personalities—especially La Follette's style of violent personal attacks against other Progressives, and some was based on who should pay, with the division between farmers (who paid property taxes) and the urban element (which paid income taxes). This disarray enabled the conservatives (called "Stalwarts") to elect Emanuel Philipp as governor in 1914. The Stalwart counterattack said the Progressives were too haughty, too beholden to experts, too eager to regulate, and too expensive. Economy and budget cutting was their formula.

 

During World War I, due to the neutrality of Wisconsin and many Wisconsin Republicans, progressives, and German immigrants which made up 30 to 40 percent of the state population, Wisconsin would gain the nickname "Traitor State" which was used by many "hyper patriots".

 

As the war raged on in Europe, Robert M. La Follette, leader of the anti-war movement in Wisconsin, led a group of progressive senators in blocking a bill by president Woodrow Wilson which would have armed merchant ships with guns. Many Wisconsin politicians such as Governor Phillipp and senator Irvine Lernroot were accused of having divided loyalties. Even with outspoken opponents to the war, at the onset of the war many Wisconsinites would abandon neutrality. Businesses, labor and farms all enjoyed prosperity from the war. With over 118,000 going into military service, Wisconsin was the first state to report for four national drafts conducted by the U.S. military.

 

The progressive Wisconsin Idea promoted the use of the University of Wisconsin faculty as intellectual resources for state government, and as guides for local government. It promoted expansion of the university through the UW-Extension system to reach all the state's farming communities. University economics professors John R. Commons and Harold Groves enabled Wisconsin to create the first unemployment compensation program in the United States in 1932. Other Wisconsin Idea scholars at the university generated the plan that became the New Deal's Social Security Act of 1935, with Wisconsin expert Arthur J. Altmeyer playing the key role. The Stalwarts counterattacked by arguing if the university became embedded in the state, then its internal affairs became fair game, especially the faculty preference for advanced research over undergraduate teaching. The Stalwarts controlled the Regents, and their interference in academic freedom outraged the faculty. Historian Frederick Jackson Turner, the most famous professor, quit and went to Harvard.

 

Wisconsin took part in several political extremes in the mid to late 20th century, ranging from the anti-communist crusades of Senator Joseph McCarthy in the 1950s to the radical antiwar protests at UW-Madison that culminated in the Sterling Hall bombing in August 1970. The state became a leader in welfare reform under Republican Governor Tommy Thompson during the 1990s. The state's economy also underwent further transformations towards the close of the 20th century, as heavy industry and manufacturing declined in favor of a service economy based on medicine, education, agribusiness, and tourism.

 

In 2011, Wisconsin became the focus of some controversy when newly elected governor Scott Walker proposed and then successfully passed and enacted 2011 Wisconsin Act 10, which made large changes in the areas of collective bargaining, compensation, retirement, health insurance, and sick leave of public sector employees, among other changes. A series of major protests by union supporters took place that year in protest to the changes, and Walker survived a recall election held the next year, becoming the first governor in United States history to do so. Walker enacted other bills promoting conservative governance, such as a right-to-work law, abortion restrictions, and legislation removing certain gun controls. Walker's administration also made critical changes to Wisconsin's election process, enacting one of the most aggressive legislative gerrymanders in the country and replacing Wisconsin's nonpartisan state elections board with a commission of political appointees. When Walker lost re-election in 2018, he collaborated with the gerrymandered Republican legislature to strip powers from the incoming Governor and Attorney General. Since 2011, Wisconsin has seen increasing governmental dysfunction and paralysis, as the durable gerrymander insulated the legislature from electoral consequences.

 

Following the election of Tony Evers as governor in 2018, Wisconsin has seen a string of liberal victories at every level of government which have slowly chipped away at the conservative dominance within the state. This eventually led to the Wisconsin supreme court overturning the Walker-era legislative gerrymander in Clarke v. Wisconsin Elections Commission.

My friend's roommate's bedding looked cool one morning so I took a picture of it. I liked the lighting, the shadows.

Ristorante Italiano, New York City. danicoristorante.com/

From my journal:

"30 Nov 2005--Off to NYC [from Columbia SC to LGA]-- now in the 50-seat airplane, people getting on, worrying about luggage. Much mechanical disarray with the kiosk system earlier, but all OK.

The opera tonight [La Boheme at the Met]--should be a big adventure.

Lunch-- Italian. "Da Nico", marvelous.

[starter for Richard] Fried calamari--very light, crispy.

[starter for John] Fried zucchini--hot, crispy lots of crust, both with fresh tomato sauce

Italian beer: "Peroni"

Old favorites on tape: "I'll Take Manhattan" "Moonlight Reverie" "What a Wonderful Day" "'s Wonderful, 's Marvelous" "Night & Day" "A Nightingale Sings"

[entrees]

R: pizza (4 slices), prosciutto, peppers, artichoke, mushrooms

J: calamari * (again! on linguini-- tomato, spicy, a bit peppery excellent Garlic

Pretty busy in here and one of the men in charge every now and then breaks into song along with the music--

* "Calamari Fra Diavolo"

...and he brought us a plate of fried dough...which we REALLY need now

At the restaurant when the waiter takes all the glasses up to clear the table and then wads up all the napkins together and rolls the tablecloth up, sticks it under his arm, and takes everything to the back...it's sad, he's taking away all those lingering memories of that dinner that somebody was having.

A tiny castle over the river Bode. Partly renovated after years of disarray it features parts from all kind of centuries, back to the 16th.

Poor girl caught in a state of disarray !

Oil painting; 56.8 x 46.5 cm.

 

Jean-Baptiste Greuze was a French genre and portrait painter who initiated a mid-18th-century vogue for sentimental and moralizing anecdotes in paintings.

 

Greuze studied first at Lyon and afterward at the Royal Academy in Paris. He first exhibited at the Salon of 1755 and won an immediate success with his moralizing genre painting of Father Reading the Bible to His Children (1755). Although Greuze’s attention at this time was fixed on a less-pretentious type of genre painting in which the influence of 17th-century Dutch masters is apparent, the favorable attention he received turned his head and established the lines of his future career.

 

In 1755 Greuze left for Italy but remained impervious to the influence of Italian painting. In 1759 he became acquainted with Denis Diderot, who encouraged his inclination toward melodramatic genre, and throughout the 1760s Greuze reached new heights of popular acclaim with such works as The Village Betrothal (1761) and The Father’s Curse and The Prodigal Son (both c. 1765).

 

Greuze submitted to the Salon in 1769 a large, rather dreary historical painting, Septimius Severus Reproaching Caracalla, which he hoped would gain him admission to the academy as a history painter. But the academy would admit him to membership only as a genre painter, and so the resentful artist exhibited his works to the public only in his own studio for the next 30 years. In addition to moralizing genre, he painted young girls in poses of feigned innocence and calculated disarray.

 

Throughout the 1770s Greuze was kept busy painting moralizing pictures, but by the 1780s his work had gone out of fashion and his income was precarious. By 1785 his once-considerable talent was exhausted. The reaction against his sentimental genre paintings resulted in critical neglect of his drawings and portraits, in which Greuze’s superb technical gifts are displayed with great integrity.

 

The Lost World (20th Century Fox, 1960).

youtu.be/h1CLA-gJbmA?t=5s Trailer

Irwin Allen, the producer who would go on to make the disaster film a huge success in the seventies, brought us this Saturday afternoon fodder with giant lizards posing as dinosaurs. Starring Michael Rennie, David Hedison, Claude Rains and Jill St. John.

Intended as a grand sci-fi/fantasy epic remake of Arthur Conan Doyle's classic novel. The first film adaptation, shot in 1925, was a milestone in many ways, but movie making and special effects had come a long way in 35 years. Irwin Allen's Lost World (LW) & 20th Century Fox version was derailed on the way to greatness, but managed to still be a respectable, (if more modest) A-film. Allen's screenplay followed the book fairly well, telling of Professor Challenger's expedition to a remote plateau in the Amazon upon which dinosaurs still lived. Aside from the paleontological presumptions in the premise, there is little "science" in The Lost World. Nonetheless, dinosaur movies have traditionally been lumped into the sci-fi genre.

Synopsis

When his plane lands in London, crusty old professor George Edward Challenger is besieged by reporters questioning him about his latest expedition to the headwaters of the Amazon River. After the irascible Challenger strikes reporter Ed Malone on the head with his umbrella, Jennifer Holmes, the daughter of Ed's employer, Stuart Holmes, offers the injured reporter a ride into town. That evening, Jenny is escorted by Lord John Roxton, an adventurer and big game hunter, to Challenger's lecture at the Zoological Institute, and Ed invites them to sit with him. When Challenger claims to have seen live dinosaurs, his colleague Professor Summerlee scoffs and asks for evidence. Explaining that his photographs of the creatures were lost when his boat overturned, Challenger invites Summerlee to accompany him on a new expedition to the "lost world," and asks for volunteers. When Roxton raises his hand, Jenny insists on going with him, but she is rejected by Challenger because she is a woman. Ed is given a spot after Holmes offers to fund the expedition if the reporter is included. The four then fly to the Amazon, where they are met by Costa, their guide and Manuel Gomez, their helicopter pilot. Arriving unexpectedly, Jenny and her younger brother David insist on joining them. Unable to arrange transportation back to the United States, Challenger reluctantly agrees to take them along. The next day, they take off for the lost world and land on an isolated plateau inhabited by dinosaurs. That evening, a dinosaur stomps out of the jungle, sending them scurrying for cover. After the beast destroys the helicopter and radio, the group ventures inland. When one of the creatures bellows threateningly, they flee, and in their haste, Challenger and Ed slip and tumble down a hillside, where they encounter a native girl. The girl runs into the jungle, but Ed follows and captures her. They then all take refuge in a cave, where Roxton, who has been making disparaging remarks about Jenny's desire to marry him solely for his title, angers Ed. Ed lunges at Roxton, pushing him to the ground, where he finds a diary written by Burton White, an adventurer who hired Roxton three years earlier to lead him to the lost diamonds of Eldorado. Roxton then admits that he never met White and his party because he was delayed by a dalliance with a woman, thus abandoning them to certain death. Gomez angrily snaps that his good friend Santiago perished in the expedition. That night, Costa tries to molest the native girl, and David comes to her rescue and begins to communicate with her through sign language. After Gomez goes to investigate some movement he spotted in the vegetation, he calls for help, and when Roxton runs out of the cave, a gunshot from an unseen assailant is fired, nearly wounding Roxton and sending the girl scurrying into the jungle. Soon after, Ed and Jenny stray from camp and are pursued by a dinosaur, and after taking refuge on some cliffs, watch in horror as their stalker becomes locked in combat with another prehistoric creature and tumbles over the cliffs into the waters below. Upon returning to camp, they discover it deserted, their belongings in disarray. As David stumbles out from some rocks to report they were attacked by a tribe of natives, the cannibals return and imprison them in a cave with the others. As the drums beat relentlessly, signaling their deaths, the native girl reappears and motions for them to follow her through a secret passageway that leads to the cave in which Burton White lives, completely sightless. After confirming that all in his expedition perished, White tells them of a volcanic passageway that will lead them off the plateau, but warns that they must first pass through the cave of fire. Cautioning them that the natives plan to sacrifice them, White declares that their only chance of survival is to slip through the cave and then seal it with a boulder. After giving them directions to the cave, White asks them to take the girl along. As the earth, on the verge of a volcanic eruption, quakes, they set off through the Graveyard of the Damned, a vast cavern littered with dinosaur skeletons, the victims of the deadly sulfurous gases below. Pursued by the ferocious natives, Roxton takes the lead as they inch their way across a narrow ledge above the molten lava. After escaping the natives, they jam the cave shut with a boulder and, passing a dam of molten lava, finally reach the escape passage. At its mouth is a pile of giant diamonds and a dinosaur egg. As Costa heaps the diamonds into his hat, Challenger fondles the egg and Gomez pulls a gun and announces that Roxton must die in exchange for the death of Santiago, Gomez' brother. Acting quickly, Ed hurls the diamonds at Gomez, throwing him off balance and discharging his gun. The gunshot awakens a creature slumbering in the roiling waters below. After the beast snatches Costa and eats him alive, Ed tries to dislodge the dam, sending a few scorching rocks tumbling down onto the monster. Feeling responsible for the peril of the group, Gomez sacrifices his life by using his body as a lever to dislodge the dam, covering the creature with oozing lava. As the cave begins to crumble from the impending eruption, the group hurries to safety. Just then, the volcano explodes, destroying the lost world. After Roxton hands Ed a handful of diamonds he has saved as a wedding gift for him and Jenny, Challenger proudly displays his egg, which then hatches, revealing a baby dinosaur. The End.

The 50s had seen several examples of the dinosaur sub-genre. LW is one of the more lavish ones, owing to color by DeLuxe and CinemaScope. The A-level actors help too. Claude Rains plays the flamboyant Challenger. Michael Rennie plays Roxton, perhaps a bit too cooly. Jill St. John and Vitina Marcus do well as the customary eye candy. David Hedison as Malone and Fernando Lamas as Gomez round out the bill.

The first film version of LW was a silent movie shot in 1925: screenplay by Marion Fairfax. The film featured stop-motion animated dinosaurs by a young Willis O'Brien. Fairfax followed Doyle's text, but Fairfax added a young woman to the team, Paula White. Ostensibly trying to find her father from the first failed expedition, she provided the love triangle interest between Malone and Roxton.

Allen's screenplay tried to stick to Doyle's text as much as Hollywood would allow. It carried on Fairfax's invention of the young woman member of the group as triangle fodder. Fairfax had Doyle's ape men (ape man) but omitted the native humans. Allen had the natives, but no ape men. Allen revived the Gomez/revenge subplot, which Fairfax skipped. Doyle's story had Challenger bringing back a pterodactyl. Fairfax made it a brontosaur who rampaged through London streets (spawning a popular trope). Allen suggested the baby dinosaur traveling to London.

Willis O'Brien pitched 20th Century Fox in the late 50s, to do a quality remake of LW. He had gained much experience in the intervening 35 years, so his stop-motion dinosaurs were to be the real stars. Fox bass liked the idea, but by the time the ball started rolling, there was trouble in studioland. Fox's grand epic Cleopatra was underway, but was already 5 million dollars over budget. Cleo would nearly sink 20th Century Fox when it was finally released in 1963. To stay afloat, all other Fox films' budgets were slashed. Allen could no longer afford the grand O'Brien stop-motion.

Allen's production is often criticized for its "cheap" dinosaurs, which were live monitor lizards and alligators with fins and plates and horns glue onto them. (more on that below) These were already a bit cheesy when used in the 1940 film One Million B.C.. O'Brien is still listed on the credits as "Effects Technician," but all Allen could afford was lizards with glued on extras. Somewhat amusingly, the script still refers to them as brontosaurs and T-Rexes.

The character of Jennifer Holmes starts out promising. She's a self-assured to the edges of pushy, and is said to be able to out shoot and out ride any man. Yet, when she gets to the Amazon jungle, she's little more than Jungle Barbie, dressed in girlie clothes and screaming frequently. She even does the typical Hollywood trip-and-fall when chased by the dinosaur, so that a man must save her.

Bottom line? FW is a finer example of the not-quite-sci-fi dinosaur sub-genre. The actors are top drawer, even if some of their acting is a bit flat. Nonetheless, FW is a fair adaptation of Doyle's

classic adventure novel, given the constraints of Hollywood culture.

 

The Movie Club Annals … Review

The Lost World 1960

Introduction

There was absolutely nothing wrong with Irwin Allen's 1960 production of The Lost World. Nothing. It was perfect in every way. I therefore find myself in the unique and unfamiliar position of having to write a rave review about a Movie Club movie that was entirely devoid of flaws.

Faced with such a confounding task, I half-heartedly considered faking a bad review, then praying my obvious deceptions would go unnoticed. But the patent transparency of my scheme convinced me to abandon it posthaste. After all, leveling concocted criticisms at such an unassailable masterpiece would be a futile and tiresome exercise, the pretense of which would escape nary a semi-cognizant soul.

Thus, having retreated from my would-be descent into literary intrigue, I start this review in earnest by borrowing a quote from the legendary Shelly Winters, spoken during the 1972 filming of Irwin Allen's The Poseidon Adventure:

"I'm ready for my close up now, Mr. Allen.” Shelly Winters, 1972

Review

A bit of research into the casting choices of Irwin Allen, who wrote, produced, and directed The Lost World, begins to reveal the genius behind the virtuosity.

The first accolades go to Irwin for his casting of Vitina Marcus, the immaculately groomed Saks 5th Avenue cave girl with exquisite taste in makeup, jewelry, and cave-wear. No finer cave girl ever graced a feature film.

Vitina Marcus, as The Cave Girl

She was the picture of prehistoric glamour, gliding across the silver screen in her designer bearskin mini-pelt, her flawless coiffure showing no signs of muss from the traditional courting rituals of the day, her perfect teeth the envy of even the most prototypical Osmond. Even her nouveau-opposable thumbs retained their manicure, in spite of the oft-disagreeable duties that frequently befell her as an effete member of the tribal gentry.

By no means just another Neanderthal harlot, Vitina had a wealth of talent to augment her exterior virtues. Her virtuoso interpretation of a comely cave girl in The Lost World certainly didn't escape the attention Irwin Allen. In fact, he was so taken with her performance that he later engaged her services again, casting her as the Native Girl in episode 2.26 of his Voyage to The Bottom of The Sea TV series.

Leery of potential typecasting, Vitina went on to obtain roles with greater depth and more sophisticated dialogue. This is evidenced by the great departure she took from her previous roles when she next portrayed the part of Sarit, a female barbarian, in episode 1.24 of Irwin Allen's The Time Tunnel TV series.

Vitina, as Sarit

Vitina's efforts to avoid typecasting paid off in spades, as she was soon rewarded with the distinctive role of Girl, a female Tarzanesque she-beast character, in episode 3.14 of The Man From U.N.C.L.E. TV series.

Lured back from the U.N.C.L.E. set by Irwin Allen, Vitina was next cast in the role of Athena (a.k.a. Lorelei), the green space girl with the inverted lucite salad bowl hat, in episodes 2.2 and 2.16 of the revered Lost in Space TV series.

And with this, Vitina reached the pinnacle of her career. For her many unparalleled displays of thespian pageantry, she leaves us forever in her debt as she exits the stage.

For those who would still question the genius of Irwin Allen, I defy you to find a better casting choice for the character of Lord John Roxton than that of Michael Rennie. Mr. Rennie, who earlier starred as Klaatu in The Day the Earth Stood Still, went on to even greater heights, starring as The Keeper in episodes 1.16 and 1.17 of the revered Lost in Space TV series. Throughout his distinguished career, Mr. Rennie often played highly cerebral characters with

unique names, such as Garth A7, Tribolet, Hasani, Rama Kahn, Hertz, and Dirk. How befitting that his most prolific roles came to him through a man named Irwin, a highly cerebral character with a unique name.

The selection of David Hedison to play Ed Malone was yet another example of Irwin's uncanny foresight. Soon after casting him in The Lost World, Irwin paved Mr. Hedison's path to immortality by casting him as a lead character in his Voyage to The Bottom of The Sea TV series. Although Voyage ended in 1968, Mr. Hedison departed the show with a solid resume and a bright future.

In the decades following Voyage, Mr. Hedison has been a veritable fixture on the small screen, appearing in such socially influential programs as The Love Boat, Fantasy Island, Knight Rider, The Fall Guy and The A Team. Mr. Hedison's early collaborations with Irwin Allen have left him never wanting for a day's work in Hollywood, a boon to the legions of discerning fans who continue to savor his inspiring prime time depictions.

Irwin selected Fernando Lamas to play Manuel Gomez, the honorable and tortured soul of The Lost World who needlessly sacrificed himself at the end of the movie to save all the others. To get a feel for how important a casting decision he was to Irwin, just look at the pertinent experience Mr. Lamas brought to the table:

Irwin knew that such credentials could cause him to lose the services of Mr. Lamas to another project, and he took great pains to woo him onto the set of The Lost World. And even though Mr. Lamas never appeared in the revered Lost in Space TV series, his talent is not lost on us.

Jay Novello was selected by Irwin Allen to play Costa, the consummate Cuban coward who perpetually betrays everyone around him in the name of greed. In pursuing his craven calling, Mr. Novello went on to play Xandros, the Greek Slave in Atlantis, The Lost Continent, as well as countless other roles as a coward.

Although Mr. Novella never appeared in the revered Lost in Space TV series, his already long and distinguished career as a coward made him the obvious choice for Irwin when the need for an experienced malingerer arose.

Jill St. John was Irwin's pick to play Jennifer Holmes, the "other" glamour girl in The Lost World. Not to be upstaged by glamour-cave-girl Vitina Marcus, Jill played the trump card and broke out the pink go-go boots and skin-tight Capri pants, the perfect Amazonian summertime jungle wear.

Complete with a perfect hairdo, a killer wardrobe, a little yip-yip dog named Frosty, and all the other trappings of a wealthy and pampered prehistoric society, Jill's sensational allure rivaled even that of a certain cave girl appearing in the same film.

With the atmosphere rife for an on-set rivalry between Jill and Vitina, Irwin still managed to keep the peace, proving that he was as skilled a diplomat as he was a director.

Claude Rains, as Professor George Edward Challenger

And our cup runneth over, as Irwin cast Claude Rains to portray Professor George Edward Challenger. His eminence, Mr. Rains is an entity of such immeasurable virtue that he is not in need of monotonous praise from the likes of me.

I respectfully acknowledge the appearance of Mr. Rains because failure to do so would be an unforgivable travesty. But I say nothing more on the subject, lest I state something so obvious and uninspiring as to insult the intelligence of enlightened reader.

Irwin's casting of the cavemen mustn't be overlooked, for their infallibly realistic portrayals are unmatched within the Pleistocene Epoch genre of film. Such meticulous attention to detail is what separates Irwin Allen from lesser filmmakers, whose pale imitations of his work only further to underscore the point.

To be sure, it is possible to come away with the unfounded suspicion that the cavemen are really just a bunch of old white guys from the bar at the local Elks lodge. But Irwin was an absolute stickler for authenticity, and would never have allowed the use of such tawdry measures to taint his prehistoric magnum opus.

In truth, Irwin's on-screen cavemen were borne of many grueling years of anthropological research, so the explanation for their somewhat modern, pseudo-caucasian appearance lies obviously elsewhere. And in keeping with true Irwin Allen tradition, that explanation will not be offered here.

1964 - Voyage to the Bottom of the Sea, Season One, Episode 7 - "Turn Back the Clock", featuring Vitina Marcus as The Native Girl. Produced by Irwin Allen.

And then there was Irwin Allen's masterful handling of the reptilian facets of The Lost World, most notably his inimitable casting of the dinosaurs. His dinosaurs were so realistic, so eerily lifelike, that they almost looked like living, breathing garden variety lizards with dinosaur fins and horns glued to their backs and heads.

The less enlightened viewer might even suppose this to be true, that Irwin's dinosaurs were indeed merely live specimens of lizards, donned in Jurassic-era finery, vastly magnified, and retro-fitted into The Lost World via some penny-wise means of cinematic trickery.

But those of us in the know certainly know better than that, as we are privy to some otherwise unpublished information about The Lost World. The lifelike appearance of the Irwin's dinosaurs can be attributed to a wholly overlooked and fiendishly cunning approach to the art of delusion, which is that the dinosaurs didn't just look real, they were real.

While the world abounds with middling minds who cannot fathom such a reality, we must follow Irwin's benevolent leanings and temper our natural feelings of contempt for this unfortunate assemblage of pedestrian lowbrows. In spite of Irwin's superior intellect, he never felt disdain toward the masses that constituted his audiences. He simply capitalized on their unaffectedness, and in the process recounted the benefits of exploiting the intellectually bereft for personal gain.

The purpose of all this analysis, of course, is to place an exclamation point on the genius of Irwin Allen, the formation of his dinosaur exposé being a premier example. Note how he mindfully manipulates the expectations of his unsuspecting audience, compelling them to probe the dinosaurs for any signs of man-made chicanery. Then, at the palatial moment when the dinosaurs make their entry, he guilefully supplants the anticipated display of faux reptilia with that of the bona fide article.

Upon first witnessing the de facto dinosaurs, some in the audience think they've been had, and indeed they have. Irwin, in engineering his masterful ruse, had used reality as his medium to convey the illusion of artifice. His audience, in essence, was blinded by the truth. It was the immaculate deception, and none but Irwin Allen could have conceived it.

Indeed, the matter of where the live dinosaurs came from has been conspicuously absent from this discussion, as the Irwinian technique of fine film making strongly discourages the practice of squandering time on extraneous justifications and other such trite means of redundant apologia. For the benefit of the incessantly curious, however, just keep in mind that Irwin Allen wrote and produced The Time Tunnel TV Series, a fact that should provide some fair insight into his modis operandi.

Carl R.

 

Edited Hubble Space Telescope image of the interacting galaxies NGC 7764A. Color/processing variant.

 

Original caption: The subject of this image is a group of three galaxies, collectively known as NGC 7764A. They were imaged by the NASA/ESA Hubble Space Telescope, using both its Advanced Camera for Surveys (ACS) and Wide Field Camera 3 (WFC3). The two galaxies in the upper right of the image appear to be interacting with one another — indeed, the long trails of stars and gas extending from them both give the impression that they have both just been struck at great speed, thrown into disarray by the bowling-ball-shaped galaxy to the lower left of the image. In reality, however, interactions between galaxies happen over very long time periods, and galaxies rarely collide head-on with one another. It is also unclear whether the galaxy to the lower left is actually interacting with the other two, although they are so relatively close in space that it seems possible that they are. By happy coincidence, the collective interaction between these galaxies have caused the two on the upper right to form a shape, which from our Solar System's perspective, ressembles the starship known as the USS Enterprise from Star Trek! NGC 7764A, which lies about 425 million light years from Earth in the constellation Phoenix, is a fascinating example of just how awkward astronomical nomenclature can be. The three galaxies are individually referred to as NGC 7764A1, NGC 7764A2 and NGC 7764A3, and just to be really difficult, an entirely separate galaxy, named NGC 7764, sits in the skies about a Moon’s distance (as seen from Earth) away. This rather haphazard naming makes more sense when we consider that many of the catalogues for keeping track of celestial bodies were compiled well over 100 years ago, long before modern technology made standardising scientific terminology much easier. As it is, many astronomical objects have several different names, or might have names that are so similar to other objects’ names that they cause confusion.

William Hogarth, London 1697 - 1764

Vorher - Before (1764)

Fitzwilliam Museum, CambridgeOxford

 

The first of these two works by the British artist William Hogarth owes much to a tradition of painting that developed in France in the 18th century, in which attractive young men and women flirt in idyllic outdoor settings.

 

"Before" shares these characteristics. In a shaded glade, a charmingly coy mistress makes a show of embarrassment at the advances of a handsome young gallant. If one looks closely there are hints at what is to come: rosy apples tumble from the girl's apron, the young man's knee is suggestively placed - is that a bulge in his trousers that catches the light? But it is superficially all rather polite and the physical realities of sex are discreetly hidden.

"After" turns all this on its head. Here the protagonists' clothing is in disarray and their faces flushed. The expressions that Hogarth gives the pair are superbly telling: the girl seems anxious and seeks reassurance from her beau, who stares into the middle distance, his face a mask of post-coital bewilderment. The haste of their coupling is suggested by her stockings which are still held up by their garters. Her mottled inner thighs are exposed and - most surprisingly - the man's unbuttoned breeches reveal a tuft of pubic hair and his penis, chafed red from its exertions.

Although all this is implicit in "Before", where we know exactly what the young man is proposing, the candour of "After" is wholly unexpected. Not that early 18th century England was a particularly sexually repressed society. There was a lusty literary tradition of which John Cleland's 1740s novel Fanny Hill is perhaps the most famous example. Prints were made of the sex scenes from this book, scenes which make "After" look restrained in comparison. But one simply does not expect such frankness in a painting of this period. Indeed when the work first came to the Fitzwilliam the man's genitalia had politely been painted over.

 

Is there a moral here? Is the girl in "After", with her apples spread over the floor, to be seen as a fallen woman, a new Eve? Are we, as viewers, supposed to lament this hasty, opportunistic coupling? Or are we simply meant to be amused? To enjoy a witty subversion of a popular genre? Or even just a slightly smutty belly laugh?

 

There is no internal evidence in either painting to suggest that the couple's lovemaking will have any lasting consequence. Once they have got their breath back and rearranged their clothes, there is no reason to believe that either will suffer as a result of what has happened. But contemporary anxieties about the the vulnerability of young women were on Hogarth's mind in the early 1730s, when he was developing what he called the 'modern moral subject.' In 1732 he completed "The Harlot's Progress" a series of paintings, later to become hugely popular prints, in which an innocent country girl is utterly ruined by the predatory attentions of London men.

 

Source: Fitzwilliam Museum, Oxford

modeatoutprix.blogspot.fr/2013/10/457-demone.html

The Lost World (20th Century Fox, 1960).

youtu.be/h1CLA-gJbmA?t=5s Trailer

Irwin Allen, the producer who would go on to make the disaster film a huge success in the seventies, brought us this Saturday afternoon fodder with giant lizards posing as dinosaurs. Starring Michael Rennie, David Hedison, Claude Rains and Jill St. John.

Intended as a grand sci-fi/fantasy epic remake of Arthur Conan Doyle's classic novel. The first film adaptation, shot in 1925, was a milestone in many ways, but movie making and special effects had come a long way in 35 years. Irwin Allen's Lost World (LW) & 20th Century Fox version was derailed on the way to greatness, but managed to still be a respectable, (if more modest) A-film. Allen's screenplay followed the book fairly well, telling of Professor Challenger's expedition to a remote plateau in the Amazon upon which dinosaurs still lived. Aside from the paleontological presumptions in the premise, there is little "science" in The Lost World. Nonetheless, dinosaur movies have traditionally been lumped into the sci-fi genre.

Synopsis

When his plane lands in London, crusty old professor George Edward Challenger is besieged by reporters questioning him about his latest expedition to the headwaters of the Amazon River. After the irascible Challenger strikes reporter Ed Malone on the head with his umbrella, Jennifer Holmes, the daughter of Ed's employer, Stuart Holmes, offers the injured reporter a ride into town. That evening, Jenny is escorted by Lord John Roxton, an adventurer and big game hunter, to Challenger's lecture at the Zoological Institute, and Ed invites them to sit with him. When Challenger claims to have seen live dinosaurs, his colleague Professor Summerlee scoffs and asks for evidence. Explaining that his photographs of the creatures were lost when his boat overturned, Challenger invites Summerlee to accompany him on a new expedition to the "lost world," and asks for volunteers. When Roxton raises his hand, Jenny insists on going with him, but she is rejected by Challenger because she is a woman. Ed is given a spot after Holmes offers to fund the expedition if the reporter is included. The four then fly to the Amazon, where they are met by Costa, their guide and Manuel Gomez, their helicopter pilot. Arriving unexpectedly, Jenny and her younger brother David insist on joining them. Unable to arrange transportation back to the United States, Challenger reluctantly agrees to take them along. The next day, they take off for the lost world and land on an isolated plateau inhabited by dinosaurs. That evening, a dinosaur stomps out of the jungle, sending them scurrying for cover. After the beast destroys the helicopter and radio, the group ventures inland. When one of the creatures bellows threateningly, they flee, and in their haste, Challenger and Ed slip and tumble down a hillside, where they encounter a native girl. The girl runs into the jungle, but Ed follows and captures her. They then all take refuge in a cave, where Roxton, who has been making disparaging remarks about Jenny's desire to marry him solely for his title, angers Ed. Ed lunges at Roxton, pushing him to the ground, where he finds a diary written by Burton White, an adventurer who hired Roxton three years earlier to lead him to the lost diamonds of Eldorado. Roxton then admits that he never met White and his party because he was delayed by a dalliance with a woman, thus abandoning them to certain death. Gomez angrily snaps that his good friend Santiago perished in the expedition. That night, Costa tries to molest the native girl, and David comes to her rescue and begins to communicate with her through sign language. After Gomez goes to investigate some movement he spotted in the vegetation, he calls for help, and when Roxton runs out of the cave, a gunshot from an unseen assailant is fired, nearly wounding Roxton and sending the girl scurrying into the jungle. Soon after, Ed and Jenny stray from camp and are pursued by a dinosaur, and after taking refuge on some cliffs, watch in horror as their stalker becomes locked in combat with another prehistoric creature and tumbles over the cliffs into the waters below. Upon returning to camp, they discover it deserted, their belongings in disarray. As David stumbles out from some rocks to report they were attacked by a tribe of natives, the cannibals return and imprison them in a cave with the others. As the drums beat relentlessly, signaling their deaths, the native girl reappears and motions for them to follow her through a secret passageway that leads to the cave in which Burton White lives, completely sightless. After confirming that all in his expedition perished, White tells them of a volcanic passageway that will lead them off the plateau, but warns that they must first pass through the cave of fire. Cautioning them that the natives plan to sacrifice them, White declares that their only chance of survival is to slip through the cave and then seal it with a boulder. After giving them directions to the cave, White asks them to take the girl along. As the earth, on the verge of a volcanic eruption, quakes, they set off through the Graveyard of the Damned, a vast cavern littered with dinosaur skeletons, the victims of the deadly sulfurous gases below. Pursued by the ferocious natives, Roxton takes the lead as they inch their way across a narrow ledge above the molten lava. After escaping the natives, they jam the cave shut with a boulder and, passing a dam of molten lava, finally reach the escape passage. At its mouth is a pile of giant diamonds and a dinosaur egg. As Costa heaps the diamonds into his hat, Challenger fondles the egg and Gomez pulls a gun and announces that Roxton must die in exchange for the death of Santiago, Gomez' brother. Acting quickly, Ed hurls the diamonds at Gomez, throwing him off balance and discharging his gun. The gunshot awakens a creature slumbering in the roiling waters below. After the beast snatches Costa and eats him alive, Ed tries to dislodge the dam, sending a few scorching rocks tumbling down onto the monster. Feeling responsible for the peril of the group, Gomez sacrifices his life by using his body as a lever to dislodge the dam, covering the creature with oozing lava. As the cave begins to crumble from the impending eruption, the group hurries to safety. Just then, the volcano explodes, destroying the lost world. After Roxton hands Ed a handful of diamonds he has saved as a wedding gift for him and Jenny, Challenger proudly displays his egg, which then hatches, revealing a baby dinosaur. The End.

The 50s had seen several examples of the dinosaur sub-genre. LW is one of the more lavish ones, owing to color by DeLuxe and CinemaScope. The A-level actors help too. Claude Rains plays the flamboyant Challenger. Michael Rennie plays Roxton, perhaps a bit too cooly. Jill St. John and Vitina Marcus do well as the customary eye candy. David Hedison as Malone and Fernando Lamas as Gomez round out the bill.

The first film version of LW was a silent movie shot in 1925: screenplay by Marion Fairfax. The film featured stop-motion animated dinosaurs by a young Willis O'Brien. Fairfax followed Doyle's text, but Fairfax added a young woman to the team, Paula White. Ostensibly trying to find her father from the first failed expedition, she provided the love triangle interest between Malone and Roxton.

Allen's screenplay tried to stick to Doyle's text as much as Hollywood would allow. It carried on Fairfax's invention of the young woman member of the group as triangle fodder. Fairfax had Doyle's ape men (ape man) but omitted the native humans. Allen had the natives, but no ape men. Allen revived the Gomez/revenge subplot, which Fairfax skipped. Doyle's story had Challenger bringing back a pterodactyl. Fairfax made it a brontosaur who rampaged through London streets (spawning a popular trope). Allen suggested the baby dinosaur traveling to London.

Willis O'Brien pitched 20th Century Fox in the late 50s, to do a quality remake of LW. He had gained much experience in the intervening 35 years, so his stop-motion dinosaurs were to be the real stars. Fox bass liked the idea, but by the time the ball started rolling, there was trouble in studioland. Fox's grand epic Cleopatra was underway, but was already 5 million dollars over budget. Cleo would nearly sink 20th Century Fox when it was finally released in 1963. To stay afloat, all other Fox films' budgets were slashed. Allen could no longer afford the grand O'Brien stop-motion.

Allen's production is often criticized for its "cheap" dinosaurs, which were live monitor lizards and alligators with fins and plates and horns glue onto them. (more on that below) These were already a bit cheesy when used in the 1940 film One Million B.C.. O'Brien is still listed on the credits as "Effects Technician," but all Allen could afford was lizards with glued on extras. Somewhat amusingly, the script still refers to them as brontosaurs and T-Rexes.

The character of Jennifer Holmes starts out promising. She's a self-assured to the edges of pushy, and is said to be able to out shoot and out ride any man. Yet, when she gets to the Amazon jungle, she's little more than Jungle Barbie, dressed in girlie clothes and screaming frequently. She even does the typical Hollywood trip-and-fall when chased by the dinosaur, so that a man must save her.

Bottom line? FW is a finer example of the not-quite-sci-fi dinosaur sub-genre. The actors are top drawer, even if some of their acting is a bit flat. Nonetheless, FW is a fair adaptation of Doyle's

classic adventure novel, given the constraints of Hollywood culture.

 

The Movie Club Annals … Review

The Lost World 1960

Introduction

There was absolutely nothing wrong with Irwin Allen's 1960 production of The Lost World. Nothing. It was perfect in every way. I therefore find myself in the unique and unfamiliar position of having to write a rave review about a Movie Club movie that was entirely devoid of flaws.

Faced with such a confounding task, I half-heartedly considered faking a bad review, then praying my obvious deceptions would go unnoticed. But the patent transparency of my scheme convinced me to abandon it posthaste. After all, leveling concocted criticisms at such an unassailable masterpiece would be a futile and tiresome exercise, the pretense of which would escape nary a semi-cognizant soul.

Thus, having retreated from my would-be descent into literary intrigue, I start this review in earnest by borrowing a quote from the legendary Shelly Winters, spoken during the 1972 filming of Irwin Allen's The Poseidon Adventure:

"I'm ready for my close up now, Mr. Allen.” Shelly Winters, 1972

Review

A bit of research into the casting choices of Irwin Allen, who wrote, produced, and directed The Lost World, begins to reveal the genius behind the virtuosity.

The first accolades go to Irwin for his casting of Vitina Marcus, the immaculately groomed Saks 5th Avenue cave girl with exquisite taste in makeup, jewelry, and cave-wear. No finer cave girl ever graced a feature film.

Vitina Marcus, as The Cave Girl

She was the picture of prehistoric glamour, gliding across the silver screen in her designer bearskin mini-pelt, her flawless coiffure showing no signs of muss from the traditional courting rituals of the day, her perfect teeth the envy of even the most prototypical Osmond. Even her nouveau-opposable thumbs retained their manicure, in spite of the oft-disagreeable duties that frequently befell her as an effete member of the tribal gentry.

By no means just another Neanderthal harlot, Vitina had a wealth of talent to augment her exterior virtues. Her virtuoso interpretation of a comely cave girl in The Lost World certainly didn't escape the attention Irwin Allen. In fact, he was so taken with her performance that he later engaged her services again, casting her as the Native Girl in episode 2.26 of his Voyage to The Bottom of The Sea TV series.

Leery of potential typecasting, Vitina went on to obtain roles with greater depth and more sophisticated dialogue. This is evidenced by the great departure she took from her previous roles when she next portrayed the part of Sarit, a female barbarian, in episode 1.24 of Irwin Allen's The Time Tunnel TV series.

Vitina, as Sarit

Vitina's efforts to avoid typecasting paid off in spades, as she was soon rewarded with the distinctive role of Girl, a female Tarzanesque she-beast character, in episode 3.14 of The Man From U.N.C.L.E. TV series.

Lured back from the U.N.C.L.E. set by Irwin Allen, Vitina was next cast in the role of Athena (a.k.a. Lorelei), the green space girl with the inverted lucite salad bowl hat, in episodes 2.2 and 2.16 of the revered Lost in Space TV series.

And with this, Vitina reached the pinnacle of her career. For her many unparalleled displays of thespian pageantry, she leaves us forever in her debt as she exits the stage.

For those who would still question the genius of Irwin Allen, I defy you to find a better casting choice for the character of Lord John Roxton than that of Michael Rennie. Mr. Rennie, who earlier starred as Klaatu in The Day the Earth Stood Still, went on to even greater heights, starring as The Keeper in episodes 1.16 and 1.17 of the revered Lost in Space TV series. Throughout his distinguished career, Mr. Rennie often played highly cerebral characters with

unique names, such as Garth A7, Tribolet, Hasani, Rama Kahn, Hertz, and Dirk. How befitting that his most prolific roles came to him through a man named Irwin, a highly cerebral character with a unique name.

The selection of David Hedison to play Ed Malone was yet another example of Irwin's uncanny foresight. Soon after casting him in The Lost World, Irwin paved Mr. Hedison's path to immortality by casting him as a lead character in his Voyage to The Bottom of The Sea TV series. Although Voyage ended in 1968, Mr. Hedison departed the show with a solid resume and a bright future.

In the decades following Voyage, Mr. Hedison has been a veritable fixture on the small screen, appearing in such socially influential programs as The Love Boat, Fantasy Island, Knight Rider, The Fall Guy and The A Team. Mr. Hedison's early collaborations with Irwin Allen have left him never wanting for a day's work in Hollywood, a boon to the legions of discerning fans who continue to savor his inspiring prime time depictions.

Irwin selected Fernando Lamas to play Manuel Gomez, the honorable and tortured soul of The Lost World who needlessly sacrificed himself at the end of the movie to save all the others. To get a feel for how important a casting decision he was to Irwin, just look at the pertinent experience Mr. Lamas brought to the table:

Irwin knew that such credentials could cause him to lose the services of Mr. Lamas to another project, and he took great pains to woo him onto the set of The Lost World. And even though Mr. Lamas never appeared in the revered Lost in Space TV series, his talent is not lost on us.

Jay Novello was selected by Irwin Allen to play Costa, the consummate Cuban coward who perpetually betrays everyone around him in the name of greed. In pursuing his craven calling, Mr. Novello went on to play Xandros, the Greek Slave in Atlantis, The Lost Continent, as well as countless other roles as a coward.

Although Mr. Novella never appeared in the revered Lost in Space TV series, his already long and distinguished career as a coward made him the obvious choice for Irwin when the need for an experienced malingerer arose.

Jill St. John was Irwin's pick to play Jennifer Holmes, the "other" glamour girl in The Lost World. Not to be upstaged by glamour-cave-girl Vitina Marcus, Jill played the trump card and broke out the pink go-go boots and skin-tight Capri pants, the perfect Amazonian summertime jungle wear.

Complete with a perfect hairdo, a killer wardrobe, a little yip-yip dog named Frosty, and all the other trappings of a wealthy and pampered prehistoric society, Jill's sensational allure rivaled even that of a certain cave girl appearing in the same film.

With the atmosphere rife for an on-set rivalry between Jill and Vitina, Irwin still managed to keep the peace, proving that he was as skilled a diplomat as he was a director.

Claude Rains, as Professor George Edward Challenger

And our cup runneth over, as Irwin cast Claude Rains to portray Professor George Edward Challenger. His eminence, Mr. Rains is an entity of such immeasurable virtue that he is not in need of monotonous praise from the likes of me.

I respectfully acknowledge the appearance of Mr. Rains because failure to do so would be an unforgivable travesty. But I say nothing more on the subject, lest I state something so obvious and uninspiring as to insult the intelligence of enlightened reader.

Irwin's casting of the cavemen mustn't be overlooked, for their infallibly realistic portrayals are unmatched within the Pleistocene Epoch genre of film. Such meticulous attention to detail is what separates Irwin Allen from lesser filmmakers, whose pale imitations of his work only further to underscore the point.

To be sure, it is possible to come away with the unfounded suspicion that the cavemen are really just a bunch of old white guys from the bar at the local Elks lodge. But Irwin was an absolute stickler for authenticity, and would never have allowed the use of such tawdry measures to taint his prehistoric magnum opus.

In truth, Irwin's on-screen cavemen were borne of many grueling years of anthropological research, so the explanation for their somewhat modern, pseudo-caucasian appearance lies obviously elsewhere. And in keeping with true Irwin Allen tradition, that explanation will not be offered here.

1964 - Voyage to the Bottom of the Sea, Season One, Episode 7 - "Turn Back the Clock", featuring Vitina Marcus as The Native Girl. Produced by Irwin Allen.

And then there was Irwin Allen's masterful handling of the reptilian facets of The Lost World, most notably his inimitable casting of the dinosaurs. His dinosaurs were so realistic, so eerily lifelike, that they almost looked like living, breathing garden variety lizards with dinosaur fins and horns glued to their backs and heads.

The less enlightened viewer might even suppose this to be true, that Irwin's dinosaurs were indeed merely live specimens of lizards, donned in Jurassic-era finery, vastly magnified, and retro-fitted into The Lost World via some penny-wise means of cinematic trickery.

But those of us in the know certainly know better than that, as we are privy to some otherwise unpublished information about The Lost World. The lifelike appearance of the Irwin's dinosaurs can be attributed to a wholly overlooked and fiendishly cunning approach to the art of delusion, which is that the dinosaurs didn't just look real, they were real.

While the world abounds with middling minds who cannot fathom such a reality, we must follow Irwin's benevolent leanings and temper our natural feelings of contempt for this unfortunate assemblage of pedestrian lowbrows. In spite of Irwin's superior intellect, he never felt disdain toward the masses that constituted his audiences. He simply capitalized on their unaffectedness, and in the process recounted the benefits of exploiting the intellectually bereft for personal gain.

The purpose of all this analysis, of course, is to place an exclamation point on the genius of Irwin Allen, the formation of his dinosaur exposé being a premier example. Note how he mindfully manipulates the expectations of his unsuspecting audience, compelling them to probe the dinosaurs for any signs of man-made chicanery. Then, at the palatial moment when the dinosaurs make their entry, he guilefully supplants the anticipated display of faux reptilia with that of the bona fide article.

Upon first witnessing the de facto dinosaurs, some in the audience think they've been had, and indeed they have. Irwin, in engineering his masterful ruse, had used reality as his medium to convey the illusion of artifice. His audience, in essence, was blinded by the truth. It was the immaculate deception, and none but Irwin Allen could have conceived it.

Indeed, the matter of where the live dinosaurs came from has been conspicuously absent from this discussion, as the Irwinian technique of fine film making strongly discourages the practice of squandering time on extraneous justifications and other such trite means of redundant apologia. For the benefit of the incessantly curious, however, just keep in mind that Irwin Allen wrote and produced The Time Tunnel TV Series, a fact that should provide some fair insight into his modis operandi.

Carl R.

 

The Lost World (20th Century Fox, 1960).

youtu.be/h1CLA-gJbmA?t=5s Trailer

Irwin Allen, the producer who would go on to make the disaster film a huge success in the seventies, brought us this Saturday afternoon fodder with giant lizards posing as dinosaurs. Starring Michael Rennie, David Hedison, Claude Rains and Jill St. John.

Intended as a grand sci-fi/fantasy epic remake of Arthur Conan Doyle's classic novel. The first film adaptation, shot in 1925, was a milestone in many ways, but movie making and special effects had come a long way in 35 years. Irwin Allen's Lost World (LW) & 20th Century Fox version was derailed on the way to greatness, but managed to still be a respectable, (if more modest) A-film. Allen's screenplay followed the book fairly well, telling of Professor Challenger's expedition to a remote plateau in the Amazon upon which dinosaurs still lived. Aside from the paleontological presumptions in the premise, there is little "science" in The Lost World. Nonetheless, dinosaur movies have traditionally been lumped into the sci-fi genre.

Synopsis

When his plane lands in London, crusty old professor George Edward Challenger is besieged by reporters questioning him about his latest expedition to the headwaters of the Amazon River. After the irascible Challenger strikes reporter Ed Malone on the head with his umbrella, Jennifer Holmes, the daughter of Ed's employer, Stuart Holmes, offers the injured reporter a ride into town. That evening, Jenny is escorted by Lord John Roxton, an adventurer and big game hunter, to Challenger's lecture at the Zoological Institute, and Ed invites them to sit with him. When Challenger claims to have seen live dinosaurs, his colleague Professor Summerlee scoffs and asks for evidence. Explaining that his photographs of the creatures were lost when his boat overturned, Challenger invites Summerlee to accompany him on a new expedition to the "lost world," and asks for volunteers. When Roxton raises his hand, Jenny insists on going with him, but she is rejected by Challenger because she is a woman. Ed is given a spot after Holmes offers to fund the expedition if the reporter is included. The four then fly to the Amazon, where they are met by Costa, their guide and Manuel Gomez, their helicopter pilot. Arriving unexpectedly, Jenny and her younger brother David insist on joining them. Unable to arrange transportation back to the United States, Challenger reluctantly agrees to take them along. The next day, they take off for the lost world and land on an isolated plateau inhabited by dinosaurs. That evening, a dinosaur stomps out of the jungle, sending them scurrying for cover. After the beast destroys the helicopter and radio, the group ventures inland. When one of the creatures bellows threateningly, they flee, and in their haste, Challenger and Ed slip and tumble down a hillside, where they encounter a native girl. The girl runs into the jungle, but Ed follows and captures her. They then all take refuge in a cave, where Roxton, who has been making disparaging remarks about Jenny's desire to marry him solely for his title, angers Ed. Ed lunges at Roxton, pushing him to the ground, where he finds a diary written by Burton White, an adventurer who hired Roxton three years earlier to lead him to the lost diamonds of Eldorado. Roxton then admits that he never met White and his party because he was delayed by a dalliance with a woman, thus abandoning them to certain death. Gomez angrily snaps that his good friend Santiago perished in the expedition. That night, Costa tries to molest the native girl, and David comes to her rescue and begins to communicate with her through sign language. After Gomez goes to investigate some movement he spotted in the vegetation, he calls for help, and when Roxton runs out of the cave, a gunshot from an unseen assailant is fired, nearly wounding Roxton and sending the girl scurrying into the jungle. Soon after, Ed and Jenny stray from camp and are pursued by a dinosaur, and after taking refuge on some cliffs, watch in horror as their stalker becomes locked in combat with another prehistoric creature and tumbles over the cliffs into the waters below. Upon returning to camp, they discover it deserted, their belongings in disarray. As David stumbles out from some rocks to report they were attacked by a tribe of natives, the cannibals return and imprison them in a cave with the others. As the drums beat relentlessly, signaling their deaths, the native girl reappears and motions for them to follow her through a secret passageway that leads to the cave in which Burton White lives, completely sightless. After confirming that all in his expedition perished, White tells them of a volcanic passageway that will lead them off the plateau, but warns that they must first pass through the cave of fire. Cautioning them that the natives plan to sacrifice them, White declares that their only chance of survival is to slip through the cave and then seal it with a boulder. After giving them directions to the cave, White asks them to take the girl along. As the earth, on the verge of a volcanic eruption, quakes, they set off through the Graveyard of the Damned, a vast cavern littered with dinosaur skeletons, the victims of the deadly sulfurous gases below. Pursued by the ferocious natives, Roxton takes the lead as they inch their way across a narrow ledge above the molten lava. After escaping the natives, they jam the cave shut with a boulder and, passing a dam of molten lava, finally reach the escape passage. At its mouth is a pile of giant diamonds and a dinosaur egg. As Costa heaps the diamonds into his hat, Challenger fondles the egg and Gomez pulls a gun and announces that Roxton must die in exchange for the death of Santiago, Gomez' brother. Acting quickly, Ed hurls the diamonds at Gomez, throwing him off balance and discharging his gun. The gunshot awakens a creature slumbering in the roiling waters below. After the beast snatches Costa and eats him alive, Ed tries to dislodge the dam, sending a few scorching rocks tumbling down onto the monster. Feeling responsible for the peril of the group, Gomez sacrifices his life by using his body as a lever to dislodge the dam, covering the creature with oozing lava. As the cave begins to crumble from the impending eruption, the group hurries to safety. Just then, the volcano explodes, destroying the lost world. After Roxton hands Ed a handful of diamonds he has saved as a wedding gift for him and Jenny, Challenger proudly displays his egg, which then hatches, revealing a baby dinosaur. The End.

The 50s had seen several examples of the dinosaur sub-genre. LW is one of the more lavish ones, owing to color by DeLuxe and CinemaScope. The A-level actors help too. Claude Rains plays the flamboyant Challenger. Michael Rennie plays Roxton, perhaps a bit too cooly. Jill St. John and Vitina Marcus do well as the customary eye candy. David Hedison as Malone and Fernando Lamas as Gomez round out the bill.

The first film version of LW was a silent movie shot in 1925: screenplay by Marion Fairfax. The film featured stop-motion animated dinosaurs by a young Willis O'Brien. Fairfax followed Doyle's text, but Fairfax added a young woman to the team, Paula White. Ostensibly trying to find her father from the first failed expedition, she provided the love triangle interest between Malone and Roxton.

Allen's screenplay tried to stick to Doyle's text as much as Hollywood would allow. It carried on Fairfax's invention of the young woman member of the group as triangle fodder. Fairfax had Doyle's ape men (ape man) but omitted the native humans. Allen had the natives, but no ape men. Allen revived the Gomez/revenge subplot, which Fairfax skipped. Doyle's story had Challenger bringing back a pterodactyl. Fairfax made it a brontosaur who rampaged through London streets (spawning a popular trope). Allen suggested the baby dinosaur traveling to London.

Willis O'Brien pitched 20th Century Fox in the late 50s, to do a quality remake of LW. He had gained much experience in the intervening 35 years, so his stop-motion dinosaurs were to be the real stars. Fox bass liked the idea, but by the time the ball started rolling, there was trouble in studioland. Fox's grand epic Cleopatra was underway, but was already 5 million dollars over budget. Cleo would nearly sink 20th Century Fox when it was finally released in 1963. To stay afloat, all other Fox films' budgets were slashed. Allen could no longer afford the grand O'Brien stop-motion.

Allen's production is often criticized for its "cheap" dinosaurs, which were live monitor lizards and alligators with fins and plates and horns glue onto them. (more on that below) These were already a bit cheesy when used in the 1940 film One Million B.C.. O'Brien is still listed on the credits as "Effects Technician," but all Allen could afford was lizards with glued on extras. Somewhat amusingly, the script still refers to them as brontosaurs and T-Rexes.

The character of Jennifer Holmes starts out promising. She's a self-assured to the edges of pushy, and is said to be able to out shoot and out ride any man. Yet, when she gets to the Amazon jungle, she's little more than Jungle Barbie, dressed in girlie clothes and screaming frequently. She even does the typical Hollywood trip-and-fall when chased by the dinosaur, so that a man must save her.

Bottom line? FW is a finer example of the not-quite-sci-fi dinosaur sub-genre. The actors are top drawer, even if some of their acting is a bit flat. Nonetheless, FW is a fair adaptation of Doyle's

classic adventure novel, given the constraints of Hollywood culture.

 

The Movie Club Annals … Review

The Lost World 1960

Introduction

There was absolutely nothing wrong with Irwin Allen's 1960 production of The Lost World. Nothing. It was perfect in every way. I therefore find myself in the unique and unfamiliar position of having to write a rave review about a Movie Club movie that was entirely devoid of flaws.

Faced with such a confounding task, I half-heartedly considered faking a bad review, then praying my obvious deceptions would go unnoticed. But the patent transparency of my scheme convinced me to abandon it posthaste. After all, leveling concocted criticisms at such an unassailable masterpiece would be a futile and tiresome exercise, the pretense of which would escape nary a semi-cognizant soul.

Thus, having retreated from my would-be descent into literary intrigue, I start this review in earnest by borrowing a quote from the legendary Shelly Winters, spoken during the 1972 filming of Irwin Allen's The Poseidon Adventure:

"I'm ready for my close up now, Mr. Allen.” Shelly Winters, 1972

Review

A bit of research into the casting choices of Irwin Allen, who wrote, produced, and directed The Lost World, begins to reveal the genius behind the virtuosity.

The first accolades go to Irwin for his casting of Vitina Marcus, the immaculately groomed Saks 5th Avenue cave girl with exquisite taste in makeup, jewelry, and cave-wear. No finer cave girl ever graced a feature film.

Vitina Marcus, as The Cave Girl

She was the picture of prehistoric glamour, gliding across the silver screen in her designer bearskin mini-pelt, her flawless coiffure showing no signs of muss from the traditional courting rituals of the day, her perfect teeth the envy of even the most prototypical Osmond. Even her nouveau-opposable thumbs retained their manicure, in spite of the oft-disagreeable duties that frequently befell her as an effete member of the tribal gentry.

By no means just another Neanderthal harlot, Vitina had a wealth of talent to augment her exterior virtues. Her virtuoso interpretation of a comely cave girl in The Lost World certainly didn't escape the attention Irwin Allen. In fact, he was so taken with her performance that he later engaged her services again, casting her as the Native Girl in episode 2.26 of his Voyage to The Bottom of The Sea TV series.

Leery of potential typecasting, Vitina went on to obtain roles with greater depth and more sophisticated dialogue. This is evidenced by the great departure she took from her previous roles when she next portrayed the part of Sarit, a female barbarian, in episode 1.24 of Irwin Allen's The Time Tunnel TV series.

Vitina, as Sarit

Vitina's efforts to avoid typecasting paid off in spades, as she was soon rewarded with the distinctive role of Girl, a female Tarzanesque she-beast character, in episode 3.14 of The Man From U.N.C.L.E. TV series.

Lured back from the U.N.C.L.E. set by Irwin Allen, Vitina was next cast in the role of Athena (a.k.a. Lorelei), the green space girl with the inverted lucite salad bowl hat, in episodes 2.2 and 2.16 of the revered Lost in Space TV series.

And with this, Vitina reached the pinnacle of her career. For her many unparalleled displays of thespian pageantry, she leaves us forever in her debt as she exits the stage.

For those who would still question the genius of Irwin Allen, I defy you to find a better casting choice for the character of Lord John Roxton than that of Michael Rennie. Mr. Rennie, who earlier starred as Klaatu in The Day the Earth Stood Still, went on to even greater heights, starring as The Keeper in episodes 1.16 and 1.17 of the revered Lost in Space TV series. Throughout his distinguished career, Mr. Rennie often played highly cerebral characters with

unique names, such as Garth A7, Tribolet, Hasani, Rama Kahn, Hertz, and Dirk. How befitting that his most prolific roles came to him through a man named Irwin, a highly cerebral character with a unique name.

The selection of David Hedison to play Ed Malone was yet another example of Irwin's uncanny foresight. Soon after casting him in The Lost World, Irwin paved Mr. Hedison's path to immortality by casting him as a lead character in his Voyage to The Bottom of The Sea TV series. Although Voyage ended in 1968, Mr. Hedison departed the show with a solid resume and a bright future.

In the decades following Voyage, Mr. Hedison has been a veritable fixture on the small screen, appearing in such socially influential programs as The Love Boat, Fantasy Island, Knight Rider, The Fall Guy and The A Team. Mr. Hedison's early collaborations with Irwin Allen have left him never wanting for a day's work in Hollywood, a boon to the legions of discerning fans who continue to savor his inspiring prime time depictions.

Irwin selected Fernando Lamas to play Manuel Gomez, the honorable and tortured soul of The Lost World who needlessly sacrificed himself at the end of the movie to save all the others. To get a feel for how important a casting decision he was to Irwin, just look at the pertinent experience Mr. Lamas brought to the table:

Irwin knew that such credentials could cause him to lose the services of Mr. Lamas to another project, and he took great pains to woo him onto the set of The Lost World. And even though Mr. Lamas never appeared in the revered Lost in Space TV series, his talent is not lost on us.

Jay Novello was selected by Irwin Allen to play Costa, the consummate Cuban coward who perpetually betrays everyone around him in the name of greed. In pursuing his craven calling, Mr. Novello went on to play Xandros, the Greek Slave in Atlantis, The Lost Continent, as well as countless other roles as a coward.

Although Mr. Novella never appeared in the revered Lost in Space TV series, his already long and distinguished career as a coward made him the obvious choice for Irwin when the need for an experienced malingerer arose.

Jill St. John was Irwin's pick to play Jennifer Holmes, the "other" glamour girl in The Lost World. Not to be upstaged by glamour-cave-girl Vitina Marcus, Jill played the trump card and broke out the pink go-go boots and skin-tight Capri pants, the perfect Amazonian summertime jungle wear.

Complete with a perfect hairdo, a killer wardrobe, a little yip-yip dog named Frosty, and all the other trappings of a wealthy and pampered prehistoric society, Jill's sensational allure rivaled even that of a certain cave girl appearing in the same film.

With the atmosphere rife for an on-set rivalry between Jill and Vitina, Irwin still managed to keep the peace, proving that he was as skilled a diplomat as he was a director.

Claude Rains, as Professor George Edward Challenger

And our cup runneth over, as Irwin cast Claude Rains to portray Professor George Edward Challenger. His eminence, Mr. Rains is an entity of such immeasurable virtue that he is not in need of monotonous praise from the likes of me.

I respectfully acknowledge the appearance of Mr. Rains because failure to do so would be an unforgivable travesty. But I say nothing more on the subject, lest I state something so obvious and uninspiring as to insult the intelligence of enlightened reader.

Irwin's casting of the cavemen mustn't be overlooked, for their infallibly realistic portrayals are unmatched within the Pleistocene Epoch genre of film. Such meticulous attention to detail is what separates Irwin Allen from lesser filmmakers, whose pale imitations of his work only further to underscore the point.

To be sure, it is possible to come away with the unfounded suspicion that the cavemen are really just a bunch of old white guys from the bar at the local Elks lodge. But Irwin was an absolute stickler for authenticity, and would never have allowed the use of such tawdry measures to taint his prehistoric magnum opus.

In truth, Irwin's on-screen cavemen were borne of many grueling years of anthropological research, so the explanation for their somewhat modern, pseudo-caucasian appearance lies obviously elsewhere. And in keeping with true Irwin Allen tradition, that explanation will not be offered here.

1964 - Voyage to the Bottom of the Sea, Season One, Episode 7 - "Turn Back the Clock", featuring Vitina Marcus as The Native Girl. Produced by Irwin Allen.

And then there was Irwin Allen's masterful handling of the reptilian facets of The Lost World, most notably his inimitable casting of the dinosaurs. His dinosaurs were so realistic, so eerily lifelike, that they almost looked like living, breathing garden variety lizards with dinosaur fins and horns glued to their backs and heads.

The less enlightened viewer might even suppose this to be true, that Irwin's dinosaurs were indeed merely live specimens of lizards, donned in Jurassic-era finery, vastly magnified, and retro-fitted into The Lost World via some penny-wise means of cinematic trickery.

But those of us in the know certainly know better than that, as we are privy to some otherwise unpublished information about The Lost World. The lifelike appearance of the Irwin's dinosaurs can be attributed to a wholly overlooked and fiendishly cunning approach to the art of delusion, which is that the dinosaurs didn't just look real, they were real.

While the world abounds with middling minds who cannot fathom such a reality, we must follow Irwin's benevolent leanings and temper our natural feelings of contempt for this unfortunate assemblage of pedestrian lowbrows. In spite of Irwin's superior intellect, he never felt disdain toward the masses that constituted his audiences. He simply capitalized on their unaffectedness, and in the process recounted the benefits of exploiting the intellectually bereft for personal gain.

The purpose of all this analysis, of course, is to place an exclamation point on the genius of Irwin Allen, the formation of his dinosaur exposé being a premier example. Note how he mindfully manipulates the expectations of his unsuspecting audience, compelling them to probe the dinosaurs for any signs of man-made chicanery. Then, at the palatial moment when the dinosaurs make their entry, he guilefully supplants the anticipated display of faux reptilia with that of the bona fide article.

Upon first witnessing the de facto dinosaurs, some in the audience think they've been had, and indeed they have. Irwin, in engineering his masterful ruse, had used reality as his medium to convey the illusion of artifice. His audience, in essence, was blinded by the truth. It was the immaculate deception, and none but Irwin Allen could have conceived it.

Indeed, the matter of where the live dinosaurs came from has been conspicuously absent from this discussion, as the Irwinian technique of fine film making strongly discourages the practice of squandering time on extraneous justifications and other such trite means of redundant apologia. For the benefit of the incessantly curious, however, just keep in mind that Irwin Allen wrote and produced The Time Tunnel TV Series, a fact that should provide some fair insight into his modis operandi.

Carl R.

 

Real photo of traffic intersection in Springfield, Lane County, Oregon USA. I took a tiny bit of artistic license with it.

 

(Samsung201504NotTexasHurricaneHarveybutcouldbescrtchremshrpflickr082917)

the notes explain the silly title

Whilst the LL-553 prototype had been well received by the space federation (12 favourites, woo hoo!!) a ferocious Ugokin* attack left it virtually destroyed. The team was in disarray & a rebuild commenced from scratch.

Then with revenge on their minds, thoughts turned to artillery, or to be technical, guns; the bigger the better & plenty of them!!

 

*with much homage & respect to Nnenn :-)

s744 4769 Pros1901 Abdul Rhaman Khan (Pashto: عبد رحمان خان‎) pokojni emir afganistanski Prosvjeta List za zabavu znanost i umjetnost Tečaj IX. Emilij Laszowski 1901 Zagreb Tisak i naklada Antuna Scholza

--------

Abdur Rahman Khan (Pashto: عبد رحمان خان‎) (between 1830 to 1844 – October 1, 1901) was Emir of Afghanistan from 1880 to 1901. He was the third son of Mohammad Afzal Khan, and grandson of Dost Mohammad Khan. Abdur Rahman Khan was considered a strong ruler who re-established the writ of the Afghan government after the disarray that followed the second Anglo-Afghan war. He became known as The Iron Amir after defeating a number of rebellions by various tribes who were led by his relatives.

 

Background and early career

Before his death in Herat, on June 9, 1863, Dost Mohammad Khan had nominated as his successor Sher Ali Khan, his third son, passing over the two elder brothers, Afzal Khan and Azam Khan. At first, the new Amir was quietly recognized. But after a few months Afzal Khan raised an insurrection in the north of the country, where he had been governing when his father died. This began a fierce contest for power between Dost Mohammad's sons, which lasted for nearly five years.

 

In this war, Abdur Rahman became distinguished for ability and daring energy. Although his father, Afzal Khan, who had none of these qualities, came to terms with the Amir Sher Ali, the son's behavior in the northern province soon excited the Amir's suspicion, and Abdur Rahman, when he was summoned to Kabul, fled across the Oxus into Bukhara. Sher Ali threw Afzal Khan into prison, and a serious revolt followed in southern Afghanistan.

 

The Amir had scarcely suppressed it by winning a desperate battle when Abdur Rahman's reappearance in the north was a signal for a mutiny of the troops stationed in those parts and a gathering of armed bands to his standard. After some delay and desultory fighting, he and his uncle, Azam Khan, occupied Kabul (March 1866). The Amir Sher Ali marched up against them from Kandahar; but in the battle that ensued at Sheikhabad on May 10, he was deserted by a large body of his troops, and after his signal defeat Abdur Rahman released his father, Afzul Khan, from prison in Ghazni, and installed him upon the throne as Amir of Afghanistan.

 

Notwithstanding the new Amir 's incapacity, and some jealousy between the real leaders, Abdur Rahman and his uncle, they again routed Sher Ali's forces, and occupied Kandahar in 1867. When Afzal Khan died at the end of the year, Azam Khan became the new ruler, with Abdur Rahman as his governor in the northern province. But towards the end of 1868 Sher Ali's return, and a general rising in his favour, resulted in Abdur Rahman and Azam Khan's defeat at Tinah Khan on January 3, 1869. Both sought refuge in Central Asia, whence Abdur Rahman placed himself under Russian protection at Samarkand. Azam died eventually in Kabul in October 1869.

 

Exile and negotiated return to power

 

Abdur Rahman lived in exile in Tashkent, then part of Russian Turkestan, for eleven years, until the 1879 death of Sher Ali, who had retired from Kabul when the British armies entered Afghanistan. The Russian governor-general at Tashkent sent for Abdur Rahman, and pressed him to try his fortunes once more across the Oxus.

 

In March 1880, a report reached India that Abdur Rahman was in northern Afghanistan; and the governor-general, Lord Lytton, opened communications with him to the effect that the British government were prepared to withdraw their troops, and to recognize Abdur Rahman as Amir of Afghanistan, with the exception of Kandahar and some districts adjacent to it. After some negotiations, an interview took place between him and Lepel Griffin, the diplomatic representative at Kabul of the Indian government. Griffin described Abdur Rahman as a man of middle height, with an exceedingly intelligent face and frank and courteous manners, shrewd and able in conversation on the business in hand.

 

Reign

At the durbar on July 22, 1880, Abdur Rahman was officially recognized as Amir, granted assistance in arms and money, and promised, in case of unprovoked foreign aggression, such further aid as might be necessary to repel it, provided that he align his foreign policy with the British. The British evacuation of Afghanistan was settled on the terms proposed, and in 1881, the British troops also handed over Kandahar to the new Amir.

 

However, Ayub Khan, one of Sher Ali Khan's sons, marched upon that city from Herat, defeated Abdur Rahman's troops, and occupied the place in July 1880. This serious reverse roused the Amir, who had not at first displayed much activity. He led a force from Kabul, met Ayub's army close to Kandahar, and the complete victory which he there won forced Ayub Khan to flee into Persia. From that time Abdur Rahman was fairly seated on the throne at Kabul, and in the course of the next few years he consolidated his dominion over all Afghanistan, suppressing insurrections by a sharp and relentless use of his despotic authority. The powerful Ghilzai tribe revolted against the severity of his measures several times. In that same year, Ayub Khan made a fruitless inroad from Persia. In 1888, the Amir's cousin, Ishak Khan, rebelled against him in the north; but these two enterprises came to nothing.

 

In 1885, at the moment when the Amir was in conference with the British viceroy, Lord Dufferin, in India, the news came of a skirmish between Russian and Afghan troops at Panjdeh, over a disputed point in the demarcation of the northwestern frontier of Afghanistan. Abdur Rahman's attitude at this critical juncture is a good example of his political sagacity. To one who had been a man of war from his youth, who had won and lost many fights, the rout of a detachment and the forcible seizure of some debatable frontier lands was an untoward incident; but it was not a sufficient reason for calling upon the British, although they had guaranteed his territory's integrity, to vindicate his rights by hostilities which would certainly bring upon him a Russian invasion from the north, and would compel his British allies to throw an army into Afghanistan from the southeast. He also published his autobiography in 1885, which served more as an advice guide for princes than anything else.

 

His interest lay in keeping powerful neighbours, whether friends or foes, outside his kingdom. He knew this to be the only policy that would be supported by the Afghan nation; and although for some time a rupture with Russia seemed imminent, while the Government of India made ready for that contingency, the Amir's reserved and circumspect tone in the consultations with him helped to turn the balance between peace and war, and substantially conduced towards a pacific solution. Abdur Rahman left on those who met him in India the impression of a clear-headed man of action, with great self-reliance and hardihood, not without indications of the implacable severity that too often marked his administration. His investment with the insignia of the highest grade of the Order of the Star of India appeared to give him much pleasure.

 

In the 1880s, the "Iron Emir" decided to strategically displace some members of different ethnic groups in order to bring better security. For example, he "uprooted troublsome Durrani and Ghilzai tribes and transported them to Uzbek and Tajik populated areas in the north, where they could spy on local Dari-speaking, non-Pashtun groups and act as a screen against further Russian encroachments on Afghan territory." From the end of 1888, the Amir spent eighteen months in his northern provinces bordering upon the Oxus, where he was engaged in pacifying the country that had been disturbed by revolts, and in punishing with a heavy hand all who were known or suspected to have taken any part in rebellion.

 

In the late 1880s some Hazara tribes revolted against Abdur Rahman in favor of Sher Ali Khan. According to Syed Askar Mousavi, "thousands of Hazara men, women, and children were sold as slaves in the markets of Kabul and Qandahar, while numerous towers of human heads were made from the defeated rebels as a warning to others who might challenge the rule of the Amir." During this period some Hazaras migrated to Quetta in Balochistan, while smaller number moved to Mashhed in northeastern Iran.

 

During the period 1895-1896 Abdur Rahman directed the invasion of Kafiristan and the conversion of its indigenous peoples to Islam. The region was subsequently renamed Nuristan.

 

In 1895, the Amir found himself unable, by reason of ill-health, to accept an invitation from Queen Victoria to visit England; but his second son Nasrullah Khan went instead.

 

Abdur Rahman died on October 1, 1901, being succeeded by his son Habibullah Khan. He had defeated all enterprises by rivals against his throne; he had broken down the power of local chiefs, and tamed the refractory tribes; so that his orders were irresistible throughout the whole dominion. His government was a military despotism resting upon a well-appointed army; it was administered through officials absolutely subservient to an inflexible will and controlled by a widespread system of espionage; while the exercise of his personal authority was too often stained by acts of unnecessary cruelty.

 

He held open courts for the receipt of petitioners and the dispensation of justice; and in the disposal of business he was indefatigable. He succeeded in imposing an organized government upon the fiercest and most unruly population in Asia; he availed himself of European inventions for strengthening his armament, while he sternly set his face against all innovations which, like Railways and Telegraphs, might give Europeans a foothold within his country.

 

His adventurous life, his forcible character, the position of his state as a barrier between the Indian and the Russian empires, and the skill with which he held the balance in dealing with them, combined to make him a prominent figure in contemporary Asian politics and will mark his reign as an epoch in the history of Afghanistan. The Amir received an annual Subsidy from the British government of 1,850,000 rupees. He was allowed to import munitions of war.

 

In 1896, he adopted the title of Zia-ul-Millat-Wa-ud Din ("Light of the nation and religion"); and his zeal for the cause of Islam induced him to publish treatises on jihad. Today, his descendants can be found in many places outside Afghanistan, such as in America, France, Germany, and even in Scandinavian countries such as Denmark and carry the surname of Ziyaee, which is itself a derivative of the King's title. His two eldest sons, Habibullah Khan and Nasrullah Khan, were born at Samarkand. His youngest son, Mahomed Omar Jan, was born in 1889 of an Afghan mother, connected by descent with the Barakzai family.

 

Durand Line

 

In 1893 Mortimer Durand negotiated with Abdur Rahman Khan, the Durand Line Treaty for the demarcation of the frontier between Afghanistan, the FATA, North-West Frontier Province and Baluchistan Provinces of Pakistan the successor state of British India. This line, the Durand Line, is named after Mortimer Durand[3] and which still remains as an unrecognized boundary by the Government of Afghanistan.

 

In 1893, Mortimer Durand was deputed to Kabul by the government of British India for this purpose of settling an exchange of territory required by the demarcation of the boundary between northeastern Afghanistan and the Russian possessions, and in order to discuss with Amir Abdur Rahman Khan other pending questions. Abdur Rahman Khan showed his usual ability in diplomatic argument, his tenacity where his own views or claims were in debate, with a sure underlying insight into the real situation.

 

In the agreement, the relations between the British Indian and Afghan governments, as previously arranged, were confirmed; and an understanding was reached upon the important and difficult subject of the border line of Afghanistan on the east, towards India.

 

In the year 1893, during rule of Amir Abdur Rahman Khan, a Royal Commission for setting up of Boundary between Afghanistan and British Governed India was set up to negotiate terms with the British, for the agreeing to the Durand line, and the two parties camped at Parachinar, now part of FATA Pakistan, which is near Khost, Afghanistan. From the British side the camp was attended by Mortimer Durand and Sahibzada Abdul Qayyum, Political Agent Khyber. Afghanistan was represented by Sahibzada Abdul Latif and the Governor Sardar Shireendil Khan representing Amir Abdur Rahman Khan.

 

Legacy

Afghan society has mixed feelings about his rule. Some remember him as a ruler who initiated many programs for modernization and effectively prevented the country from being occupied by Russia and Britain during the Great Game. On the other hand, some sectors of Afghanistan remember him as a domestically violent but geopolitically weak ruler in that he was brought to power by the British and declared war on Afghan minorities instead of fighting the British who were deciding Afghanistan's foreign policy for him.

---------------------------

 

The Lost World (20th Century Fox, 1960).

youtu.be/h1CLA-gJbmA?t=5s Trailer

Irwin Allen, the producer who would go on to make the disaster film a huge success in the seventies, brought us this Saturday afternoon fodder with giant lizards posing as dinosaurs. Starring Michael Rennie, David Hedison, Claude Rains and Jill St. John.

Intended as a grand sci-fi/fantasy epic remake of Arthur Conan Doyle's classic novel. The first film adaptation, shot in 1925, was a milestone in many ways, but movie making and special effects had come a long way in 35 years. Irwin Allen's Lost World (LW) & 20th Century Fox version was derailed on the way to greatness, but managed to still be a respectable, (if more modest) A-film. Allen's screenplay followed the book fairly well, telling of Professor Challenger's expedition to a remote plateau in the Amazon upon which dinosaurs still lived. Aside from the paleontological presumptions in the premise, there is little "science" in The Lost World. Nonetheless, dinosaur movies have traditionally been lumped into the sci-fi genre.

Synopsis

When his plane lands in London, crusty old professor George Edward Challenger is besieged by reporters questioning him about his latest expedition to the headwaters of the Amazon River. After the irascible Challenger strikes reporter Ed Malone on the head with his umbrella, Jennifer Holmes, the daughter of Ed's employer, Stuart Holmes, offers the injured reporter a ride into town. That evening, Jenny is escorted by Lord John Roxton, an adventurer and big game hunter, to Challenger's lecture at the Zoological Institute, and Ed invites them to sit with him. When Challenger claims to have seen live dinosaurs, his colleague Professor Summerlee scoffs and asks for evidence. Explaining that his photographs of the creatures were lost when his boat overturned, Challenger invites Summerlee to accompany him on a new expedition to the "lost world," and asks for volunteers. When Roxton raises his hand, Jenny insists on going with him, but she is rejected by Challenger because she is a woman. Ed is given a spot after Holmes offers to fund the expedition if the reporter is included. The four then fly to the Amazon, where they are met by Costa, their guide and Manuel Gomez, their helicopter pilot. Arriving unexpectedly, Jenny and her younger brother David insist on joining them. Unable to arrange transportation back to the United States, Challenger reluctantly agrees to take them along. The next day, they take off for the lost world and land on an isolated plateau inhabited by dinosaurs. That evening, a dinosaur stomps out of the jungle, sending them scurrying for cover. After the beast destroys the helicopter and radio, the group ventures inland. When one of the creatures bellows threateningly, they flee, and in their haste, Challenger and Ed slip and tumble down a hillside, where they encounter a native girl. The girl runs into the jungle, but Ed follows and captures her. They then all take refuge in a cave, where Roxton, who has been making disparaging remarks about Jenny's desire to marry him solely for his title, angers Ed. Ed lunges at Roxton, pushing him to the ground, where he finds a diary written by Burton White, an adventurer who hired Roxton three years earlier to lead him to the lost diamonds of Eldorado. Roxton then admits that he never met White and his party because he was delayed by a dalliance with a woman, thus abandoning them to certain death. Gomez angrily snaps that his good friend Santiago perished in the expedition. That night, Costa tries to molest the native girl, and David comes to her rescue and begins to communicate with her through sign language. After Gomez goes to investigate some movement he spotted in the vegetation, he calls for help, and when Roxton runs out of the cave, a gunshot from an unseen assailant is fired, nearly wounding Roxton and sending the girl scurrying into the jungle. Soon after, Ed and Jenny stray from camp and are pursued by a dinosaur, and after taking refuge on some cliffs, watch in horror as their stalker becomes locked in combat with another prehistoric creature and tumbles over the cliffs into the waters below. Upon returning to camp, they discover it deserted, their belongings in disarray. As David stumbles out from some rocks to report they were attacked by a tribe of natives, the cannibals return and imprison them in a cave with the others. As the drums beat relentlessly, signaling their deaths, the native girl reappears and motions for them to follow her through a secret passageway that leads to the cave in which Burton White lives, completely sightless. After confirming that all in his expedition perished, White tells them of a volcanic passageway that will lead them off the plateau, but warns that they must first pass through the cave of fire. Cautioning them that the natives plan to sacrifice them, White declares that their only chance of survival is to slip through the cave and then seal it with a boulder. After giving them directions to the cave, White asks them to take the girl along. As the earth, on the verge of a volcanic eruption, quakes, they set off through the Graveyard of the Damned, a vast cavern littered with dinosaur skeletons, the victims of the deadly sulfurous gases below. Pursued by the ferocious natives, Roxton takes the lead as they inch their way across a narrow ledge above the molten lava. After escaping the natives, they jam the cave shut with a boulder and, passing a dam of molten lava, finally reach the escape passage. At its mouth is a pile of giant diamonds and a dinosaur egg. As Costa heaps the diamonds into his hat, Challenger fondles the egg and Gomez pulls a gun and announces that Roxton must die in exchange for the death of Santiago, Gomez' brother. Acting quickly, Ed hurls the diamonds at Gomez, throwing him off balance and discharging his gun. The gunshot awakens a creature slumbering in the roiling waters below. After the beast snatches Costa and eats him alive, Ed tries to dislodge the dam, sending a few scorching rocks tumbling down onto the monster. Feeling responsible for the peril of the group, Gomez sacrifices his life by using his body as a lever to dislodge the dam, covering the creature with oozing lava. As the cave begins to crumble from the impending eruption, the group hurries to safety. Just then, the volcano explodes, destroying the lost world. After Roxton hands Ed a handful of diamonds he has saved as a wedding gift for him and Jenny, Challenger proudly displays his egg, which then hatches, revealing a baby dinosaur. The End.

The 50s had seen several examples of the dinosaur sub-genre. LW is one of the more lavish ones, owing to color by DeLuxe and CinemaScope. The A-level actors help too. Claude Rains plays the flamboyant Challenger. Michael Rennie plays Roxton, perhaps a bit too cooly. Jill St. John and Vitina Marcus do well as the customary eye candy. David Hedison as Malone and Fernando Lamas as Gomez round out the bill.

The first film version of LW was a silent movie shot in 1925: screenplay by Marion Fairfax. The film featured stop-motion animated dinosaurs by a young Willis O'Brien. Fairfax followed Doyle's text, but Fairfax added a young woman to the team, Paula White. Ostensibly trying to find her father from the first failed expedition, she provided the love triangle interest between Malone and Roxton.

Allen's screenplay tried to stick to Doyle's text as much as Hollywood would allow. It carried on Fairfax's invention of the young woman member of the group as triangle fodder. Fairfax had Doyle's ape men (ape man) but omitted the native humans. Allen had the natives, but no ape men. Allen revived the Gomez/revenge subplot, which Fairfax skipped. Doyle's story had Challenger bringing back a pterodactyl. Fairfax made it a brontosaur who rampaged through London streets (spawning a popular trope). Allen suggested the baby dinosaur traveling to London.

Willis O'Brien pitched 20th Century Fox in the late 50s, to do a quality remake of LW. He had gained much experience in the intervening 35 years, so his stop-motion dinosaurs were to be the real stars. Fox bass liked the idea, but by the time the ball started rolling, there was trouble in studioland. Fox's grand epic Cleopatra was underway, but was already 5 million dollars over budget. Cleo would nearly sink 20th Century Fox when it was finally released in 1963. To stay afloat, all other Fox films' budgets were slashed. Allen could no longer afford the grand O'Brien stop-motion.

Allen's production is often criticized for its "cheap" dinosaurs, which were live monitor lizards and alligators with fins and plates and horns glue onto them. (more on that below) These were already a bit cheesy when used in the 1940 film One Million B.C.. O'Brien is still listed on the credits as "Effects Technician," but all Allen could afford was lizards with glued on extras. Somewhat amusingly, the script still refers to them as brontosaurs and T-Rexes.

The character of Jennifer Holmes starts out promising. She's a self-assured to the edges of pushy, and is said to be able to out shoot and out ride any man. Yet, when she gets to the Amazon jungle, she's little more than Jungle Barbie, dressed in girlie clothes and screaming frequently. She even does the typical Hollywood trip-and-fall when chased by the dinosaur, so that a man must save her.

Bottom line? FW is a finer example of the not-quite-sci-fi dinosaur sub-genre. The actors are top drawer, even if some of their acting is a bit flat. Nonetheless, FW is a fair adaptation of Doyle's

classic adventure novel, given the constraints of Hollywood culture.

 

The Movie Club Annals … Review

The Lost World 1960

Introduction

There was absolutely nothing wrong with Irwin Allen's 1960 production of The Lost World. Nothing. It was perfect in every way. I therefore find myself in the unique and unfamiliar position of having to write a rave review about a Movie Club movie that was entirely devoid of flaws.

Faced with such a confounding task, I half-heartedly considered faking a bad review, then praying my obvious deceptions would go unnoticed. But the patent transparency of my scheme convinced me to abandon it posthaste. After all, leveling concocted criticisms at such an unassailable masterpiece would be a futile and tiresome exercise, the pretense of which would escape nary a semi-cognizant soul.

Thus, having retreated from my would-be descent into literary intrigue, I start this review in earnest by borrowing a quote from the legendary Shelly Winters, spoken during the 1972 filming of Irwin Allen's The Poseidon Adventure:

"I'm ready for my close up now, Mr. Allen.” Shelly Winters, 1972

Review

A bit of research into the casting choices of Irwin Allen, who wrote, produced, and directed The Lost World, begins to reveal the genius behind the virtuosity.

The first accolades go to Irwin for his casting of Vitina Marcus, the immaculately groomed Saks 5th Avenue cave girl with exquisite taste in makeup, jewelry, and cave-wear. No finer cave girl ever graced a feature film.

Vitina Marcus, as The Cave Girl

She was the picture of prehistoric glamour, gliding across the silver screen in her designer bearskin mini-pelt, her flawless coiffure showing no signs of muss from the traditional courting rituals of the day, her perfect teeth the envy of even the most prototypical Osmond. Even her nouveau-opposable thumbs retained their manicure, in spite of the oft-disagreeable duties that frequently befell her as an effete member of the tribal gentry.

By no means just another Neanderthal harlot, Vitina had a wealth of talent to augment her exterior virtues. Her virtuoso interpretation of a comely cave girl in The Lost World certainly didn't escape the attention Irwin Allen. In fact, he was so taken with her performance that he later engaged her services again, casting her as the Native Girl in episode 2.26 of his Voyage to The Bottom of The Sea TV series.

Leery of potential typecasting, Vitina went on to obtain roles with greater depth and more sophisticated dialogue. This is evidenced by the great departure she took from her previous roles when she next portrayed the part of Sarit, a female barbarian, in episode 1.24 of Irwin Allen's The Time Tunnel TV series.

Vitina, as Sarit

Vitina's efforts to avoid typecasting paid off in spades, as she was soon rewarded with the distinctive role of Girl, a female Tarzanesque she-beast character, in episode 3.14 of The Man From U.N.C.L.E. TV series.

Lured back from the U.N.C.L.E. set by Irwin Allen, Vitina was next cast in the role of Athena (a.k.a. Lorelei), the green space girl with the inverted lucite salad bowl hat, in episodes 2.2 and 2.16 of the revered Lost in Space TV series.

And with this, Vitina reached the pinnacle of her career. For her many unparalleled displays of thespian pageantry, she leaves us forever in her debt as she exits the stage.

For those who would still question the genius of Irwin Allen, I defy you to find a better casting choice for the character of Lord John Roxton than that of Michael Rennie. Mr. Rennie, who earlier starred as Klaatu in The Day the Earth Stood Still, went on to even greater heights, starring as The Keeper in episodes 1.16 and 1.17 of the revered Lost in Space TV series. Throughout his distinguished career, Mr. Rennie often played highly cerebral characters with

unique names, such as Garth A7, Tribolet, Hasani, Rama Kahn, Hertz, and Dirk. How befitting that his most prolific roles came to him through a man named Irwin, a highly cerebral character with a unique name.

The selection of David Hedison to play Ed Malone was yet another example of Irwin's uncanny foresight. Soon after casting him in The Lost World, Irwin paved Mr. Hedison's path to immortality by casting him as a lead character in his Voyage to The Bottom of The Sea TV series. Although Voyage ended in 1968, Mr. Hedison departed the show with a solid resume and a bright future.

In the decades following Voyage, Mr. Hedison has been a veritable fixture on the small screen, appearing in such socially influential programs as The Love Boat, Fantasy Island, Knight Rider, The Fall Guy and The A Team. Mr. Hedison's early collaborations with Irwin Allen have left him never wanting for a day's work in Hollywood, a boon to the legions of discerning fans who continue to savor his inspiring prime time depictions.

Irwin selected Fernando Lamas to play Manuel Gomez, the honorable and tortured soul of The Lost World who needlessly sacrificed himself at the end of the movie to save all the others. To get a feel for how important a casting decision he was to Irwin, just look at the pertinent experience Mr. Lamas brought to the table:

Irwin knew that such credentials could cause him to lose the services of Mr. Lamas to another project, and he took great pains to woo him onto the set of The Lost World. And even though Mr. Lamas never appeared in the revered Lost in Space TV series, his talent is not lost on us.

Jay Novello was selected by Irwin Allen to play Costa, the consummate Cuban coward who perpetually betrays everyone around him in the name of greed. In pursuing his craven calling, Mr. Novello went on to play Xandros, the Greek Slave in Atlantis, The Lost Continent, as well as countless other roles as a coward.

Although Mr. Novella never appeared in the revered Lost in Space TV series, his already long and distinguished career as a coward made him the obvious choice for Irwin when the need for an experienced malingerer arose.

Jill St. John was Irwin's pick to play Jennifer Holmes, the "other" glamour girl in The Lost World. Not to be upstaged by glamour-cave-girl Vitina Marcus, Jill played the trump card and broke out the pink go-go boots and skin-tight Capri pants, the perfect Amazonian summertime jungle wear.

Complete with a perfect hairdo, a killer wardrobe, a little yip-yip dog named Frosty, and all the other trappings of a wealthy and pampered prehistoric society, Jill's sensational allure rivaled even that of a certain cave girl appearing in the same film.

With the atmosphere rife for an on-set rivalry between Jill and Vitina, Irwin still managed to keep the peace, proving that he was as skilled a diplomat as he was a director.

Claude Rains, as Professor George Edward Challenger

And our cup runneth over, as Irwin cast Claude Rains to portray Professor George Edward Challenger. His eminence, Mr. Rains is an entity of such immeasurable virtue that he is not in need of monotonous praise from the likes of me.

I respectfully acknowledge the appearance of Mr. Rains because failure to do so would be an unforgivable travesty. But I say nothing more on the subject, lest I state something so obvious and uninspiring as to insult the intelligence of enlightened reader.

Irwin's casting of the cavemen mustn't be overlooked, for their infallibly realistic portrayals are unmatched within the Pleistocene Epoch genre of film. Such meticulous attention to detail is what separates Irwin Allen from lesser filmmakers, whose pale imitations of his work only further to underscore the point.

To be sure, it is possible to come away with the unfounded suspicion that the cavemen are really just a bunch of old white guys from the bar at the local Elks lodge. But Irwin was an absolute stickler for authenticity, and would never have allowed the use of such tawdry measures to taint his prehistoric magnum opus.

In truth, Irwin's on-screen cavemen were borne of many grueling years of anthropological research, so the explanation for their somewhat modern, pseudo-caucasian appearance lies obviously elsewhere. And in keeping with true Irwin Allen tradition, that explanation will not be offered here.

1964 - Voyage to the Bottom of the Sea, Season One, Episode 7 - "Turn Back the Clock", featuring Vitina Marcus as The Native Girl. Produced by Irwin Allen.

And then there was Irwin Allen's masterful handling of the reptilian facets of The Lost World, most notably his inimitable casting of the dinosaurs. His dinosaurs were so realistic, so eerily lifelike, that they almost looked like living, breathing garden variety lizards with dinosaur fins and horns glued to their backs and heads.

The less enlightened viewer might even suppose this to be true, that Irwin's dinosaurs were indeed merely live specimens of lizards, donned in Jurassic-era finery, vastly magnified, and retro-fitted into The Lost World via some penny-wise means of cinematic trickery.

But those of us in the know certainly know better than that, as we are privy to some otherwise unpublished information about The Lost World. The lifelike appearance of the Irwin's dinosaurs can be attributed to a wholly overlooked and fiendishly cunning approach to the art of delusion, which is that the dinosaurs didn't just look real, they were real.

While the world abounds with middling minds who cannot fathom such a reality, we must follow Irwin's benevolent leanings and temper our natural feelings of contempt for this unfortunate assemblage of pedestrian lowbrows. In spite of Irwin's superior intellect, he never felt disdain toward the masses that constituted his audiences. He simply capitalized on their unaffectedness, and in the process recounted the benefits of exploiting the intellectually bereft for personal gain.

The purpose of all this analysis, of course, is to place an exclamation point on the genius of Irwin Allen, the formation of his dinosaur exposé being a premier example. Note how he mindfully manipulates the expectations of his unsuspecting audience, compelling them to probe the dinosaurs for any signs of man-made chicanery. Then, at the palatial moment when the dinosaurs make their entry, he guilefully supplants the anticipated display of faux reptilia with that of the bona fide article.

Upon first witnessing the de facto dinosaurs, some in the audience think they've been had, and indeed they have. Irwin, in engineering his masterful ruse, had used reality as his medium to convey the illusion of artifice. His audience, in essence, was blinded by the truth. It was the immaculate deception, and none but Irwin Allen could have conceived it.

Indeed, the matter of where the live dinosaurs came from has been conspicuously absent from this discussion, as the Irwinian technique of fine film making strongly discourages the practice of squandering time on extraneous justifications and other such trite means of redundant apologia. For the benefit of the incessantly curious, however, just keep in mind that Irwin Allen wrote and produced The Time Tunnel TV Series, a fact that should provide some fair insight into his modis operandi.

Carl R.

 

The Lost World (20th Century Fox, 1960).

youtu.be/h1CLA-gJbmA?t=5s Trailer

Irwin Allen, the producer who would go on to make the disaster film a huge success in the seventies, brought us this Saturday afternoon fodder with giant lizards posing as dinosaurs. Starring Michael Rennie, David Hedison, Claude Rains and Jill St. John.

Intended as a grand sci-fi/fantasy epic remake of Arthur Conan Doyle's classic novel. The first film adaptation, shot in 1925, was a milestone in many ways, but movie making and special effects had come a long way in 35 years. Irwin Allen's Lost World (LW) & 20th Century Fox version was derailed on the way to greatness, but managed to still be a respectable, (if more modest) A-film. Allen's screenplay followed the book fairly well, telling of Professor Challenger's expedition to a remote plateau in the Amazon upon which dinosaurs still lived. Aside from the paleontological presumptions in the premise, there is little "science" in The Lost World. Nonetheless, dinosaur movies have traditionally been lumped into the sci-fi genre.

Synopsis

When his plane lands in London, crusty old professor George Edward Challenger is besieged by reporters questioning him about his latest expedition to the headwaters of the Amazon River. After the irascible Challenger strikes reporter Ed Malone on the head with his umbrella, Jennifer Holmes, the daughter of Ed's employer, Stuart Holmes, offers the injured reporter a ride into town. That evening, Jenny is escorted by Lord John Roxton, an adventurer and big game hunter, to Challenger's lecture at the Zoological Institute, and Ed invites them to sit with him. When Challenger claims to have seen live dinosaurs, his colleague Professor Summerlee scoffs and asks for evidence. Explaining that his photographs of the creatures were lost when his boat overturned, Challenger invites Summerlee to accompany him on a new expedition to the "lost world," and asks for volunteers. When Roxton raises his hand, Jenny insists on going with him, but she is rejected by Challenger because she is a woman. Ed is given a spot after Holmes offers to fund the expedition if the reporter is included. The four then fly to the Amazon, where they are met by Costa, their guide and Manuel Gomez, their helicopter pilot. Arriving unexpectedly, Jenny and her younger brother David insist on joining them. Unable to arrange transportation back to the United States, Challenger reluctantly agrees to take them along. The next day, they take off for the lost world and land on an isolated plateau inhabited by dinosaurs. That evening, a dinosaur stomps out of the jungle, sending them scurrying for cover. After the beast destroys the helicopter and radio, the group ventures inland. When one of the creatures bellows threateningly, they flee, and in their haste, Challenger and Ed slip and tumble down a hillside, where they encounter a native girl. The girl runs into the jungle, but Ed follows and captures her. They then all take refuge in a cave, where Roxton, who has been making disparaging remarks about Jenny's desire to marry him solely for his title, angers Ed. Ed lunges at Roxton, pushing him to the ground, where he finds a diary written by Burton White, an adventurer who hired Roxton three years earlier to lead him to the lost diamonds of Eldorado. Roxton then admits that he never met White and his party because he was delayed by a dalliance with a woman, thus abandoning them to certain death. Gomez angrily snaps that his good friend Santiago perished in the expedition. That night, Costa tries to molest the native girl, and David comes to her rescue and begins to communicate with her through sign language. After Gomez goes to investigate some movement he spotted in the vegetation, he calls for help, and when Roxton runs out of the cave, a gunshot from an unseen assailant is fired, nearly wounding Roxton and sending the girl scurrying into the jungle. Soon after, Ed and Jenny stray from camp and are pursued by a dinosaur, and after taking refuge on some cliffs, watch in horror as their stalker becomes locked in combat with another prehistoric creature and tumbles over the cliffs into the waters below. Upon returning to camp, they discover it deserted, their belongings in disarray. As David stumbles out from some rocks to report they were attacked by a tribe of natives, the cannibals return and imprison them in a cave with the others. As the drums beat relentlessly, signaling their deaths, the native girl reappears and motions for them to follow her through a secret passageway that leads to the cave in which Burton White lives, completely sightless. After confirming that all in his expedition perished, White tells them of a volcanic passageway that will lead them off the plateau, but warns that they must first pass through the cave of fire. Cautioning them that the natives plan to sacrifice them, White declares that their only chance of survival is to slip through the cave and then seal it with a boulder. After giving them directions to the cave, White asks them to take the girl along. As the earth, on the verge of a volcanic eruption, quakes, they set off through the Graveyard of the Damned, a vast cavern littered with dinosaur skeletons, the victims of the deadly sulfurous gases below. Pursued by the ferocious natives, Roxton takes the lead as they inch their way across a narrow ledge above the molten lava. After escaping the natives, they jam the cave shut with a boulder and, passing a dam of molten lava, finally reach the escape passage. At its mouth is a pile of giant diamonds and a dinosaur egg. As Costa heaps the diamonds into his hat, Challenger fondles the egg and Gomez pulls a gun and announces that Roxton must die in exchange for the death of Santiago, Gomez' brother. Acting quickly, Ed hurls the diamonds at Gomez, throwing him off balance and discharging his gun. The gunshot awakens a creature slumbering in the roiling waters below. After the beast snatches Costa and eats him alive, Ed tries to dislodge the dam, sending a few scorching rocks tumbling down onto the monster. Feeling responsible for the peril of the group, Gomez sacrifices his life by using his body as a lever to dislodge the dam, covering the creature with oozing lava. As the cave begins to crumble from the impending eruption, the group hurries to safety. Just then, the volcano explodes, destroying the lost world. After Roxton hands Ed a handful of diamonds he has saved as a wedding gift for him and Jenny, Challenger proudly displays his egg, which then hatches, revealing a baby dinosaur. The End.

The 50s had seen several examples of the dinosaur sub-genre. LW is one of the more lavish ones, owing to color by DeLuxe and CinemaScope. The A-level actors help too. Claude Rains plays the flamboyant Challenger. Michael Rennie plays Roxton, perhaps a bit too cooly. Jill St. John and Vitina Marcus do well as the customary eye candy. David Hedison as Malone and Fernando Lamas as Gomez round out the bill.

The first film version of LW was a silent movie shot in 1925: screenplay by Marion Fairfax. The film featured stop-motion animated dinosaurs by a young Willis O'Brien. Fairfax followed Doyle's text, but Fairfax added a young woman to the team, Paula White. Ostensibly trying to find her father from the first failed expedition, she provided the love triangle interest between Malone and Roxton.

Allen's screenplay tried to stick to Doyle's text as much as Hollywood would allow. It carried on Fairfax's invention of the young woman member of the group as triangle fodder. Fairfax had Doyle's ape men (ape man) but omitted the native humans. Allen had the natives, but no ape men. Allen revived the Gomez/revenge subplot, which Fairfax skipped. Doyle's story had Challenger bringing back a pterodactyl. Fairfax made it a brontosaur who rampaged through London streets (spawning a popular trope). Allen suggested the baby dinosaur traveling to London.

Willis O'Brien pitched 20th Century Fox in the late 50s, to do a quality remake of LW. He had gained much experience in the intervening 35 years, so his stop-motion dinosaurs were to be the real stars. Fox bass liked the idea, but by the time the ball started rolling, there was trouble in studioland. Fox's grand epic Cleopatra was underway, but was already 5 million dollars over budget. Cleo would nearly sink 20th Century Fox when it was finally released in 1963. To stay afloat, all other Fox films' budgets were slashed. Allen could no longer afford the grand O'Brien stop-motion.

Allen's production is often criticized for its "cheap" dinosaurs, which were live monitor lizards and alligators with fins and plates and horns glue onto them. (more on that below) These were already a bit cheesy when used in the 1940 film One Million B.C.. O'Brien is still listed on the credits as "Effects Technician," but all Allen could afford was lizards with glued on extras. Somewhat amusingly, the script still refers to them as brontosaurs and T-Rexes.

The character of Jennifer Holmes starts out promising. She's a self-assured to the edges of pushy, and is said to be able to out shoot and out ride any man. Yet, when she gets to the Amazon jungle, she's little more than Jungle Barbie, dressed in girlie clothes and screaming frequently. She even does the typical Hollywood trip-and-fall when chased by the dinosaur, so that a man must save her.

Bottom line? FW is a finer example of the not-quite-sci-fi dinosaur sub-genre. The actors are top drawer, even if some of their acting is a bit flat. Nonetheless, FW is a fair adaptation of Doyle's

classic adventure novel, given the constraints of Hollywood culture.

 

The Movie Club Annals … Review

The Lost World 1960

Introduction

There was absolutely nothing wrong with Irwin Allen's 1960 production of The Lost World. Nothing. It was perfect in every way. I therefore find myself in the unique and unfamiliar position of having to write a rave review about a Movie Club movie that was entirely devoid of flaws.

Faced with such a confounding task, I half-heartedly considered faking a bad review, then praying my obvious deceptions would go unnoticed. But the patent transparency of my scheme convinced me to abandon it posthaste. After all, leveling concocted criticisms at such an unassailable masterpiece would be a futile and tiresome exercise, the pretense of which would escape nary a semi-cognizant soul.

Thus, having retreated from my would-be descent into literary intrigue, I start this review in earnest by borrowing a quote from the legendary Shelly Winters, spoken during the 1972 filming of Irwin Allen's The Poseidon Adventure:

"I'm ready for my close up now, Mr. Allen.” Shelly Winters, 1972

Review

A bit of research into the casting choices of Irwin Allen, who wrote, produced, and directed The Lost World, begins to reveal the genius behind the virtuosity.

The first accolades go to Irwin for his casting of Vitina Marcus, the immaculately groomed Saks 5th Avenue cave girl with exquisite taste in makeup, jewelry, and cave-wear. No finer cave girl ever graced a feature film.

Vitina Marcus, as The Cave Girl

She was the picture of prehistoric glamour, gliding across the silver screen in her designer bearskin mini-pelt, her flawless coiffure showing no signs of muss from the traditional courting rituals of the day, her perfect teeth the envy of even the most prototypical Osmond. Even her nouveau-opposable thumbs retained their manicure, in spite of the oft-disagreeable duties that frequently befell her as an effete member of the tribal gentry.

By no means just another Neanderthal harlot, Vitina had a wealth of talent to augment her exterior virtues. Her virtuoso interpretation of a comely cave girl in The Lost World certainly didn't escape the attention Irwin Allen. In fact, he was so taken with her performance that he later engaged her services again, casting her as the Native Girl in episode 2.26 of his Voyage to The Bottom of The Sea TV series.

Leery of potential typecasting, Vitina went on to obtain roles with greater depth and more sophisticated dialogue. This is evidenced by the great departure she took from her previous roles when she next portrayed the part of Sarit, a female barbarian, in episode 1.24 of Irwin Allen's The Time Tunnel TV series.

Vitina, as Sarit

Vitina's efforts to avoid typecasting paid off in spades, as she was soon rewarded with the distinctive role of Girl, a female Tarzanesque she-beast character, in episode 3.14 of The Man From U.N.C.L.E. TV series.

Lured back from the U.N.C.L.E. set by Irwin Allen, Vitina was next cast in the role of Athena (a.k.a. Lorelei), the green space girl with the inverted lucite salad bowl hat, in episodes 2.2 and 2.16 of the revered Lost in Space TV series.

And with this, Vitina reached the pinnacle of her career. For her many unparalleled displays of thespian pageantry, she leaves us forever in her debt as she exits the stage.

For those who would still question the genius of Irwin Allen, I defy you to find a better casting choice for the character of Lord John Roxton than that of Michael Rennie. Mr. Rennie, who earlier starred as Klaatu in The Day the Earth Stood Still, went on to even greater heights, starring as The Keeper in episodes 1.16 and 1.17 of the revered Lost in Space TV series. Throughout his distinguished career, Mr. Rennie often played highly cerebral characters with

unique names, such as Garth A7, Tribolet, Hasani, Rama Kahn, Hertz, and Dirk. How befitting that his most prolific roles came to him through a man named Irwin, a highly cerebral character with a unique name.

The selection of David Hedison to play Ed Malone was yet another example of Irwin's uncanny foresight. Soon after casting him in The Lost World, Irwin paved Mr. Hedison's path to immortality by casting him as a lead character in his Voyage to The Bottom of The Sea TV series. Although Voyage ended in 1968, Mr. Hedison departed the show with a solid resume and a bright future.

In the decades following Voyage, Mr. Hedison has been a veritable fixture on the small screen, appearing in such socially influential programs as The Love Boat, Fantasy Island, Knight Rider, The Fall Guy and The A Team. Mr. Hedison's early collaborations with Irwin Allen have left him never wanting for a day's work in Hollywood, a boon to the legions of discerning fans who continue to savor his inspiring prime time depictions.

Irwin selected Fernando Lamas to play Manuel Gomez, the honorable and tortured soul of The Lost World who needlessly sacrificed himself at the end of the movie to save all the others. To get a feel for how important a casting decision he was to Irwin, just look at the pertinent experience Mr. Lamas brought to the table:

Irwin knew that such credentials could cause him to lose the services of Mr. Lamas to another project, and he took great pains to woo him onto the set of The Lost World. And even though Mr. Lamas never appeared in the revered Lost in Space TV series, his talent is not lost on us.

Jay Novello was selected by Irwin Allen to play Costa, the consummate Cuban coward who perpetually betrays everyone around him in the name of greed. In pursuing his craven calling, Mr. Novello went on to play Xandros, the Greek Slave in Atlantis, The Lost Continent, as well as countless other roles as a coward.

Although Mr. Novella never appeared in the revered Lost in Space TV series, his already long and distinguished career as a coward made him the obvious choice for Irwin when the need for an experienced malingerer arose.

Jill St. John was Irwin's pick to play Jennifer Holmes, the "other" glamour girl in The Lost World. Not to be upstaged by glamour-cave-girl Vitina Marcus, Jill played the trump card and broke out the pink go-go boots and skin-tight Capri pants, the perfect Amazonian summertime jungle wear.

Complete with a perfect hairdo, a killer wardrobe, a little yip-yip dog named Frosty, and all the other trappings of a wealthy and pampered prehistoric society, Jill's sensational allure rivaled even that of a certain cave girl appearing in the same film.

With the atmosphere rife for an on-set rivalry between Jill and Vitina, Irwin still managed to keep the peace, proving that he was as skilled a diplomat as he was a director.

Claude Rains, as Professor George Edward Challenger

And our cup runneth over, as Irwin cast Claude Rains to portray Professor George Edward Challenger. His eminence, Mr. Rains is an entity of such immeasurable virtue that he is not in need of monotonous praise from the likes of me.

I respectfully acknowledge the appearance of Mr. Rains because failure to do so would be an unforgivable travesty. But I say nothing more on the subject, lest I state something so obvious and uninspiring as to insult the intelligence of enlightened reader.

Irwin's casting of the cavemen mustn't be overlooked, for their infallibly realistic portrayals are unmatched within the Pleistocene Epoch genre of film. Such meticulous attention to detail is what separates Irwin Allen from lesser filmmakers, whose pale imitations of his work only further to underscore the point.

To be sure, it is possible to come away with the unfounded suspicion that the cavemen are really just a bunch of old white guys from the bar at the local Elks lodge. But Irwin was an absolute stickler for authenticity, and would never have allowed the use of such tawdry measures to taint his prehistoric magnum opus.

In truth, Irwin's on-screen cavemen were borne of many grueling years of anthropological research, so the explanation for their somewhat modern, pseudo-caucasian appearance lies obviously elsewhere. And in keeping with true Irwin Allen tradition, that explanation will not be offered here.

1964 - Voyage to the Bottom of the Sea, Season One, Episode 7 - "Turn Back the Clock", featuring Vitina Marcus as The Native Girl. Produced by Irwin Allen.

And then there was Irwin Allen's masterful handling of the reptilian facets of The Lost World, most notably his inimitable casting of the dinosaurs. His dinosaurs were so realistic, so eerily lifelike, that they almost looked like living, breathing garden variety lizards with dinosaur fins and horns glued to their backs and heads.

The less enlightened viewer might even suppose this to be true, that Irwin's dinosaurs were indeed merely live specimens of lizards, donned in Jurassic-era finery, vastly magnified, and retro-fitted into The Lost World via some penny-wise means of cinematic trickery.

But those of us in the know certainly know better than that, as we are privy to some otherwise unpublished information about The Lost World. The lifelike appearance of the Irwin's dinosaurs can be attributed to a wholly overlooked and fiendishly cunning approach to the art of delusion, which is that the dinosaurs didn't just look real, they were real.

While the world abounds with middling minds who cannot fathom such a reality, we must follow Irwin's benevolent leanings and temper our natural feelings of contempt for this unfortunate assemblage of pedestrian lowbrows. In spite of Irwin's superior intellect, he never felt disdain toward the masses that constituted his audiences. He simply capitalized on their unaffectedness, and in the process recounted the benefits of exploiting the intellectually bereft for personal gain.

The purpose of all this analysis, of course, is to place an exclamation point on the genius of Irwin Allen, the formation of his dinosaur exposé being a premier example. Note how he mindfully manipulates the expectations of his unsuspecting audience, compelling them to probe the dinosaurs for any signs of man-made chicanery. Then, at the palatial moment when the dinosaurs make their entry, he guilefully supplants the anticipated display of faux reptilia with that of the bona fide article.

Upon first witnessing the de facto dinosaurs, some in the audience think they've been had, and indeed they have. Irwin, in engineering his masterful ruse, had used reality as his medium to convey the illusion of artifice. His audience, in essence, was blinded by the truth. It was the immaculate deception, and none but Irwin Allen could have conceived it.

Indeed, the matter of where the live dinosaurs came from has been conspicuously absent from this discussion, as the Irwinian technique of fine film making strongly discourages the practice of squandering time on extraneous justifications and other such trite means of redundant apologia. For the benefit of the incessantly curious, however, just keep in mind that Irwin Allen wrote and produced The Time Tunnel TV Series, a fact that should provide some fair insight into his modis operandi.

Carl R.

 

The Lost World (20th Century Fox, 1960).

youtu.be/h1CLA-gJbmA?t=5s Trailer

Irwin Allen, the producer who would go on to make the disaster film a huge success in the seventies, brought us this Saturday afternoon fodder with giant lizards posing as dinosaurs. Starring Michael Rennie, David Hedison, Claude Rains and Jill St. John.

Intended as a grand sci-fi/fantasy epic remake of Arthur Conan Doyle's classic novel. The first film adaptation, shot in 1925, was a milestone in many ways, but movie making and special effects had come a long way in 35 years. Irwin Allen's Lost World (LW) & 20th Century Fox version was derailed on the way to greatness, but managed to still be a respectable, (if more modest) A-film. Allen's screenplay followed the book fairly well, telling of Professor Challenger's expedition to a remote plateau in the Amazon upon which dinosaurs still lived. Aside from the paleontological presumptions in the premise, there is little "science" in The Lost World. Nonetheless, dinosaur movies have traditionally been lumped into the sci-fi genre.

Synopsis

When his plane lands in London, crusty old professor George Edward Challenger is besieged by reporters questioning him about his latest expedition to the headwaters of the Amazon River. After the irascible Challenger strikes reporter Ed Malone on the head with his umbrella, Jennifer Holmes, the daughter of Ed's employer, Stuart Holmes, offers the injured reporter a ride into town. That evening, Jenny is escorted by Lord John Roxton, an adventurer and big game hunter, to Challenger's lecture at the Zoological Institute, and Ed invites them to sit with him. When Challenger claims to have seen live dinosaurs, his colleague Professor Summerlee scoffs and asks for evidence. Explaining that his photographs of the creatures were lost when his boat overturned, Challenger invites Summerlee to accompany him on a new expedition to the "lost world," and asks for volunteers. When Roxton raises his hand, Jenny insists on going with him, but she is rejected by Challenger because she is a woman. Ed is given a spot after Holmes offers to fund the expedition if the reporter is included. The four then fly to the Amazon, where they are met by Costa, their guide and Manuel Gomez, their helicopter pilot. Arriving unexpectedly, Jenny and her younger brother David insist on joining them. Unable to arrange transportation back to the United States, Challenger reluctantly agrees to take them along. The next day, they take off for the lost world and land on an isolated plateau inhabited by dinosaurs. That evening, a dinosaur stomps out of the jungle, sending them scurrying for cover. After the beast destroys the helicopter and radio, the group ventures inland. When one of the creatures bellows threateningly, they flee, and in their haste, Challenger and Ed slip and tumble down a hillside, where they encounter a native girl. The girl runs into the jungle, but Ed follows and captures her. They then all take refuge in a cave, where Roxton, who has been making disparaging remarks about Jenny's desire to marry him solely for his title, angers Ed. Ed lunges at Roxton, pushing him to the ground, where he finds a diary written by Burton White, an adventurer who hired Roxton three years earlier to lead him to the lost diamonds of Eldorado. Roxton then admits that he never met White and his party because he was delayed by a dalliance with a woman, thus abandoning them to certain death. Gomez angrily snaps that his good friend Santiago perished in the expedition. That night, Costa tries to molest the native girl, and David comes to her rescue and begins to communicate with her through sign language. After Gomez goes to investigate some movement he spotted in the vegetation, he calls for help, and when Roxton runs out of the cave, a gunshot from an unseen assailant is fired, nearly wounding Roxton and sending the girl scurrying into the jungle. Soon after, Ed and Jenny stray from camp and are pursued by a dinosaur, and after taking refuge on some cliffs, watch in horror as their stalker becomes locked in combat with another prehistoric creature and tumbles over the cliffs into the waters below. Upon returning to camp, they discover it deserted, their belongings in disarray. As David stumbles out from some rocks to report they were attacked by a tribe of natives, the cannibals return and imprison them in a cave with the others. As the drums beat relentlessly, signaling their deaths, the native girl reappears and motions for them to follow her through a secret passageway that leads to the cave in which Burton White lives, completely sightless. After confirming that all in his expedition perished, White tells them of a volcanic passageway that will lead them off the plateau, but warns that they must first pass through the cave of fire. Cautioning them that the natives plan to sacrifice them, White declares that their only chance of survival is to slip through the cave and then seal it with a boulder. After giving them directions to the cave, White asks them to take the girl along. As the earth, on the verge of a volcanic eruption, quakes, they set off through the Graveyard of the Damned, a vast cavern littered with dinosaur skeletons, the victims of the deadly sulfurous gases below. Pursued by the ferocious natives, Roxton takes the lead as they inch their way across a narrow ledge above the molten lava. After escaping the natives, they jam the cave shut with a boulder and, passing a dam of molten lava, finally reach the escape passage. At its mouth is a pile of giant diamonds and a dinosaur egg. As Costa heaps the diamonds into his hat, Challenger fondles the egg and Gomez pulls a gun and announces that Roxton must die in exchange for the death of Santiago, Gomez' brother. Acting quickly, Ed hurls the diamonds at Gomez, throwing him off balance and discharging his gun. The gunshot awakens a creature slumbering in the roiling waters below. After the beast snatches Costa and eats him alive, Ed tries to dislodge the dam, sending a few scorching rocks tumbling down onto the monster. Feeling responsible for the peril of the group, Gomez sacrifices his life by using his body as a lever to dislodge the dam, covering the creature with oozing lava. As the cave begins to crumble from the impending eruption, the group hurries to safety. Just then, the volcano explodes, destroying the lost world. After Roxton hands Ed a handful of diamonds he has saved as a wedding gift for him and Jenny, Challenger proudly displays his egg, which then hatches, revealing a baby dinosaur. The End.

The 50s had seen several examples of the dinosaur sub-genre. LW is one of the more lavish ones, owing to color by DeLuxe and CinemaScope. The A-level actors help too. Claude Rains plays the flamboyant Challenger. Michael Rennie plays Roxton, perhaps a bit too cooly. Jill St. John and Vitina Marcus do well as the customary eye candy. David Hedison as Malone and Fernando Lamas as Gomez round out the bill.

The first film version of LW was a silent movie shot in 1925: screenplay by Marion Fairfax. The film featured stop-motion animated dinosaurs by a young Willis O'Brien. Fairfax followed Doyle's text, but Fairfax added a young woman to the team, Paula White. Ostensibly trying to find her father from the first failed expedition, she provided the love triangle interest between Malone and Roxton.

Allen's screenplay tried to stick to Doyle's text as much as Hollywood would allow. It carried on Fairfax's invention of the young woman member of the group as triangle fodder. Fairfax had Doyle's ape men (ape man) but omitted the native humans. Allen had the natives, but no ape men. Allen revived the Gomez/revenge subplot, which Fairfax skipped. Doyle's story had Challenger bringing back a pterodactyl. Fairfax made it a brontosaur who rampaged through London streets (spawning a popular trope). Allen suggested the baby dinosaur traveling to London.

Willis O'Brien pitched 20th Century Fox in the late 50s, to do a quality remake of LW. He had gained much experience in the intervening 35 years, so his stop-motion dinosaurs were to be the real stars. Fox bass liked the idea, but by the time the ball started rolling, there was trouble in studioland. Fox's grand epic Cleopatra was underway, but was already 5 million dollars over budget. Cleo would nearly sink 20th Century Fox when it was finally released in 1963. To stay afloat, all other Fox films' budgets were slashed. Allen could no longer afford the grand O'Brien stop-motion.

Allen's production is often criticized for its "cheap" dinosaurs, which were live monitor lizards and alligators with fins and plates and horns glue onto them. (more on that below) These were already a bit cheesy when used in the 1940 film One Million B.C.. O'Brien is still listed on the credits as "Effects Technician," but all Allen could afford was lizards with glued on extras. Somewhat amusingly, the script still refers to them as brontosaurs and T-Rexes.

The character of Jennifer Holmes starts out promising. She's a self-assured to the edges of pushy, and is said to be able to out shoot and out ride any man. Yet, when she gets to the Amazon jungle, she's little more than Jungle Barbie, dressed in girlie clothes and screaming frequently. She even does the typical Hollywood trip-and-fall when chased by the dinosaur, so that a man must save her.

Bottom line? FW is a finer example of the not-quite-sci-fi dinosaur sub-genre. The actors are top drawer, even if some of their acting is a bit flat. Nonetheless, FW is a fair adaptation of Doyle's

classic adventure novel, given the constraints of Hollywood culture.

 

The Movie Club Annals … Review

The Lost World 1960

Introduction

There was absolutely nothing wrong with Irwin Allen's 1960 production of The Lost World. Nothing. It was perfect in every way. I therefore find myself in the unique and unfamiliar position of having to write a rave review about a Movie Club movie that was entirely devoid of flaws.

Faced with such a confounding task, I half-heartedly considered faking a bad review, then praying my obvious deceptions would go unnoticed. But the patent transparency of my scheme convinced me to abandon it posthaste. After all, leveling concocted criticisms at such an unassailable masterpiece would be a futile and tiresome exercise, the pretense of which would escape nary a semi-cognizant soul.

Thus, having retreated from my would-be descent into literary intrigue, I start this review in earnest by borrowing a quote from the legendary Shelly Winters, spoken during the 1972 filming of Irwin Allen's The Poseidon Adventure:

"I'm ready for my close up now, Mr. Allen.” Shelly Winters, 1972

Review

A bit of research into the casting choices of Irwin Allen, who wrote, produced, and directed The Lost World, begins to reveal the genius behind the virtuosity.

The first accolades go to Irwin for his casting of Vitina Marcus, the immaculately groomed Saks 5th Avenue cave girl with exquisite taste in makeup, jewelry, and cave-wear. No finer cave girl ever graced a feature film.

Vitina Marcus, as The Cave Girl

She was the picture of prehistoric glamour, gliding across the silver screen in her designer bearskin mini-pelt, her flawless coiffure showing no signs of muss from the traditional courting rituals of the day, her perfect teeth the envy of even the most prototypical Osmond. Even her nouveau-opposable thumbs retained their manicure, in spite of the oft-disagreeable duties that frequently befell her as an effete member of the tribal gentry.

By no means just another Neanderthal harlot, Vitina had a wealth of talent to augment her exterior virtues. Her virtuoso interpretation of a comely cave girl in The Lost World certainly didn't escape the attention Irwin Allen. In fact, he was so taken with her performance that he later engaged her services again, casting her as the Native Girl in episode 2.26 of his Voyage to The Bottom of The Sea TV series.

Leery of potential typecasting, Vitina went on to obtain roles with greater depth and more sophisticated dialogue. This is evidenced by the great departure she took from her previous roles when she next portrayed the part of Sarit, a female barbarian, in episode 1.24 of Irwin Allen's The Time Tunnel TV series.

Vitina, as Sarit

Vitina's efforts to avoid typecasting paid off in spades, as she was soon rewarded with the distinctive role of Girl, a female Tarzanesque she-beast character, in episode 3.14 of The Man From U.N.C.L.E. TV series.

Lured back from the U.N.C.L.E. set by Irwin Allen, Vitina was next cast in the role of Athena (a.k.a. Lorelei), the green space girl with the inverted lucite salad bowl hat, in episodes 2.2 and 2.16 of the revered Lost in Space TV series.

And with this, Vitina reached the pinnacle of her career. For her many unparalleled displays of thespian pageantry, she leaves us forever in her debt as she exits the stage.

For those who would still question the genius of Irwin Allen, I defy you to find a better casting choice for the character of Lord John Roxton than that of Michael Rennie. Mr. Rennie, who earlier starred as Klaatu in The Day the Earth Stood Still, went on to even greater heights, starring as The Keeper in episodes 1.16 and 1.17 of the revered Lost in Space TV series. Throughout his distinguished career, Mr. Rennie often played highly cerebral characters with

unique names, such as Garth A7, Tribolet, Hasani, Rama Kahn, Hertz, and Dirk. How befitting that his most prolific roles came to him through a man named Irwin, a highly cerebral character with a unique name.

The selection of David Hedison to play Ed Malone was yet another example of Irwin's uncanny foresight. Soon after casting him in The Lost World, Irwin paved Mr. Hedison's path to immortality by casting him as a lead character in his Voyage to The Bottom of The Sea TV series. Although Voyage ended in 1968, Mr. Hedison departed the show with a solid resume and a bright future.

In the decades following Voyage, Mr. Hedison has been a veritable fixture on the small screen, appearing in such socially influential programs as The Love Boat, Fantasy Island, Knight Rider, The Fall Guy and The A Team. Mr. Hedison's early collaborations with Irwin Allen have left him never wanting for a day's work in Hollywood, a boon to the legions of discerning fans who continue to savor his inspiring prime time depictions.

Irwin selected Fernando Lamas to play Manuel Gomez, the honorable and tortured soul of The Lost World who needlessly sacrificed himself at the end of the movie to save all the others. To get a feel for how important a casting decision he was to Irwin, just look at the pertinent experience Mr. Lamas brought to the table:

Irwin knew that such credentials could cause him to lose the services of Mr. Lamas to another project, and he took great pains to woo him onto the set of The Lost World. And even though Mr. Lamas never appeared in the revered Lost in Space TV series, his talent is not lost on us.

Jay Novello was selected by Irwin Allen to play Costa, the consummate Cuban coward who perpetually betrays everyone around him in the name of greed. In pursuing his craven calling, Mr. Novello went on to play Xandros, the Greek Slave in Atlantis, The Lost Continent, as well as countless other roles as a coward.

Although Mr. Novella never appeared in the revered Lost in Space TV series, his already long and distinguished career as a coward made him the obvious choice for Irwin when the need for an experienced malingerer arose.

Jill St. John was Irwin's pick to play Jennifer Holmes, the "other" glamour girl in The Lost World. Not to be upstaged by glamour-cave-girl Vitina Marcus, Jill played the trump card and broke out the pink go-go boots and skin-tight Capri pants, the perfect Amazonian summertime jungle wear.

Complete with a perfect hairdo, a killer wardrobe, a little yip-yip dog named Frosty, and all the other trappings of a wealthy and pampered prehistoric society, Jill's sensational allure rivaled even that of a certain cave girl appearing in the same film.

With the atmosphere rife for an on-set rivalry between Jill and Vitina, Irwin still managed to keep the peace, proving that he was as skilled a diplomat as he was a director.

Claude Rains, as Professor George Edward Challenger

And our cup runneth over, as Irwin cast Claude Rains to portray Professor George Edward Challenger. His eminence, Mr. Rains is an entity of such immeasurable virtue that he is not in need of monotonous praise from the likes of me.

I respectfully acknowledge the appearance of Mr. Rains because failure to do so would be an unforgivable travesty. But I say nothing more on the subject, lest I state something so obvious and uninspiring as to insult the intelligence of enlightened reader.

Irwin's casting of the cavemen mustn't be overlooked, for their infallibly realistic portrayals are unmatched within the Pleistocene Epoch genre of film. Such meticulous attention to detail is what separates Irwin Allen from lesser filmmakers, whose pale imitations of his work only further to underscore the point.

To be sure, it is possible to come away with the unfounded suspicion that the cavemen are really just a bunch of old white guys from the bar at the local Elks lodge. But Irwin was an absolute stickler for authenticity, and would never have allowed the use of such tawdry measures to taint his prehistoric magnum opus.

In truth, Irwin's on-screen cavemen were borne of many grueling years of anthropological research, so the explanation for their somewhat modern, pseudo-caucasian appearance lies obviously elsewhere. And in keeping with true Irwin Allen tradition, that explanation will not be offered here.

1964 - Voyage to the Bottom of the Sea, Season One, Episode 7 - "Turn Back the Clock", featuring Vitina Marcus as The Native Girl. Produced by Irwin Allen.

And then there was Irwin Allen's masterful handling of the reptilian facets of The Lost World, most notably his inimitable casting of the dinosaurs. His dinosaurs were so realistic, so eerily lifelike, that they almost looked like living, breathing garden variety lizards with dinosaur fins and horns glued to their backs and heads.

The less enlightened viewer might even suppose this to be true, that Irwin's dinosaurs were indeed merely live specimens of lizards, donned in Jurassic-era finery, vastly magnified, and retro-fitted into The Lost World via some penny-wise means of cinematic trickery.

But those of us in the know certainly know better than that, as we are privy to some otherwise unpublished information about The Lost World. The lifelike appearance of the Irwin's dinosaurs can be attributed to a wholly overlooked and fiendishly cunning approach to the art of delusion, which is that the dinosaurs didn't just look real, they were real.

While the world abounds with middling minds who cannot fathom such a reality, we must follow Irwin's benevolent leanings and temper our natural feelings of contempt for this unfortunate assemblage of pedestrian lowbrows. In spite of Irwin's superior intellect, he never felt disdain toward the masses that constituted his audiences. He simply capitalized on their unaffectedness, and in the process recounted the benefits of exploiting the intellectually bereft for personal gain.

The purpose of all this analysis, of course, is to place an exclamation point on the genius of Irwin Allen, the formation of his dinosaur exposé being a premier example. Note how he mindfully manipulates the expectations of his unsuspecting audience, compelling them to probe the dinosaurs for any signs of man-made chicanery. Then, at the palatial moment when the dinosaurs make their entry, he guilefully supplants the anticipated display of faux reptilia with that of the bona fide article.

Upon first witnessing the de facto dinosaurs, some in the audience think they've been had, and indeed they have. Irwin, in engineering his masterful ruse, had used reality as his medium to convey the illusion of artifice. His audience, in essence, was blinded by the truth. It was the immaculate deception, and none but Irwin Allen could have conceived it.

Indeed, the matter of where the live dinosaurs came from has been conspicuously absent from this discussion, as the Irwinian technique of fine film making strongly discourages the practice of squandering time on extraneous justifications and other such trite means of redundant apologia. For the benefit of the incessantly curious, however, just keep in mind that Irwin Allen wrote and produced The Time Tunnel TV Series, a fact that should provide some fair insight into his modis operandi.

Carl R.

  

The Lost World (20th Century Fox, 1960).

youtu.be/h1CLA-gJbmA?t=5s Trailer

Irwin Allen, the producer who would go on to make the disaster film a huge success in the seventies, brought us this Saturday afternoon fodder with giant lizards posing as dinosaurs. Starring Michael Rennie, David Hedison, Claude Rains and Jill St. John.

Intended as a grand sci-fi/fantasy epic remake of Arthur Conan Doyle's classic novel. The first film adaptation, shot in 1925, was a milestone in many ways, but movie making and special effects had come a long way in 35 years. Irwin Allen's Lost World (LW) & 20th Century Fox version was derailed on the way to greatness, but managed to still be a respectable, (if more modest) A-film. Allen's screenplay followed the book fairly well, telling of Professor Challenger's expedition to a remote plateau in the Amazon upon which dinosaurs still lived. Aside from the paleontological presumptions in the premise, there is little "science" in The Lost World. Nonetheless, dinosaur movies have traditionally been lumped into the sci-fi genre.

Synopsis

When his plane lands in London, crusty old professor George Edward Challenger is besieged by reporters questioning him about his latest expedition to the headwaters of the Amazon River. After the irascible Challenger strikes reporter Ed Malone on the head with his umbrella, Jennifer Holmes, the daughter of Ed's employer, Stuart Holmes, offers the injured reporter a ride into town. That evening, Jenny is escorted by Lord John Roxton, an adventurer and big game hunter, to Challenger's lecture at the Zoological Institute, and Ed invites them to sit with him. When Challenger claims to have seen live dinosaurs, his colleague Professor Summerlee scoffs and asks for evidence. Explaining that his photographs of the creatures were lost when his boat overturned, Challenger invites Summerlee to accompany him on a new expedition to the "lost world," and asks for volunteers. When Roxton raises his hand, Jenny insists on going with him, but she is rejected by Challenger because she is a woman. Ed is given a spot after Holmes offers to fund the expedition if the reporter is included. The four then fly to the Amazon, where they are met by Costa, their guide and Manuel Gomez, their helicopter pilot. Arriving unexpectedly, Jenny and her younger brother David insist on joining them. Unable to arrange transportation back to the United States, Challenger reluctantly agrees to take them along. The next day, they take off for the lost world and land on an isolated plateau inhabited by dinosaurs. That evening, a dinosaur stomps out of the jungle, sending them scurrying for cover. After the beast destroys the helicopter and radio, the group ventures inland. When one of the creatures bellows threateningly, they flee, and in their haste, Challenger and Ed slip and tumble down a hillside, where they encounter a native girl. The girl runs into the jungle, but Ed follows and captures her. They then all take refuge in a cave, where Roxton, who has been making disparaging remarks about Jenny's desire to marry him solely for his title, angers Ed. Ed lunges at Roxton, pushing him to the ground, where he finds a diary written by Burton White, an adventurer who hired Roxton three years earlier to lead him to the lost diamonds of Eldorado. Roxton then admits that he never met White and his party because he was delayed by a dalliance with a woman, thus abandoning them to certain death. Gomez angrily snaps that his good friend Santiago perished in the expedition. That night, Costa tries to molest the native girl, and David comes to her rescue and begins to communicate with her through sign language. After Gomez goes to investigate some movement he spotted in the vegetation, he calls for help, and when Roxton runs out of the cave, a gunshot from an unseen assailant is fired, nearly wounding Roxton and sending the girl scurrying into the jungle. Soon after, Ed and Jenny stray from camp and are pursued by a dinosaur, and after taking refuge on some cliffs, watch in horror as their stalker becomes locked in combat with another prehistoric creature and tumbles over the cliffs into the waters below. Upon returning to camp, they discover it deserted, their belongings in disarray. As David stumbles out from some rocks to report they were attacked by a tribe of natives, the cannibals return and imprison them in a cave with the others. As the drums beat relentlessly, signaling their deaths, the native girl reappears and motions for them to follow her through a secret passageway that leads to the cave in which Burton White lives, completely sightless. After confirming that all in his expedition perished, White tells them of a volcanic passageway that will lead them off the plateau, but warns that they must first pass through the cave of fire. Cautioning them that the natives plan to sacrifice them, White declares that their only chance of survival is to slip through the cave and then seal it with a boulder. After giving them directions to the cave, White asks them to take the girl along. As the earth, on the verge of a volcanic eruption, quakes, they set off through the Graveyard of the Damned, a vast cavern littered with dinosaur skeletons, the victims of the deadly sulfurous gases below. Pursued by the ferocious natives, Roxton takes the lead as they inch their way across a narrow ledge above the molten lava. After escaping the natives, they jam the cave shut with a boulder and, passing a dam of molten lava, finally reach the escape passage. At its mouth is a pile of giant diamonds and a dinosaur egg. As Costa heaps the diamonds into his hat, Challenger fondles the egg and Gomez pulls a gun and announces that Roxton must die in exchange for the death of Santiago, Gomez' brother. Acting quickly, Ed hurls the diamonds at Gomez, throwing him off balance and discharging his gun. The gunshot awakens a creature slumbering in the roiling waters below. After the beast snatches Costa and eats him alive, Ed tries to dislodge the dam, sending a few scorching rocks tumbling down onto the monster. Feeling responsible for the peril of the group, Gomez sacrifices his life by using his body as a lever to dislodge the dam, covering the creature with oozing lava. As the cave begins to crumble from the impending eruption, the group hurries to safety. Just then, the volcano explodes, destroying the lost world. After Roxton hands Ed a handful of diamonds he has saved as a wedding gift for him and Jenny, Challenger proudly displays his egg, which then hatches, revealing a baby dinosaur. The End.

The 50s had seen several examples of the dinosaur sub-genre. LW is one of the more lavish ones, owing to color by DeLuxe and CinemaScope. The A-level actors help too. Claude Rains plays the flamboyant Challenger. Michael Rennie plays Roxton, perhaps a bit too cooly. Jill St. John and Vitina Marcus do well as the customary eye candy. David Hedison as Malone and Fernando Lamas as Gomez round out the bill.

The first film version of LW was a silent movie shot in 1925: screenplay by Marion Fairfax. The film featured stop-motion animated dinosaurs by a young Willis O'Brien. Fairfax followed Doyle's text, but Fairfax added a young woman to the team, Paula White. Ostensibly trying to find her father from the first failed expedition, she provided the love triangle interest between Malone and Roxton.

Allen's screenplay tried to stick to Doyle's text as much as Hollywood would allow. It carried on Fairfax's invention of the young woman member of the group as triangle fodder. Fairfax had Doyle's ape men (ape man) but omitted the native humans. Allen had the natives, but no ape men. Allen revived the Gomez/revenge subplot, which Fairfax skipped. Doyle's story had Challenger bringing back a pterodactyl. Fairfax made it a brontosaur who rampaged through London streets (spawning a popular trope). Allen suggested the baby dinosaur traveling to London.

Willis O'Brien pitched 20th Century Fox in the late 50s, to do a quality remake of LW. He had gained much experience in the intervening 35 years, so his stop-motion dinosaurs were to be the real stars. Fox bass liked the idea, but by the time the ball started rolling, there was trouble in studioland. Fox's grand epic Cleopatra was underway, but was already 5 million dollars over budget. Cleo would nearly sink 20th Century Fox when it was finally released in 1963. To stay afloat, all other Fox films' budgets were slashed. Allen could no longer afford the grand O'Brien stop-motion.

Allen's production is often criticized for its "cheap" dinosaurs, which were live monitor lizards and alligators with fins and plates and horns glue onto them. (more on that below) These were already a bit cheesy when used in the 1940 film One Million B.C.. O'Brien is still listed on the credits as "Effects Technician," but all Allen could afford was lizards with glued on extras. Somewhat amusingly, the script still refers to them as brontosaurs and T-Rexes.

The character of Jennifer Holmes starts out promising. She's a self-assured to the edges of pushy, and is said to be able to out shoot and out ride any man. Yet, when she gets to the Amazon jungle, she's little more than Jungle Barbie, dressed in girlie clothes and screaming frequently. She even does the typical Hollywood trip-and-fall when chased by the dinosaur, so that a man must save her.

Bottom line? FW is a finer example of the not-quite-sci-fi dinosaur sub-genre. The actors are top drawer, even if some of their acting is a bit flat. Nonetheless, FW is a fair adaptation of Doyle's

classic adventure novel, given the constraints of Hollywood culture.

 

The Movie Club Annals … Review

The Lost World 1960

Introduction

There was absolutely nothing wrong with Irwin Allen's 1960 production of The Lost World. Nothing. It was perfect in every way. I therefore find myself in the unique and unfamiliar position of having to write a rave review about a Movie Club movie that was entirely devoid of flaws.

Faced with such a confounding task, I half-heartedly considered faking a bad review, then praying my obvious deceptions would go unnoticed. But the patent transparency of my scheme convinced me to abandon it posthaste. After all, leveling concocted criticisms at such an unassailable masterpiece would be a futile and tiresome exercise, the pretense of which would escape nary a semi-cognizant soul.

Thus, having retreated from my would-be descent into literary intrigue, I start this review in earnest by borrowing a quote from the legendary Shelly Winters, spoken during the 1972 filming of Irwin Allen's The Poseidon Adventure:

"I'm ready for my close up now, Mr. Allen.” Shelly Winters, 1972

Review

A bit of research into the casting choices of Irwin Allen, who wrote, produced, and directed The Lost World, begins to reveal the genius behind the virtuosity.

The first accolades go to Irwin for his casting of Vitina Marcus, the immaculately groomed Saks 5th Avenue cave girl with exquisite taste in makeup, jewelry, and cave-wear. No finer cave girl ever graced a feature film.

Vitina Marcus, as The Cave Girl

She was the picture of prehistoric glamour, gliding across the silver screen in her designer bearskin mini-pelt, her flawless coiffure showing no signs of muss from the traditional courting rituals of the day, her perfect teeth the envy of even the most prototypical Osmond. Even her nouveau-opposable thumbs retained their manicure, in spite of the oft-disagreeable duties that frequently befell her as an effete member of the tribal gentry.

By no means just another Neanderthal harlot, Vitina had a wealth of talent to augment her exterior virtues. Her virtuoso interpretation of a comely cave girl in The Lost World certainly didn't escape the attention Irwin Allen. In fact, he was so taken with her performance that he later engaged her services again, casting her as the Native Girl in episode 2.26 of his Voyage to The Bottom of The Sea TV series.

Leery of potential typecasting, Vitina went on to obtain roles with greater depth and more sophisticated dialogue. This is evidenced by the great departure she took from her previous roles when she next portrayed the part of Sarit, a female barbarian, in episode 1.24 of Irwin Allen's The Time Tunnel TV series.

Vitina, as Sarit

Vitina's efforts to avoid typecasting paid off in spades, as she was soon rewarded with the distinctive role of Girl, a female Tarzanesque she-beast character, in episode 3.14 of The Man From U.N.C.L.E. TV series.

Lured back from the U.N.C.L.E. set by Irwin Allen, Vitina was next cast in the role of Athena (a.k.a. Lorelei), the green space girl with the inverted lucite salad bowl hat, in episodes 2.2 and 2.16 of the revered Lost in Space TV series.

And with this, Vitina reached the pinnacle of her career. For her many unparalleled displays of thespian pageantry, she leaves us forever in her debt as she exits the stage.

For those who would still question the genius of Irwin Allen, I defy you to find a better casting choice for the character of Lord John Roxton than that of Michael Rennie. Mr. Rennie, who earlier starred as Klaatu in The Day the Earth Stood Still, went on to even greater heights, starring as The Keeper in episodes 1.16 and 1.17 of the revered Lost in Space TV series. Throughout his distinguished career, Mr. Rennie often played highly cerebral characters with

unique names, such as Garth A7, Tribolet, Hasani, Rama Kahn, Hertz, and Dirk. How befitting that his most prolific roles came to him through a man named Irwin, a highly cerebral character with a unique name.

The selection of David Hedison to play Ed Malone was yet another example of Irwin's uncanny foresight. Soon after casting him in The Lost World, Irwin paved Mr. Hedison's path to immortality by casting him as a lead character in his Voyage to The Bottom of The Sea TV series. Although Voyage ended in 1968, Mr. Hedison departed the show with a solid resume and a bright future.

In the decades following Voyage, Mr. Hedison has been a veritable fixture on the small screen, appearing in such socially influential programs as The Love Boat, Fantasy Island, Knight Rider, The Fall Guy and The A Team. Mr. Hedison's early collaborations with Irwin Allen have left him never wanting for a day's work in Hollywood, a boon to the legions of discerning fans who continue to savor his inspiring prime time depictions.

Irwin selected Fernando Lamas to play Manuel Gomez, the honorable and tortured soul of The Lost World who needlessly sacrificed himself at the end of the movie to save all the others. To get a feel for how important a casting decision he was to Irwin, just look at the pertinent experience Mr. Lamas brought to the table:

Irwin knew that such credentials could cause him to lose the services of Mr. Lamas to another project, and he took great pains to woo him onto the set of The Lost World. And even though Mr. Lamas never appeared in the revered Lost in Space TV series, his talent is not lost on us.

Jay Novello was selected by Irwin Allen to play Costa, the consummate Cuban coward who perpetually betrays everyone around him in the name of greed. In pursuing his craven calling, Mr. Novello went on to play Xandros, the Greek Slave in Atlantis, The Lost Continent, as well as countless other roles as a coward.

Although Mr. Novella never appeared in the revered Lost in Space TV series, his already long and distinguished career as a coward made him the obvious choice for Irwin when the need for an experienced malingerer arose.

Jill St. John was Irwin's pick to play Jennifer Holmes, the "other" glamour girl in The Lost World. Not to be upstaged by glamour-cave-girl Vitina Marcus, Jill played the trump card and broke out the pink go-go boots and skin-tight Capri pants, the perfect Amazonian summertime jungle wear.

Complete with a perfect hairdo, a killer wardrobe, a little yip-yip dog named Frosty, and all the other trappings of a wealthy and pampered prehistoric society, Jill's sensational allure rivaled even that of a certain cave girl appearing in the same film.

With the atmosphere rife for an on-set rivalry between Jill and Vitina, Irwin still managed to keep the peace, proving that he was as skilled a diplomat as he was a director.

Claude Rains, as Professor George Edward Challenger

And our cup runneth over, as Irwin cast Claude Rains to portray Professor George Edward Challenger. His eminence, Mr. Rains is an entity of such immeasurable virtue that he is not in need of monotonous praise from the likes of me.

I respectfully acknowledge the appearance of Mr. Rains because failure to do so would be an unforgivable travesty. But I say nothing more on the subject, lest I state something so obvious and uninspiring as to insult the intelligence of enlightened reader.

Irwin's casting of the cavemen mustn't be overlooked, for their infallibly realistic portrayals are unmatched within the Pleistocene Epoch genre of film. Such meticulous attention to detail is what separates Irwin Allen from lesser filmmakers, whose pale imitations of his work only further to underscore the point.

To be sure, it is possible to come away with the unfounded suspicion that the cavemen are really just a bunch of old white guys from the bar at the local Elks lodge. But Irwin was an absolute stickler for authenticity, and would never have allowed the use of such tawdry measures to taint his prehistoric magnum opus.

In truth, Irwin's on-screen cavemen were borne of many grueling years of anthropological research, so the explanation for their somewhat modern, pseudo-caucasian appearance lies obviously elsewhere. And in keeping with true Irwin Allen tradition, that explanation will not be offered here.

1964 - Voyage to the Bottom of the Sea, Season One, Episode 7 - "Turn Back the Clock", featuring Vitina Marcus as The Native Girl. Produced by Irwin Allen.

And then there was Irwin Allen's masterful handling of the reptilian facets of The Lost World, most notably his inimitable casting of the dinosaurs. His dinosaurs were so realistic, so eerily lifelike, that they almost looked like living, breathing garden variety lizards with dinosaur fins and horns glued to their backs and heads.

The less enlightened viewer might even suppose this to be true, that Irwin's dinosaurs were indeed merely live specimens of lizards, donned in Jurassic-era finery, vastly magnified, and retro-fitted into The Lost World via some penny-wise means of cinematic trickery.

But those of us in the know certainly know better than that, as we are privy to some otherwise unpublished information about The Lost World. The lifelike appearance of the Irwin's dinosaurs can be attributed to a wholly overlooked and fiendishly cunning approach to the art of delusion, which is that the dinosaurs didn't just look real, they were real.

While the world abounds with middling minds who cannot fathom such a reality, we must follow Irwin's benevolent leanings and temper our natural feelings of contempt for this unfortunate assemblage of pedestrian lowbrows. In spite of Irwin's superior intellect, he never felt disdain toward the masses that constituted his audiences. He simply capitalized on their unaffectedness, and in the process recounted the benefits of exploiting the intellectually bereft for personal gain.

The purpose of all this analysis, of course, is to place an exclamation point on the genius of Irwin Allen, the formation of his dinosaur exposé being a premier example. Note how he mindfully manipulates the expectations of his unsuspecting audience, compelling them to probe the dinosaurs for any signs of man-made chicanery. Then, at the palatial moment when the dinosaurs make their entry, he guilefully supplants the anticipated display of faux reptilia with that of the bona fide article.

Upon first witnessing the de facto dinosaurs, some in the audience think they've been had, and indeed they have. Irwin, in engineering his masterful ruse, had used reality as his medium to convey the illusion of artifice. His audience, in essence, was blinded by the truth. It was the immaculate deception, and none but Irwin Allen could have conceived it.

Indeed, the matter of where the live dinosaurs came from has been conspicuously absent from this discussion, as the Irwinian technique of fine film making strongly discourages the practice of squandering time on extraneous justifications and other such trite means of redundant apologia. For the benefit of the incessantly curious, however, just keep in mind that Irwin Allen wrote and produced The Time Tunnel TV Series, a fact that should provide some fair insight into his modis operandi.

Carl R.

 

Blogged here: godutchbaby.blogspot.com/search/label/Pacific%20Internati...

The Lost World (20th Century Fox, 1960).

youtu.be/h1CLA-gJbmA?t=5s Trailer

Irwin Allen, the producer who would go on to make the disaster film a huge success in the seventies, brought us this Saturday afternoon fodder with giant lizards posing as dinosaurs. Starring Michael Rennie, David Hedison, Claude Rains and Jill St. John.

Intended as a grand sci-fi/fantasy epic remake of Arthur Conan Doyle's classic novel. The first film adaptation, shot in 1925, was a milestone in many ways, but movie making and special effects had come a long way in 35 years. Irwin Allen's Lost World (LW) & 20th Century Fox version was derailed on the way to greatness, but managed to still be a respectable, (if more modest) A-film. Allen's screenplay followed the book fairly well, telling of Professor Challenger's expedition to a remote plateau in the Amazon upon which dinosaurs still lived. Aside from the paleontological presumptions in the premise, there is little "science" in The Lost World. Nonetheless, dinosaur movies have traditionally been lumped into the sci-fi genre.

Synopsis

When his plane lands in London, crusty old professor George Edward Challenger is besieged by reporters questioning him about his latest expedition to the headwaters of the Amazon River. After the irascible Challenger strikes reporter Ed Malone on the head with his umbrella, Jennifer Holmes, the daughter of Ed's employer, Stuart Holmes, offers the injured reporter a ride into town. That evening, Jenny is escorted by Lord John Roxton, an adventurer and big game hunter, to Challenger's lecture at the Zoological Institute, and Ed invites them to sit with him. When Challenger claims to have seen live dinosaurs, his colleague Professor Summerlee scoffs and asks for evidence. Explaining that his photographs of the creatures were lost when his boat overturned, Challenger invites Summerlee to accompany him on a new expedition to the "lost world," and asks for volunteers. When Roxton raises his hand, Jenny insists on going with him, but she is rejected by Challenger because she is a woman. Ed is given a spot after Holmes offers to fund the expedition if the reporter is included. The four then fly to the Amazon, where they are met by Costa, their guide and Manuel Gomez, their helicopter pilot. Arriving unexpectedly, Jenny and her younger brother David insist on joining them. Unable to arrange transportation back to the United States, Challenger reluctantly agrees to take them along. The next day, they take off for the lost world and land on an isolated plateau inhabited by dinosaurs. That evening, a dinosaur stomps out of the jungle, sending them scurrying for cover. After the beast destroys the helicopter and radio, the group ventures inland. When one of the creatures bellows threateningly, they flee, and in their haste, Challenger and Ed slip and tumble down a hillside, where they encounter a native girl. The girl runs into the jungle, but Ed follows and captures her. They then all take refuge in a cave, where Roxton, who has been making disparaging remarks about Jenny's desire to marry him solely for his title, angers Ed. Ed lunges at Roxton, pushing him to the ground, where he finds a diary written by Burton White, an adventurer who hired Roxton three years earlier to lead him to the lost diamonds of Eldorado. Roxton then admits that he never met White and his party because he was delayed by a dalliance with a woman, thus abandoning them to certain death. Gomez angrily snaps that his good friend Santiago perished in the expedition. That night, Costa tries to molest the native girl, and David comes to her rescue and begins to communicate with her through sign language. After Gomez goes to investigate some movement he spotted in the vegetation, he calls for help, and when Roxton runs out of the cave, a gunshot from an unseen assailant is fired, nearly wounding Roxton and sending the girl scurrying into the jungle. Soon after, Ed and Jenny stray from camp and are pursued by a dinosaur, and after taking refuge on some cliffs, watch in horror as their stalker becomes locked in combat with another prehistoric creature and tumbles over the cliffs into the waters below. Upon returning to camp, they discover it deserted, their belongings in disarray. As David stumbles out from some rocks to report they were attacked by a tribe of natives, the cannibals return and imprison them in a cave with the others. As the drums beat relentlessly, signaling their deaths, the native girl reappears and motions for them to follow her through a secret passageway that leads to the cave in which Burton White lives, completely sightless. After confirming that all in his expedition perished, White tells them of a volcanic passageway that will lead them off the plateau, but warns that they must first pass through the cave of fire. Cautioning them that the natives plan to sacrifice them, White declares that their only chance of survival is to slip through the cave and then seal it with a boulder. After giving them directions to the cave, White asks them to take the girl along. As the earth, on the verge of a volcanic eruption, quakes, they set off through the Graveyard of the Damned, a vast cavern littered with dinosaur skeletons, the victims of the deadly sulfurous gases below. Pursued by the ferocious natives, Roxton takes the lead as they inch their way across a narrow ledge above the molten lava. After escaping the natives, they jam the cave shut with a boulder and, passing a dam of molten lava, finally reach the escape passage. At its mouth is a pile of giant diamonds and a dinosaur egg. As Costa heaps the diamonds into his hat, Challenger fondles the egg and Gomez pulls a gun and announces that Roxton must die in exchange for the death of Santiago, Gomez' brother. Acting quickly, Ed hurls the diamonds at Gomez, throwing him off balance and discharging his gun. The gunshot awakens a creature slumbering in the roiling waters below. After the beast snatches Costa and eats him alive, Ed tries to dislodge the dam, sending a few scorching rocks tumbling down onto the monster. Feeling responsible for the peril of the group, Gomez sacrifices his life by using his body as a lever to dislodge the dam, covering the creature with oozing lava. As the cave begins to crumble from the impending eruption, the group hurries to safety. Just then, the volcano explodes, destroying the lost world. After Roxton hands Ed a handful of diamonds he has saved as a wedding gift for him and Jenny, Challenger proudly displays his egg, which then hatches, revealing a baby dinosaur. The End.

The 50s had seen several examples of the dinosaur sub-genre. LW is one of the more lavish ones, owing to color by DeLuxe and CinemaScope. The A-level actors help too. Claude Rains plays the flamboyant Challenger. Michael Rennie plays Roxton, perhaps a bit too cooly. Jill St. John and Vitina Marcus do well as the customary eye candy. David Hedison as Malone and Fernando Lamas as Gomez round out the bill.

The first film version of LW was a silent movie shot in 1925: screenplay by Marion Fairfax. The film featured stop-motion animated dinosaurs by a young Willis O'Brien. Fairfax followed Doyle's text, but Fairfax added a young woman to the team, Paula White. Ostensibly trying to find her father from the first failed expedition, she provided the love triangle interest between Malone and Roxton.

Allen's screenplay tried to stick to Doyle's text as much as Hollywood would allow. It carried on Fairfax's invention of the young woman member of the group as triangle fodder. Fairfax had Doyle's ape men (ape man) but omitted the native humans. Allen had the natives, but no ape men. Allen revived the Gomez/revenge subplot, which Fairfax skipped. Doyle's story had Challenger bringing back a pterodactyl. Fairfax made it a brontosaur who rampaged through London streets (spawning a popular trope). Allen suggested the baby dinosaur traveling to London.

Willis O'Brien pitched 20th Century Fox in the late 50s, to do a quality remake of LW. He had gained much experience in the intervening 35 years, so his stop-motion dinosaurs were to be the real stars. Fox bass liked the idea, but by the time the ball started rolling, there was trouble in studioland. Fox's grand epic Cleopatra was underway, but was already 5 million dollars over budget. Cleo would nearly sink 20th Century Fox when it was finally released in 1963. To stay afloat, all other Fox films' budgets were slashed. Allen could no longer afford the grand O'Brien stop-motion.

Allen's production is often criticized for its "cheap" dinosaurs, which were live monitor lizards and alligators with fins and plates and horns glue onto them. (more on that below) These were already a bit cheesy when used in the 1940 film One Million B.C.. O'Brien is still listed on the credits as "Effects Technician," but all Allen could afford was lizards with glued on extras. Somewhat amusingly, the script still refers to them as brontosaurs and T-Rexes.

The character of Jennifer Holmes starts out promising. She's a self-assured to the edges of pushy, and is said to be able to out shoot and out ride any man. Yet, when she gets to the Amazon jungle, she's little more than Jungle Barbie, dressed in girlie clothes and screaming frequently. She even does the typical Hollywood trip-and-fall when chased by the dinosaur, so that a man must save her.

Bottom line? FW is a finer example of the not-quite-sci-fi dinosaur sub-genre. The actors are top drawer, even if some of their acting is a bit flat. Nonetheless, FW is a fair adaptation of Doyle's

classic adventure novel, given the constraints of Hollywood culture.

 

The Movie Club Annals … Review

The Lost World 1960

Introduction

There was absolutely nothing wrong with Irwin Allen's 1960 production of The Lost World. Nothing. It was perfect in every way. I therefore find myself in the unique and unfamiliar position of having to write a rave review about a Movie Club movie that was entirely devoid of flaws.

Faced with such a confounding task, I half-heartedly considered faking a bad review, then praying my obvious deceptions would go unnoticed. But the patent transparency of my scheme convinced me to abandon it posthaste. After all, leveling concocted criticisms at such an unassailable masterpiece would be a futile and tiresome exercise, the pretense of which would escape nary a semi-cognizant soul.

Thus, having retreated from my would-be descent into literary intrigue, I start this review in earnest by borrowing a quote from the legendary Shelly Winters, spoken during the 1972 filming of Irwin Allen's The Poseidon Adventure:

"I'm ready for my close up now, Mr. Allen.” Shelly Winters, 1972

Review

A bit of research into the casting choices of Irwin Allen, who wrote, produced, and directed The Lost World, begins to reveal the genius behind the virtuosity.

The first accolades go to Irwin for his casting of Vitina Marcus, the immaculately groomed Saks 5th Avenue cave girl with exquisite taste in makeup, jewelry, and cave-wear. No finer cave girl ever graced a feature film.

Vitina Marcus, as The Cave Girl

She was the picture of prehistoric glamour, gliding across the silver screen in her designer bearskin mini-pelt, her flawless coiffure showing no signs of muss from the traditional courting rituals of the day, her perfect teeth the envy of even the most prototypical Osmond. Even her nouveau-opposable thumbs retained their manicure, in spite of the oft-disagreeable duties that frequently befell her as an effete member of the tribal gentry.

By no means just another Neanderthal harlot, Vitina had a wealth of talent to augment her exterior virtues. Her virtuoso interpretation of a comely cave girl in The Lost World certainly didn't escape the attention Irwin Allen. In fact, he was so taken with her performance that he later engaged her services again, casting her as the Native Girl in episode 2.26 of his Voyage to The Bottom of The Sea TV series.

Leery of potential typecasting, Vitina went on to obtain roles with greater depth and more sophisticated dialogue. This is evidenced by the great departure she took from her previous roles when she next portrayed the part of Sarit, a female barbarian, in episode 1.24 of Irwin Allen's The Time Tunnel TV series.

Vitina, as Sarit

Vitina's efforts to avoid typecasting paid off in spades, as she was soon rewarded with the distinctive role of Girl, a female Tarzanesque she-beast character, in episode 3.14 of The Man From U.N.C.L.E. TV series.

Lured back from the U.N.C.L.E. set by Irwin Allen, Vitina was next cast in the role of Athena (a.k.a. Lorelei), the green space girl with the inverted lucite salad bowl hat, in episodes 2.2 and 2.16 of the revered Lost in Space TV series.

And with this, Vitina reached the pinnacle of her career. For her many unparalleled displays of thespian pageantry, she leaves us forever in her debt as she exits the stage.

For those who would still question the genius of Irwin Allen, I defy you to find a better casting choice for the character of Lord John Roxton than that of Michael Rennie. Mr. Rennie, who earlier starred as Klaatu in The Day the Earth Stood Still, went on to even greater heights, starring as The Keeper in episodes 1.16 and 1.17 of the revered Lost in Space TV series. Throughout his distinguished career, Mr. Rennie often played highly cerebral characters with

unique names, such as Garth A7, Tribolet, Hasani, Rama Kahn, Hertz, and Dirk. How befitting that his most prolific roles came to him through a man named Irwin, a highly cerebral character with a unique name.

The selection of David Hedison to play Ed Malone was yet another example of Irwin's uncanny foresight. Soon after casting him in The Lost World, Irwin paved Mr. Hedison's path to immortality by casting him as a lead character in his Voyage to The Bottom of The Sea TV series. Although Voyage ended in 1968, Mr. Hedison departed the show with a solid resume and a bright future.

In the decades following Voyage, Mr. Hedison has been a veritable fixture on the small screen, appearing in such socially influential programs as The Love Boat, Fantasy Island, Knight Rider, The Fall Guy and The A Team. Mr. Hedison's early collaborations with Irwin Allen have left him never wanting for a day's work in Hollywood, a boon to the legions of discerning fans who continue to savor his inspiring prime time depictions.

Irwin selected Fernando Lamas to play Manuel Gomez, the honorable and tortured soul of The Lost World who needlessly sacrificed himself at the end of the movie to save all the others. To get a feel for how important a casting decision he was to Irwin, just look at the pertinent experience Mr. Lamas brought to the table:

Irwin knew that such credentials could cause him to lose the services of Mr. Lamas to another project, and he took great pains to woo him onto the set of The Lost World. And even though Mr. Lamas never appeared in the revered Lost in Space TV series, his talent is not lost on us.

Jay Novello was selected by Irwin Allen to play Costa, the consummate Cuban coward who perpetually betrays everyone around him in the name of greed. In pursuing his craven calling, Mr. Novello went on to play Xandros, the Greek Slave in Atlantis, The Lost Continent, as well as countless other roles as a coward.

Although Mr. Novella never appeared in the revered Lost in Space TV series, his already long and distinguished career as a coward made him the obvious choice for Irwin when the need for an experienced malingerer arose.

Jill St. John was Irwin's pick to play Jennifer Holmes, the "other" glamour girl in The Lost World. Not to be upstaged by glamour-cave-girl Vitina Marcus, Jill played the trump card and broke out the pink go-go boots and skin-tight Capri pants, the perfect Amazonian summertime jungle wear.

Complete with a perfect hairdo, a killer wardrobe, a little yip-yip dog named Frosty, and all the other trappings of a wealthy and pampered prehistoric society, Jill's sensational allure rivaled even that of a certain cave girl appearing in the same film.

With the atmosphere rife for an on-set rivalry between Jill and Vitina, Irwin still managed to keep the peace, proving that he was as skilled a diplomat as he was a director.

Claude Rains, as Professor George Edward Challenger

And our cup runneth over, as Irwin cast Claude Rains to portray Professor George Edward Challenger. His eminence, Mr. Rains is an entity of such immeasurable virtue that he is not in need of monotonous praise from the likes of me.

I respectfully acknowledge the appearance of Mr. Rains because failure to do so would be an unforgivable travesty. But I say nothing more on the subject, lest I state something so obvious and uninspiring as to insult the intelligence of enlightened reader.

Irwin's casting of the cavemen mustn't be overlooked, for their infallibly realistic portrayals are unmatched within the Pleistocene Epoch genre of film. Such meticulous attention to detail is what separates Irwin Allen from lesser filmmakers, whose pale imitations of his work only further to underscore the point.

To be sure, it is possible to come away with the unfounded suspicion that the cavemen are really just a bunch of old white guys from the bar at the local Elks lodge. But Irwin was an absolute stickler for authenticity, and would never have allowed the use of such tawdry measures to taint his prehistoric magnum opus.

In truth, Irwin's on-screen cavemen were borne of many grueling years of anthropological research, so the explanation for their somewhat modern, pseudo-caucasian appearance lies obviously elsewhere. And in keeping with true Irwin Allen tradition, that explanation will not be offered here.

1964 - Voyage to the Bottom of the Sea, Season One, Episode 7 - "Turn Back the Clock", featuring Vitina Marcus as The Native Girl. Produced by Irwin Allen.

And then there was Irwin Allen's masterful handling of the reptilian facets of The Lost World, most notably his inimitable casting of the dinosaurs. His dinosaurs were so realistic, so eerily lifelike, that they almost looked like living, breathing garden variety lizards with dinosaur fins and horns glued to their backs and heads.

The less enlightened viewer might even suppose this to be true, that Irwin's dinosaurs were indeed merely live specimens of lizards, donned in Jurassic-era finery, vastly magnified, and retro-fitted into The Lost World via some penny-wise means of cinematic trickery.

But those of us in the know certainly know better than that, as we are privy to some otherwise unpublished information about The Lost World. The lifelike appearance of the Irwin's dinosaurs can be attributed to a wholly overlooked and fiendishly cunning approach to the art of delusion, which is that the dinosaurs didn't just look real, they were real.

While the world abounds with middling minds who cannot fathom such a reality, we must follow Irwin's benevolent leanings and temper our natural feelings of contempt for this unfortunate assemblage of pedestrian lowbrows. In spite of Irwin's superior intellect, he never felt disdain toward the masses that constituted his audiences. He simply capitalized on their unaffectedness, and in the process recounted the benefits of exploiting the intellectually bereft for personal gain.

The purpose of all this analysis, of course, is to place an exclamation point on the genius of Irwin Allen, the formation of his dinosaur exposé being a premier example. Note how he mindfully manipulates the expectations of his unsuspecting audience, compelling them to probe the dinosaurs for any signs of man-made chicanery. Then, at the palatial moment when the dinosaurs make their entry, he guilefully supplants the anticipated display of faux reptilia with that of the bona fide article.

Upon first witnessing the de facto dinosaurs, some in the audience think they've been had, and indeed they have. Irwin, in engineering his masterful ruse, had used reality as his medium to convey the illusion of artifice. His audience, in essence, was blinded by the truth. It was the immaculate deception, and none but Irwin Allen could have conceived it.

Indeed, the matter of where the live dinosaurs came from has been conspicuously absent from this discussion, as the Irwinian technique of fine film making strongly discourages the practice of squandering time on extraneous justifications and other such trite means of redundant apologia. For the benefit of the incessantly curious, however, just keep in mind that Irwin Allen wrote and produced The Time Tunnel TV Series, a fact that should provide some fair insight into his modis operandi.

Carl R.

 

Uncut Pressbook (11' X 17")

The Lost World (20th Century Fox, 1960).

youtu.be/h1CLA-gJbmA?t=5s Trailer

Irwin Allen, the producer who would go on to make the disaster film a huge success in the seventies, brought us this Saturday afternoon fodder with giant lizards posing as dinosaurs. Starring Michael Rennie, David Hedison, Claude Rains and Jill St. John.

Intended as a grand sci-fi/fantasy epic remake of Arthur Conan Doyle's classic novel. The first film adaptation, shot in 1925, was a milestone in many ways, but movie making and special effects had come a long way in 35 years. Irwin Allen's Lost World (LW) & 20th Century Fox version was derailed on the way to greatness, but managed to still be a respectable, (if more modest) A-film. Allen's screenplay followed the book fairly well, telling of Professor Challenger's expedition to a remote plateau in the Amazon upon which dinosaurs still lived. Aside from the paleontological presumptions in the premise, there is little "science" in The Lost World. Nonetheless, dinosaur movies have traditionally been lumped into the sci-fi genre.

Synopsis

When his plane lands in London, crusty old professor George Edward Challenger is besieged by reporters questioning him about his latest expedition to the headwaters of the Amazon River. After the irascible Challenger strikes reporter Ed Malone on the head with his umbrella, Jennifer Holmes, the daughter of Ed's employer, Stuart Holmes, offers the injured reporter a ride into town. That evening, Jenny is escorted by Lord John Roxton, an adventurer and big game hunter, to Challenger's lecture at the Zoological Institute, and Ed invites them to sit with him. When Challenger claims to have seen live dinosaurs, his colleague Professor Summerlee scoffs and asks for evidence. Explaining that his photographs of the creatures were lost when his boat overturned, Challenger invites Summerlee to accompany him on a new expedition to the "lost world," and asks for volunteers. When Roxton raises his hand, Jenny insists on going with him, but she is rejected by Challenger because she is a woman. Ed is given a spot after Holmes offers to fund the expedition if the reporter is included. The four then fly to the Amazon, where they are met by Costa, their guide and Manuel Gomez, their helicopter pilot. Arriving unexpectedly, Jenny and her younger brother David insist on joining them. Unable to arrange transportation back to the United States, Challenger reluctantly agrees to take them along. The next day, they take off for the lost world and land on an isolated plateau inhabited by dinosaurs. That evening, a dinosaur stomps out of the jungle, sending them scurrying for cover. After the beast destroys the helicopter and radio, the group ventures inland. When one of the creatures bellows threateningly, they flee, and in their haste, Challenger and Ed slip and tumble down a hillside, where they encounter a native girl. The girl runs into the jungle, but Ed follows and captures her. They then all take refuge in a cave, where Roxton, who has been making disparaging remarks about Jenny's desire to marry him solely for his title, angers Ed. Ed lunges at Roxton, pushing him to the ground, where he finds a diary written by Burton White, an adventurer who hired Roxton three years earlier to lead him to the lost diamonds of Eldorado. Roxton then admits that he never met White and his party because he was delayed by a dalliance with a woman, thus abandoning them to certain death. Gomez angrily snaps that his good friend Santiago perished in the expedition. That night, Costa tries to molest the native girl, and David comes to her rescue and begins to communicate with her through sign language. After Gomez goes to investigate some movement he spotted in the vegetation, he calls for help, and when Roxton runs out of the cave, a gunshot from an unseen assailant is fired, nearly wounding Roxton and sending the girl scurrying into the jungle. Soon after, Ed and Jenny stray from camp and are pursued by a dinosaur, and after taking refuge on some cliffs, watch in horror as their stalker becomes locked in combat with another prehistoric creature and tumbles over the cliffs into the waters below. Upon returning to camp, they discover it deserted, their belongings in disarray. As David stumbles out from some rocks to report they were attacked by a tribe of natives, the cannibals return and imprison them in a cave with the others. As the drums beat relentlessly, signaling their deaths, the native girl reappears and motions for them to follow her through a secret passageway that leads to the cave in which Burton White lives, completely sightless. After confirming that all in his expedition perished, White tells them of a volcanic passageway that will lead them off the plateau, but warns that they must first pass through the cave of fire. Cautioning them that the natives plan to sacrifice them, White declares that their only chance of survival is to slip through the cave and then seal it with a boulder. After giving them directions to the cave, White asks them to take the girl along. As the earth, on the verge of a volcanic eruption, quakes, they set off through the Graveyard of the Damned, a vast cavern littered with dinosaur skeletons, the victims of the deadly sulfurous gases below. Pursued by the ferocious natives, Roxton takes the lead as they inch their way across a narrow ledge above the molten lava. After escaping the natives, they jam the cave shut with a boulder and, passing a dam of molten lava, finally reach the escape passage. At its mouth is a pile of giant diamonds and a dinosaur egg. As Costa heaps the diamonds into his hat, Challenger fondles the egg and Gomez pulls a gun and announces that Roxton must die in exchange for the death of Santiago, Gomez' brother. Acting quickly, Ed hurls the diamonds at Gomez, throwing him off balance and discharging his gun. The gunshot awakens a creature slumbering in the roiling waters below. After the beast snatches Costa and eats him alive, Ed tries to dislodge the dam, sending a few scorching rocks tumbling down onto the monster. Feeling responsible for the peril of the group, Gomez sacrifices his life by using his body as a lever to dislodge the dam, covering the creature with oozing lava. As the cave begins to crumble from the impending eruption, the group hurries to safety. Just then, the volcano explodes, destroying the lost world. After Roxton hands Ed a handful of diamonds he has saved as a wedding gift for him and Jenny, Challenger proudly displays his egg, which then hatches, revealing a baby dinosaur. The End.

The 50s had seen several examples of the dinosaur sub-genre. LW is one of the more lavish ones, owing to color by DeLuxe and CinemaScope. The A-level actors help too. Claude Rains plays the flamboyant Challenger. Michael Rennie plays Roxton, perhaps a bit too cooly. Jill St. John and Vitina Marcus do well as the customary eye candy. David Hedison as Malone and Fernando Lamas as Gomez round out the bill.

The first film version of LW was a silent movie shot in 1925: screenplay by Marion Fairfax. The film featured stop-motion animated dinosaurs by a young Willis O'Brien. Fairfax followed Doyle's text, but Fairfax added a young woman to the team, Paula White. Ostensibly trying to find her father from the first failed expedition, she provided the love triangle interest between Malone and Roxton.

Allen's screenplay tried to stick to Doyle's text as much as Hollywood would allow. It carried on Fairfax's invention of the young woman member of the group as triangle fodder. Fairfax had Doyle's ape men (ape man) but omitted the native humans. Allen had the natives, but no ape men. Allen revived the Gomez/revenge subplot, which Fairfax skipped. Doyle's story had Challenger bringing back a pterodactyl. Fairfax made it a brontosaur who rampaged through London streets (spawning a popular trope). Allen suggested the baby dinosaur traveling to London.

Willis O'Brien pitched 20th Century Fox in the late 50s, to do a quality remake of LW. He had gained much experience in the intervening 35 years, so his stop-motion dinosaurs were to be the real stars. Fox bass liked the idea, but by the time the ball started rolling, there was trouble in studioland. Fox's grand epic Cleopatra was underway, but was already 5 million dollars over budget. Cleo would nearly sink 20th Century Fox when it was finally released in 1963. To stay afloat, all other Fox films' budgets were slashed. Allen could no longer afford the grand O'Brien stop-motion.

Allen's production is often criticized for its "cheap" dinosaurs, which were live monitor lizards and alligators with fins and plates and horns glue onto them. (more on that below) These were already a bit cheesy when used in the 1940 film One Million B.C.. O'Brien is still listed on the credits as "Effects Technician," but all Allen could afford was lizards with glued on extras. Somewhat amusingly, the script still refers to them as brontosaurs and T-Rexes.

The character of Jennifer Holmes starts out promising. She's a self-assured to the edges of pushy, and is said to be able to out shoot and out ride any man. Yet, when she gets to the Amazon jungle, she's little more than Jungle Barbie, dressed in girlie clothes and screaming frequently. She even does the typical Hollywood trip-and-fall when chased by the dinosaur, so that a man must save her.

Bottom line? FW is a finer example of the not-quite-sci-fi dinosaur sub-genre. The actors are top drawer, even if some of their acting is a bit flat. Nonetheless, FW is a fair adaptation of Doyle's

classic adventure novel, given the constraints of Hollywood culture.

 

The Movie Club Annals … Review

The Lost World 1960

Introduction

There was absolutely nothing wrong with Irwin Allen's 1960 production of The Lost World. Nothing. It was perfect in every way. I therefore find myself in the unique and unfamiliar position of having to write a rave review about a Movie Club movie that was entirely devoid of flaws.

Faced with such a confounding task, I half-heartedly considered faking a bad review, then praying my obvious deceptions would go unnoticed. But the patent transparency of my scheme convinced me to abandon it posthaste. After all, leveling concocted criticisms at such an unassailable masterpiece would be a futile and tiresome exercise, the pretense of which would escape nary a semi-cognizant soul.

Thus, having retreated from my would-be descent into literary intrigue, I start this review in earnest by borrowing a quote from the legendary Shelly Winters, spoken during the 1972 filming of Irwin Allen's The Poseidon Adventure:

"I'm ready for my close up now, Mr. Allen.” Shelly Winters, 1972

Review

A bit of research into the casting choices of Irwin Allen, who wrote, produced, and directed The Lost World, begins to reveal the genius behind the virtuosity.

The first accolades go to Irwin for his casting of Vitina Marcus, the immaculately groomed Saks 5th Avenue cave girl with exquisite taste in makeup, jewelry, and cave-wear. No finer cave girl ever graced a feature film.

Vitina Marcus, as The Cave Girl

She was the picture of prehistoric glamour, gliding across the silver screen in her designer bearskin mini-pelt, her flawless coiffure showing no signs of muss from the traditional courting rituals of the day, her perfect teeth the envy of even the most prototypical Osmond. Even her nouveau-opposable thumbs retained their manicure, in spite of the oft-disagreeable duties that frequently befell her as an effete member of the tribal gentry.

By no means just another Neanderthal harlot, Vitina had a wealth of talent to augment her exterior virtues. Her virtuoso interpretation of a comely cave girl in The Lost World certainly didn't escape the attention Irwin Allen. In fact, he was so taken with her performance that he later engaged her services again, casting her as the Native Girl in episode 2.26 of his Voyage to The Bottom of The Sea TV series.

Leery of potential typecasting, Vitina went on to obtain roles with greater depth and more sophisticated dialogue. This is evidenced by the great departure she took from her previous roles when she next portrayed the part of Sarit, a female barbarian, in episode 1.24 of Irwin Allen's The Time Tunnel TV series.

Vitina, as Sarit

Vitina's efforts to avoid typecasting paid off in spades, as she was soon rewarded with the distinctive role of Girl, a female Tarzanesque she-beast character, in episode 3.14 of The Man From U.N.C.L.E. TV series.

Lured back from the U.N.C.L.E. set by Irwin Allen, Vitina was next cast in the role of Athena (a.k.a. Lorelei), the green space girl with the inverted lucite salad bowl hat, in episodes 2.2 and 2.16 of the revered Lost in Space TV series.

And with this, Vitina reached the pinnacle of her career. For her many unparalleled displays of thespian pageantry, she leaves us forever in her debt as she exits the stage.

For those who would still question the genius of Irwin Allen, I defy you to find a better casting choice for the character of Lord John Roxton than that of Michael Rennie. Mr. Rennie, who earlier starred as Klaatu in The Day the Earth Stood Still, went on to even greater heights, starring as The Keeper in episodes 1.16 and 1.17 of the revered Lost in Space TV series. Throughout his distinguished career, Mr. Rennie often played highly cerebral characters with

unique names, such as Garth A7, Tribolet, Hasani, Rama Kahn, Hertz, and Dirk. How befitting that his most prolific roles came to him through a man named Irwin, a highly cerebral character with a unique name.

The selection of David Hedison to play Ed Malone was yet another example of Irwin's uncanny foresight. Soon after casting him in The Lost World, Irwin paved Mr. Hedison's path to immortality by casting him as a lead character in his Voyage to The Bottom of The Sea TV series. Although Voyage ended in 1968, Mr. Hedison departed the show with a solid resume and a bright future.

In the decades following Voyage, Mr. Hedison has been a veritable fixture on the small screen, appearing in such socially influential programs as The Love Boat, Fantasy Island, Knight Rider, The Fall Guy and The A Team. Mr. Hedison's early collaborations with Irwin Allen have left him never wanting for a day's work in Hollywood, a boon to the legions of discerning fans who continue to savor his inspiring prime time depictions.

Irwin selected Fernando Lamas to play Manuel Gomez, the honorable and tortured soul of The Lost World who needlessly sacrificed himself at the end of the movie to save all the others. To get a feel for how important a casting decision he was to Irwin, just look at the pertinent experience Mr. Lamas brought to the table:

Irwin knew that such credentials could cause him to lose the services of Mr. Lamas to another project, and he took great pains to woo him onto the set of The Lost World. And even though Mr. Lamas never appeared in the revered Lost in Space TV series, his talent is not lost on us.

Jay Novello was selected by Irwin Allen to play Costa, the consummate Cuban coward who perpetually betrays everyone around him in the name of greed. In pursuing his craven calling, Mr. Novello went on to play Xandros, the Greek Slave in Atlantis, The Lost Continent, as well as countless other roles as a coward.

Although Mr. Novella never appeared in the revered Lost in Space TV series, his already long and distinguished career as a coward made him the obvious choice for Irwin when the need for an experienced malingerer arose.

Jill St. John was Irwin's pick to play Jennifer Holmes, the "other" glamour girl in The Lost World. Not to be upstaged by glamour-cave-girl Vitina Marcus, Jill played the trump card and broke out the pink go-go boots and skin-tight Capri pants, the perfect Amazonian summertime jungle wear.

Complete with a perfect hairdo, a killer wardrobe, a little yip-yip dog named Frosty, and all the other trappings of a wealthy and pampered prehistoric society, Jill's sensational allure rivaled even that of a certain cave girl appearing in the same film.

With the atmosphere rife for an on-set rivalry between Jill and Vitina, Irwin still managed to keep the peace, proving that he was as skilled a diplomat as he was a director.

Claude Rains, as Professor George Edward Challenger

And our cup runneth over, as Irwin cast Claude Rains to portray Professor George Edward Challenger. His eminence, Mr. Rains is an entity of such immeasurable virtue that he is not in need of monotonous praise from the likes of me.

I respectfully acknowledge the appearance of Mr. Rains because failure to do so would be an unforgivable travesty. But I say nothing more on the subject, lest I state something so obvious and uninspiring as to insult the intelligence of enlightened reader.

Irwin's casting of the cavemen mustn't be overlooked, for their infallibly realistic portrayals are unmatched within the Pleistocene Epoch genre of film. Such meticulous attention to detail is what separates Irwin Allen from lesser filmmakers, whose pale imitations of his work only further to underscore the point.

To be sure, it is possible to come away with the unfounded suspicion that the cavemen are really just a bunch of old white guys from the bar at the local Elks lodge. But Irwin was an absolute stickler for authenticity, and would never have allowed the use of such tawdry measures to taint his prehistoric magnum opus.

In truth, Irwin's on-screen cavemen were borne of many grueling years of anthropological research, so the explanation for their somewhat modern, pseudo-caucasian appearance lies obviously elsewhere. And in keeping with true Irwin Allen tradition, that explanation will not be offered here.

1964 - Voyage to the Bottom of the Sea, Season One, Episode 7 - "Turn Back the Clock", featuring Vitina Marcus as The Native Girl. Produced by Irwin Allen.

And then there was Irwin Allen's masterful handling of the reptilian facets of The Lost World, most notably his inimitable casting of the dinosaurs. His dinosaurs were so realistic, so eerily lifelike, that they almost looked like living, breathing garden variety lizards with dinosaur fins and horns glued to their backs and heads.

The less enlightened viewer might even suppose this to be true, that Irwin's dinosaurs were indeed merely live specimens of lizards, donned in Jurassic-era finery, vastly magnified, and retro-fitted into The Lost World via some penny-wise means of cinematic trickery.

But those of us in the know certainly know better than that, as we are privy to some otherwise unpublished information about The Lost World. The lifelike appearance of the Irwin's dinosaurs can be attributed to a wholly overlooked and fiendishly cunning approach to the art of delusion, which is that the dinosaurs didn't just look real, they were real.

While the world abounds with middling minds who cannot fathom such a reality, we must follow Irwin's benevolent leanings and temper our natural feelings of contempt for this unfortunate assemblage of pedestrian lowbrows. In spite of Irwin's superior intellect, he never felt disdain toward the masses that constituted his audiences. He simply capitalized on their unaffectedness, and in the process recounted the benefits of exploiting the intellectually bereft for personal gain.

The purpose of all this analysis, of course, is to place an exclamation point on the genius of Irwin Allen, the formation of his dinosaur exposé being a premier example. Note how he mindfully manipulates the expectations of his unsuspecting audience, compelling them to probe the dinosaurs for any signs of man-made chicanery. Then, at the palatial moment when the dinosaurs make their entry, he guilefully supplants the anticipated display of faux reptilia with that of the bona fide article.

Upon first witnessing the de facto dinosaurs, some in the audience think they've been had, and indeed they have. Irwin, in engineering his masterful ruse, had used reality as his medium to convey the illusion of artifice. His audience, in essence, was blinded by the truth. It was the immaculate deception, and none but Irwin Allen could have conceived it.

Indeed, the matter of where the live dinosaurs came from has been conspicuously absent from this discussion, as the Irwinian technique of fine film making strongly discourages the practice of squandering time on extraneous justifications and other such trite means of redundant apologia. For the benefit of the incessantly curious, however, just keep in mind that Irwin Allen wrote and produced The Time Tunnel TV Series, a fact that should provide some fair insight into his modis operandi.

Carl R.

.

 

Tel Aviv, September 2005

The merry disarray of a Monday night holiday dinner with friends at our house.

As dawn breaks 92 003 named 'Beethoven' stands waiting to go south with the previous nights 6O15 17.30 Mossend Yard to Eastleigh East Yard which is booked out of Kingmoor Yard at 21.42 but the call never came.

 

There had been a major lineside fire in warehouses at Leyland Wednesday evening resulting in the West Coast mainline having to be closed from early evening. A warehouse full of toilet paper had gone up in smoke setting fire to adjacent warehouse one of which had a large store of metal beer kegs that once heated started to fire into the air like canon balls. The mainline didn't reopen until 02.15 Thursday morning by which time the West Coast overnight freights were in total disarray. 6O15 was a casualty of the blockage and remained at Kingmoor Yard overnight and with no spare drivers Thursday morning it was subsequently cancelled to run in its booked path 24hrs later.

"click here to add a description"

The Lost World (20th Century Fox, 1960).

youtu.be/h1CLA-gJbmA?t=5s Trailer

Irwin Allen, the producer who would go on to make the disaster film a huge success in the seventies, brought us this Saturday afternoon fodder with giant lizards posing as dinosaurs. Starring Michael Rennie, David Hedison, Claude Rains and Jill St. John.

Intended as a grand sci-fi/fantasy epic remake of Arthur Conan Doyle's classic novel. The first film adaptation, shot in 1925, was a milestone in many ways, but movie making and special effects had come a long way in 35 years. Irwin Allen's Lost World (LW) & 20th Century Fox version was derailed on the way to greatness, but managed to still be a respectable, (if more modest) A-film. Allen's screenplay followed the book fairly well, telling of Professor Challenger's expedition to a remote plateau in the Amazon upon which dinosaurs still lived. Aside from the paleontological presumptions in the premise, there is little "science" in The Lost World. Nonetheless, dinosaur movies have traditionally been lumped into the sci-fi genre.

Synopsis

When his plane lands in London, crusty old professor George Edward Challenger is besieged by reporters questioning him about his latest expedition to the headwaters of the Amazon River. After the irascible Challenger strikes reporter Ed Malone on the head with his umbrella, Jennifer Holmes, the daughter of Ed's employer, Stuart Holmes, offers the injured reporter a ride into town. That evening, Jenny is escorted by Lord John Roxton, an adventurer and big game hunter, to Challenger's lecture at the Zoological Institute, and Ed invites them to sit with him. When Challenger claims to have seen live dinosaurs, his colleague Professor Summerlee scoffs and asks for evidence. Explaining that his photographs of the creatures were lost when his boat overturned, Challenger invites Summerlee to accompany him on a new expedition to the "lost world," and asks for volunteers. When Roxton raises his hand, Jenny insists on going with him, but she is rejected by Challenger because she is a woman. Ed is given a spot after Holmes offers to fund the expedition if the reporter is included. The four then fly to the Amazon, where they are met by Costa, their guide and Manuel Gomez, their helicopter pilot. Arriving unexpectedly, Jenny and her younger brother David insist on joining them. Unable to arrange transportation back to the United States, Challenger reluctantly agrees to take them along. The next day, they take off for the lost world and land on an isolated plateau inhabited by dinosaurs. That evening, a dinosaur stomps out of the jungle, sending them scurrying for cover. After the beast destroys the helicopter and radio, the group ventures inland. When one of the creatures bellows threateningly, they flee, and in their haste, Challenger and Ed slip and tumble down a hillside, where they encounter a native girl. The girl runs into the jungle, but Ed follows and captures her. They then all take refuge in a cave, where Roxton, who has been making disparaging remarks about Jenny's desire to marry him solely for his title, angers Ed. Ed lunges at Roxton, pushing him to the ground, where he finds a diary written by Burton White, an adventurer who hired Roxton three years earlier to lead him to the lost diamonds of Eldorado. Roxton then admits that he never met White and his party because he was delayed by a dalliance with a woman, thus abandoning them to certain death. Gomez angrily snaps that his good friend Santiago perished in the expedition. That night, Costa tries to molest the native girl, and David comes to her rescue and begins to communicate with her through sign language. After Gomez goes to investigate some movement he spotted in the vegetation, he calls for help, and when Roxton runs out of the cave, a gunshot from an unseen assailant is fired, nearly wounding Roxton and sending the girl scurrying into the jungle. Soon after, Ed and Jenny stray from camp and are pursued by a dinosaur, and after taking refuge on some cliffs, watch in horror as their stalker becomes locked in combat with another prehistoric creature and tumbles over the cliffs into the waters below. Upon returning to camp, they discover it deserted, their belongings in disarray. As David stumbles out from some rocks to report they were attacked by a tribe of natives, the cannibals return and imprison them in a cave with the others. As the drums beat relentlessly, signaling their deaths, the native girl reappears and motions for them to follow her through a secret passageway that leads to the cave in which Burton White lives, completely sightless. After confirming that all in his expedition perished, White tells them of a volcanic passageway that will lead them off the plateau, but warns that they must first pass through the cave of fire. Cautioning them that the natives plan to sacrifice them, White declares that their only chance of survival is to slip through the cave and then seal it with a boulder. After giving them directions to the cave, White asks them to take the girl along. As the earth, on the verge of a volcanic eruption, quakes, they set off through the Graveyard of the Damned, a vast cavern littered with dinosaur skeletons, the victims of the deadly sulfurous gases below. Pursued by the ferocious natives, Roxton takes the lead as they inch their way across a narrow ledge above the molten lava. After escaping the natives, they jam the cave shut with a boulder and, passing a dam of molten lava, finally reach the escape passage. At its mouth is a pile of giant diamonds and a dinosaur egg. As Costa heaps the diamonds into his hat, Challenger fondles the egg and Gomez pulls a gun and announces that Roxton must die in exchange for the death of Santiago, Gomez' brother. Acting quickly, Ed hurls the diamonds at Gomez, throwing him off balance and discharging his gun. The gunshot awakens a creature slumbering in the roiling waters below. After the beast snatches Costa and eats him alive, Ed tries to dislodge the dam, sending a few scorching rocks tumbling down onto the monster. Feeling responsible for the peril of the group, Gomez sacrifices his life by using his body as a lever to dislodge the dam, covering the creature with oozing lava. As the cave begins to crumble from the impending eruption, the group hurries to safety. Just then, the volcano explodes, destroying the lost world. After Roxton hands Ed a handful of diamonds he has saved as a wedding gift for him and Jenny, Challenger proudly displays his egg, which then hatches, revealing a baby dinosaur. The End.

The 50s had seen several examples of the dinosaur sub-genre. LW is one of the more lavish ones, owing to color by DeLuxe and CinemaScope. The A-level actors help too. Claude Rains plays the flamboyant Challenger. Michael Rennie plays Roxton, perhaps a bit too cooly. Jill St. John and Vitina Marcus do well as the customary eye candy. David Hedison as Malone and Fernando Lamas as Gomez round out the bill.

The first film version of LW was a silent movie shot in 1925: screenplay by Marion Fairfax. The film featured stop-motion animated dinosaurs by a young Willis O'Brien. Fairfax followed Doyle's text, but Fairfax added a young woman to the team, Paula White. Ostensibly trying to find her father from the first failed expedition, she provided the love triangle interest between Malone and Roxton.

Allen's screenplay tried to stick to Doyle's text as much as Hollywood would allow. It carried on Fairfax's invention of the young woman member of the group as triangle fodder. Fairfax had Doyle's ape men (ape man) but omitted the native humans. Allen had the natives, but no ape men. Allen revived the Gomez/revenge subplot, which Fairfax skipped. Doyle's story had Challenger bringing back a pterodactyl. Fairfax made it a brontosaur who rampaged through London streets (spawning a popular trope). Allen suggested the baby dinosaur traveling to London.

Willis O'Brien pitched 20th Century Fox in the late 50s, to do a quality remake of LW. He had gained much experience in the intervening 35 years, so his stop-motion dinosaurs were to be the real stars. Fox bass liked the idea, but by the time the ball started rolling, there was trouble in studioland. Fox's grand epic Cleopatra was underway, but was already 5 million dollars over budget. Cleo would nearly sink 20th Century Fox when it was finally released in 1963. To stay afloat, all other Fox films' budgets were slashed. Allen could no longer afford the grand O'Brien stop-motion.

Allen's production is often criticized for its "cheap" dinosaurs, which were live monitor lizards and alligators with fins and plates and horns glue onto them. (more on that below) These were already a bit cheesy when used in the 1940 film One Million B.C.. O'Brien is still listed on the credits as "Effects Technician," but all Allen could afford was lizards with glued on extras. Somewhat amusingly, the script still refers to them as brontosaurs and T-Rexes.

The character of Jennifer Holmes starts out promising. She's a self-assured to the edges of pushy, and is said to be able to out shoot and out ride any man. Yet, when she gets to the Amazon jungle, she's little more than Jungle Barbie, dressed in girlie clothes and screaming frequently. She even does the typical Hollywood trip-and-fall when chased by the dinosaur, so that a man must save her.

Bottom line? FW is a finer example of the not-quite-sci-fi dinosaur sub-genre. The actors are top drawer, even if some of their acting is a bit flat. Nonetheless, FW is a fair adaptation of Doyle's

classic adventure novel, given the constraints of Hollywood culture.

 

The Movie Club Annals … Review

The Lost World 1960

Introduction

There was absolutely nothing wrong with Irwin Allen's 1960 production of The Lost World. Nothing. It was perfect in every way. I therefore find myself in the unique and unfamiliar position of having to write a rave review about a Movie Club movie that was entirely devoid of flaws.

Faced with such a confounding task, I half-heartedly considered faking a bad review, then praying my obvious deceptions would go unnoticed. But the patent transparency of my scheme convinced me to abandon it posthaste. After all, leveling concocted criticisms at such an unassailable masterpiece would be a futile and tiresome exercise, the pretense of which would escape nary a semi-cognizant soul.

Thus, having retreated from my would-be descent into literary intrigue, I start this review in earnest by borrowing a quote from the legendary Shelly Winters, spoken during the 1972 filming of Irwin Allen's The Poseidon Adventure:

"I'm ready for my close up now, Mr. Allen.” Shelly Winters, 1972

Review

A bit of research into the casting choices of Irwin Allen, who wrote, produced, and directed The Lost World, begins to reveal the genius behind the virtuosity.

The first accolades go to Irwin for his casting of Vitina Marcus, the immaculately groomed Saks 5th Avenue cave girl with exquisite taste in makeup, jewelry, and cave-wear. No finer cave girl ever graced a feature film.

Vitina Marcus, as The Cave Girl

She was the picture of prehistoric glamour, gliding across the silver screen in her designer bearskin mini-pelt, her flawless coiffure showing no signs of muss from the traditional courting rituals of the day, her perfect teeth the envy of even the most prototypical Osmond. Even her nouveau-opposable thumbs retained their manicure, in spite of the oft-disagreeable duties that frequently befell her as an effete member of the tribal gentry.

By no means just another Neanderthal harlot, Vitina had a wealth of talent to augment her exterior virtues. Her virtuoso interpretation of a comely cave girl in The Lost World certainly didn't escape the attention Irwin Allen. In fact, he was so taken with her performance that he later engaged her services again, casting her as the Native Girl in episode 2.26 of his Voyage to The Bottom of The Sea TV series.

Leery of potential typecasting, Vitina went on to obtain roles with greater depth and more sophisticated dialogue. This is evidenced by the great departure she took from her previous roles when she next portrayed the part of Sarit, a female barbarian, in episode 1.24 of Irwin Allen's The Time Tunnel TV series.

Vitina, as Sarit

Vitina's efforts to avoid typecasting paid off in spades, as she was soon rewarded with the distinctive role of Girl, a female Tarzanesque she-beast character, in episode 3.14 of The Man From U.N.C.L.E. TV series.

Lured back from the U.N.C.L.E. set by Irwin Allen, Vitina was next cast in the role of Athena (a.k.a. Lorelei), the green space girl with the inverted lucite salad bowl hat, in episodes 2.2 and 2.16 of the revered Lost in Space TV series.

And with this, Vitina reached the pinnacle of her career. For her many unparalleled displays of thespian pageantry, she leaves us forever in her debt as she exits the stage.

For those who would still question the genius of Irwin Allen, I defy you to find a better casting choice for the character of Lord John Roxton than that of Michael Rennie. Mr. Rennie, who earlier starred as Klaatu in The Day the Earth Stood Still, went on to even greater heights, starring as The Keeper in episodes 1.16 and 1.17 of the revered Lost in Space TV series. Throughout his distinguished career, Mr. Rennie often played highly cerebral characters with

unique names, such as Garth A7, Tribolet, Hasani, Rama Kahn, Hertz, and Dirk. How befitting that his most prolific roles came to him through a man named Irwin, a highly cerebral character with a unique name.

The selection of David Hedison to play Ed Malone was yet another example of Irwin's uncanny foresight. Soon after casting him in The Lost World, Irwin paved Mr. Hedison's path to immortality by casting him as a lead character in his Voyage to The Bottom of The Sea TV series. Although Voyage ended in 1968, Mr. Hedison departed the show with a solid resume and a bright future.

In the decades following Voyage, Mr. Hedison has been a veritable fixture on the small screen, appearing in such socially influential programs as The Love Boat, Fantasy Island, Knight Rider, The Fall Guy and The A Team. Mr. Hedison's early collaborations with Irwin Allen have left him never wanting for a day's work in Hollywood, a boon to the legions of discerning fans who continue to savor his inspiring prime time depictions.

Irwin selected Fernando Lamas to play Manuel Gomez, the honorable and tortured soul of The Lost World who needlessly sacrificed himself at the end of the movie to save all the others. To get a feel for how important a casting decision he was to Irwin, just look at the pertinent experience Mr. Lamas brought to the table:

Irwin knew that such credentials could cause him to lose the services of Mr. Lamas to another project, and he took great pains to woo him onto the set of The Lost World. And even though Mr. Lamas never appeared in the revered Lost in Space TV series, his talent is not lost on us.

Jay Novello was selected by Irwin Allen to play Costa, the consummate Cuban coward who perpetually betrays everyone around him in the name of greed. In pursuing his craven calling, Mr. Novello went on to play Xandros, the Greek Slave in Atlantis, The Lost Continent, as well as countless other roles as a coward.

Although Mr. Novella never appeared in the revered Lost in Space TV series, his already long and distinguished career as a coward made him the obvious choice for Irwin when the need for an experienced malingerer arose.

Jill St. John was Irwin's pick to play Jennifer Holmes, the "other" glamour girl in The Lost World. Not to be upstaged by glamour-cave-girl Vitina Marcus, Jill played the trump card and broke out the pink go-go boots and skin-tight Capri pants, the perfect Amazonian summertime jungle wear.

Complete with a perfect hairdo, a killer wardrobe, a little yip-yip dog named Frosty, and all the other trappings of a wealthy and pampered prehistoric society, Jill's sensational allure rivaled even that of a certain cave girl appearing in the same film.

With the atmosphere rife for an on-set rivalry between Jill and Vitina, Irwin still managed to keep the peace, proving that he was as skilled a diplomat as he was a director.

Claude Rains, as Professor George Edward Challenger

And our cup runneth over, as Irwin cast Claude Rains to portray Professor George Edward Challenger. His eminence, Mr. Rains is an entity of such immeasurable virtue that he is not in need of monotonous praise from the likes of me.

I respectfully acknowledge the appearance of Mr. Rains because failure to do so would be an unforgivable travesty. But I say nothing more on the subject, lest I state something so obvious and uninspiring as to insult the intelligence of enlightened reader.

Irwin's casting of the cavemen mustn't be overlooked, for their infallibly realistic portrayals are unmatched within the Pleistocene Epoch genre of film. Such meticulous attention to detail is what separates Irwin Allen from lesser filmmakers, whose pale imitations of his work only further to underscore the point.

To be sure, it is possible to come away with the unfounded suspicion that the cavemen are really just a bunch of old white guys from the bar at the local Elks lodge. But Irwin was an absolute stickler for authenticity, and would never have allowed the use of such tawdry measures to taint his prehistoric magnum opus.

In truth, Irwin's on-screen cavemen were borne of many grueling years of anthropological research, so the explanation for their somewhat modern, pseudo-caucasian appearance lies obviously elsewhere. And in keeping with true Irwin Allen tradition, that explanation will not be offered here.

1964 - Voyage to the Bottom of the Sea, Season One, Episode 7 - "Turn Back the Clock", featuring Vitina Marcus as The Native Girl. Produced by Irwin Allen.

And then there was Irwin Allen's masterful handling of the reptilian facets of The Lost World, most notably his inimitable casting of the dinosaurs. His dinosaurs were so realistic, so eerily lifelike, that they almost looked like living, breathing garden variety lizards with dinosaur fins and horns glued to their backs and heads.

The less enlightened viewer might even suppose this to be true, that Irwin's dinosaurs were indeed merely live specimens of lizards, donned in Jurassic-era finery, vastly magnified, and retro-fitted into The Lost World via some penny-wise means of cinematic trickery.

But those of us in the know certainly know better than that, as we are privy to some otherwise unpublished information about The Lost World. The lifelike appearance of the Irwin's dinosaurs can be attributed to a wholly overlooked and fiendishly cunning approach to the art of delusion, which is that the dinosaurs didn't just look real, they were real.

While the world abounds with middling minds who cannot fathom such a reality, we must follow Irwin's benevolent leanings and temper our natural feelings of contempt for this unfortunate assemblage of pedestrian lowbrows. In spite of Irwin's superior intellect, he never felt disdain toward the masses that constituted his audiences. He simply capitalized on their unaffectedness, and in the process recounted the benefits of exploiting the intellectually bereft for personal gain.

The purpose of all this analysis, of course, is to place an exclamation point on the genius of Irwin Allen, the formation of his dinosaur exposé being a premier example. Note how he mindfully manipulates the expectations of his unsuspecting audience, compelling them to probe the dinosaurs for any signs of man-made chicanery. Then, at the palatial moment when the dinosaurs make their entry, he guilefully supplants the anticipated display of faux reptilia with that of the bona fide article.

Upon first witnessing the de facto dinosaurs, some in the audience think they've been had, and indeed they have. Irwin, in engineering his masterful ruse, had used reality as his medium to convey the illusion of artifice. His audience, in essence, was blinded by the truth. It was the immaculate deception, and none but Irwin Allen could have conceived it.

Indeed, the matter of where the live dinosaurs came from has been conspicuously absent from this discussion, as the Irwinian technique of fine film making strongly discourages the practice of squandering time on extraneous justifications and other such trite means of redundant apologia. For the benefit of the incessantly curious, however, just keep in mind that Irwin Allen wrote and produced The Time Tunnel TV Series, a fact that should provide some fair insight into his modis operandi.

Carl R.

 

The We're Here! gang is considering boats 'n stuff today.

 

This wee ship was carved for me 60 years ago by my friend Kurt. He used toilet paper to make the sails (now in terrible disarray after many moves). Stern to bow, she is less than two inches long. Another view in comments.

 

Monmouth Plantation-3181 Circa 1818 Few estates of the American South typify the antebellum experience more than Monmouth. Its story is a tale of the Old South and of the New South, of transition and transformation, and of the many men, women, and children who called Monmouth their home from1818 to the present. Monmouth evolved from rough timber, mortar, nails, and brick to a stately antebellum, suburban villa built from the labor of human hands both free and enslaved. Over the span of more then 190 years of existence, Monmouth witnessed generations of births and deaths, as the home and workplace of slaves, tenant farmers, wet nurses, American statesmen and businessmen, plantation mistresses, and enterprising housewives—all contributing to its historic saga as one generation passed from view and the next took its place.

 

Antebellum Monmouth was a grand estate house embellished with the finest furnishings and landscaped gardens tended by enslaved servants, field hands, stock minders, and gardeners. All of this changed, however, with the coming of the Civil War to Natchez, and Monmouth thereafter experienced the plight of numerous southern estate villas when their once wealthy owners could no longer afford the trappings of the elite. For years after the Civil War, Monmouth survived as but a memory of its notable history, as its once impressive structure and gardens fell into ruin and disarray—overrun at times with vermin, vagrants, and weeds. In the 1980s, a new Monmouth emerged from the ruins to become a fully restored historic site and a small luxury hotel. This is the history of that journey.

 

Historical Text Developed by Cynthia J. Parker

 

monmouthplantation.com/index.html

Oil on wood; 64.1 x 53.3 cm.

 

Jean-Baptiste Greuze was a French genre and portrait painter who initiated a mid-18th-century vogue for sentimental and moralizing anecdotes in paintings.

 

Greuze studied first at Lyon and afterward at the Royal Academy in Paris. He first exhibited at the Salon of 1755 and won an immediate success with his moralizing genre painting of Father Reading the Bible to His Children (1755). Although Greuze’s attention at this time was fixed on a less-pretentious type of genre painting in which the influence of 17th-century Dutch masters is apparent, the favorable attention he received turned his head and established the lines of his future career.

 

In 1755 Greuze left for Italy but remained impervious to the influence of Italian painting. In 1759 he became acquainted with Denis Diderot, who encouraged his inclination toward melodramatic genre, and throughout the 1760s Greuze reached new heights of popular acclaim with such works as The Village Betrothal (1761) and The Father’s Curse and The Prodigal Son (both c. 1765).

 

Greuze submitted to the Salon in 1769 a large, rather dreary historical painting, Septimius Severus Reproaching Caracalla, which he hoped would gain him admission to the academy as a history painter. But the academy would admit him to membership only as a genre painter, and so the resentful artist exhibited his works to the public only in his own studio for the next 30 years. In addition to moralizing genre, he painted young girls in poses of feigned innocence and calculated disarray.

 

Throughout the 1770s Greuze was kept busy painting moralizing pictures, but by the 1780s his work had gone out of fashion and his income was precarious. By 1785 his once-considerable talent was exhausted. The reaction against his sentimental genre paintings resulted in critical neglect of his drawings and portraits, in which Greuze’s superb technical gifts are displayed with great integrity.

This was about 20 rows of white chairs set up outdoors for a wedding. I just couldn't resist fooling around with the photograph.

 

photograph of the engraving "On the Veranda" By Peter Aitken based on the drawing by Gilbert Gaul for "Summer at Christmas-Tide" 1897

The Kolkata series continued.

This is the CBD of Kolkata. Evening rush hour, but then again when isn’t it rush hour in Kolkata. I was sitting on the curve, besides a nest of dog shit, a street vendor’s stall, the exhaust fumes and the gaze of other innocent bystanders. I am not sure what I was looking for but the bustling intersection and the red orange dusk had a certain appeal that resonated with me. In any case, as the minutes went by , I see through itchy and watery eyes, a miraculous scene: A young man shows up from around the corner, walking a decisive walk, and leading a herd of goats. They came out of nowhere, totally unexpected. Who would expect a herd of goats to take a leisurely homewards stroll in any CBD. I was so excited that I failed to properly set up shutter speed and aperture, and to my greatest disarray, all of the shots of this goat scene came out slightly blurred, and so at the wrong place. This also explains why I chose the BW version, you know, to hide the mess.

 

View Larger Version

 

The broken glass pieces to the abandoned water park's sign sit in total disarray. Just months ago this sign was intact, so please, don't go busting up more of it.

 

Exposure: 6.6 minutes @ f/8, 100 ISO. Full moonlight only.