Who Snatched Geronimo's Gun?

Seeking inspiration to rehearse my dramatic reading of the Clum letters, I watched the "true story" of John Clum capturing Geronimo in "Walk the Proud Land" (starring Audie Murphy). 

What fun! It was even shot at Old Tucson Studios! Perfect way to get in the spirit for our trip to Tombstone! Trailer highlights such as Ann Bancroft's sprayed on tan, Audie's full head of hair (John Clum was prematurely bald), and the hilarious musical theater war dance, should have clued us in on the film's authenticity. But the claim that it was a true story sent me and my beau on an ardent search for the facts. After all, it was based on the book, "Apache Agent: The Story of John P. Clum," by his son, Woodie. 

(SPOILER AHEAD)

As research for my dramatic reading, I read several letters that the Clums wrote to each other during this time period (1886). It was interesting to discover what Mary meant when she wrote to her mother-in-law, "I fully appreciate the many trials and temptations he must encounter."  The movie dramatizes that temptation with an Apache widow that the chief gives to John. In reality his wife never comes to the reservation to confront the widow, like she does in the film. Nor do they get married in Tucson. The historical letter includes a detailed description of their wedding in Delaware, Ohio, surrounded by Mary's family. 

It is probably more accurate to say that the film is "inspired by a true story." John Clum did in fact fight for the rights of the San Carlos reservation Indians to govern and police themselves. He created a troop of very successful Apache police who even protected settlers from violent Apaches. 

In the movie there is just one chief and a few under chiefs living on the San Carlos reservation. In reality there were several chiefs and their tribes. (I realize this is a plot convention used to tighten the story.) Word arrives that Geronimo's renegades have been attacking settlers and are on the Ojo Caliente reservation. The movie has Clum deciding spontaneously to go after Geronimo, when actually the Commissioner of Indian Affairs directed him to do it. (With a promise of backup troops if needed.)

In the movie Clum has a handful of Apache police with him when he approaches Geronimo, and a scheme (inspired by a biblical story) in which a few Indians surround them in the mountains and shoot off their guns - the echo making them sound more numerous than they were. In reality, Clum found Geronimo on the Ojo Caliente reservation (abandoned by the Indian Agency). Clum had 20 braves with him as he approached the chief. There were 80 more hiding in the commissary poised for a clever ambush that intimidated Geronimo's renegades into surrendering. The next day the cavalry comes to the rescue, marching in formation, flags and pennants flapping. Clum is lounging with his legs up and casually points out Geronimo already shackled in chains. He and his Apache police had captured the great warrior Geronimo without firing a shot.

But what about Geronimo's gun? In real life, John just snatches Geronimo's gun, Geronimo pulls a knife on him, but one of the Clum's Apache police relieves Geronimo of his weapon. In the movie, there is skirmish including some gun shots and John ends up with the gun. I like the actual incident better. History was more compelling than the movie.  

Unfortunately, the movie inspired this blog entry instead of my rehearsal. Leaving tomorrow for Tombstone! My reading is Friday afternoon! Better get at it! Wish me luck!

The Making of a Micro Budget Western, Desert Angel

Heidi Brozek and Milt PapaGeorge in "Desert Angel." 

by Jana Segal

While I was working on my Tombstone comedy script, I started to get the itch to make another short. I was doing a lot research on Tombstone in the 1880s trying to get into the mind set of that time period (the language, the customs, etc.) So I read a collection stories of the old West and found Charlotte Hall's 1880's story, "The Fruit of the Yucca Tree" about a pioneer couple lost in the desert on Christmas Eve. I thought this would be the perfect second project because I could keep my head in the same general time period that I was already researching. Also, it could be shot all on one set much like a play - so I could concentrate on adapting script and working with the actors. (It also didn't hurt that it was in the public domain.) Heidi Brozek, the actress I worked with at the directing workshop, had suggested that I write another short that we could produce together and that became, "Desert Angel." We decided to have the pioneer wife be of Polish descent so the wife could share one last Polish Christmas with her dying husband. We incorporated Heidi's Polish heritage by using Polish costumes and customs including paper cutout tree ornaments and the tradition of hiding hay under the place mat.  I think the Polish customs really make the film. We screened it for a Tucson Polish club. They were so moved by seeing their customs on film, that they passed a hat to help pay for the expenses.  

The thing I love best about filmmaking is working with talented artists of different disciplines - actors, costumers, cinematographers, photographers, set designers, writers, musicians, etc. I reconnected with my old Brandeis classmate Paul Sedgwick after finding him on his didgeridoo website.  Paul, who played the crusty banjo picking prospector, researched the music of the time and performs it on a vintage banjo accompanied by the West River Band.  Richard Tompkins wrote the touching song, "If I Could Only Fly" especially for the short.

DESERT ANGEL had it's premier screening at Scheffalin Hall in Tombstone, Arizona to an enthusiastic audience. Here is my post-screening speech. 

Once, I read in a low budget filmmaking book that the micro budget filmmaker should make a list of all the things he has free access to such as locations, vehicles, props, etc. I thought how easy it will be to put a wagon out in the desert and shoot it all on one set. We live in the desert and I see wagons all over town. It turned out to be REALLY hard. First, you need to find a wagon and get it to the desert. It is actually pretty hard to move those antique wagons. Then you need electricity for the lighting equipment. In our story, the pioneers are lost in the desert, so there probably wouldn't be any loud generators out there. And then you have to be able to legally have a camp fire. I researched different state parks and they required special licenses. That was more trouble than it was worth, so we ended up shooting in Old Tucson Studios where they had electricity and they let us have our fire. We paid a discounted rate of $500 to shoot for two days. (Their usual price is $1,600. a day.) And we also had to have $500 insurance. But that price included three costumes, moving the wagon, security guards and a horse. And everyone at Old Tucson was just so helpful. It was definitely worth it. (The entire cost the 17 minute video was $3000 which included an airline ticket for our banjo player, the props, costumes, a wig, an additional light set to supplement our free Access Tucson equipment, a propane tank to keep the campfire consistent, and yummy craft services.)

Unfortunately, there were record winds on the day we shot. So we had to shoot between gusts of winds. (And around the Park's stunt show schedule -- which we happily agreed to because they gave us such a swimming deal.) When the wind finally died down at 2 a.m. we heard AIRPLANES overhead! And cars -- in the middle of  the night! We shot for thirteen hours getting burned by the sun in the day and shivering at night. Despite wearing a protective hat and constantly reapplying the strongest sunscreen, my face was puffed up from being out there in the extreme elements so long. We pulled off a minor miracle shooting a 17 minute Western in 18 hours!  Needless to say, we didn't get up for our 4 a.m. sunrise shoot. But we were there when the park opened and heard the train ride conductor announce that we were shooting a movie on the High Chaparral set! (If you listen real carefully you can hear a train whistle in the last scene of our film. This is funny when you consider that our characters where supposed to be lost in the desert and they were within hearing distance of that train the whole time! Makes me chuckle anyway...) Still, what a thrill to shoot on the High Chaparral set and at the same studio where John Wayne shot many of his Westerns!