With an in­fec­tious home­spun per­son­al­ity, Ives was a kind of Nor­man Rock­well of mu­sic, keep­ing alive the na­tion’s old­est folk songs.

Pasatiempo - - TERRELL’S TUNE-UP - Chris­tian The McMasters LA Times. Shane Pro­fes­sion­als Man From U.N.C.L.E. LA Times The Grad­u­ate The The Los An­ge­les Times

for a decade, be­lieves the state’s suc­cess today in en­tic­ing the movie in­dus­try to New Mex­ico is Gov. Cargo’s legacy.

Be­cause of Cargo, Sach­son came to New Mex­ico to see if it might be a suit­able lo­cale for his Western. The state sup­ple­mented its glad-handed pub­lic-re­la­tions cam­paign when film com­mit­tee mem­ber Charles Le­Maire, a re­tired de­signer for 20th Cen­tury Fox, formed a com­pany that con­verted por­tions of the aban­doned four-build­ing New Mex­ico Na­tional Guard com­plex on Old Santa Fe Trail into a film pro­duc­tion fa­cil­ity. A sound­stage was built, along with re­hearsal space, of­fices, dress­ing rooms, and a ware­house for props. The project even in­cluded a pow­er­ful elec­tric gen­er­a­tor ca­pa­ble of light­ing the homes of Santa Fe’s 45,000 res­i­dents, ac­cord­ing to one press ac­count.

Sach­son con­sid­ered the fa­cil­ity, still un­der con­struc­tion, “kind of fright­en­ing,” he told the The mak­ing of brought an ex­cep­tion­ally var­ied group of ac­tors to New Mex­ico. In ad­di­tion to Brock Peters and Ives, the for­mer Con­fed­er­ate of­fi­cer Kolby was played by Jack Palance, a Hol­ly­wood lead­ing man known for his roles in West­erns such as as well as films such as and tele­vi­sion shows in­clud­ing

David Car­ra­dine took the role of In­dian chief White Feather. Al­though al­ready a well-known ac­tor, he was sev­eral years away from be­com­ing for­ever iden­ti­fied with his tele­vi­sion role as Kwai Chang Caine, the monk with kung-fu skills trav­el­ing about the Old West. Nancy Kwan, a Hong Kong-born ac­tress who had be­come a star per­form­ing break­through Asian char­ac­ter roles, played the part of Robin, White Feather’s sis­ter who is given to Ben­jie.

De­spite the movie’s in­tended at­tack on racism, the choice of its cast fol­lowed the in­dus­try’s tra­di­tion of not us­ing Na­tive Amer­i­cans in ma­jor roles. The avail­able Na­tive Amer­i­can pop­u­la­tion in New Mex­ico was asked only to play roles as un­named tribal mem­bers. More than 50 res­i­dents of the Te­suque and San Idel­fonso Pue­b­los were re­cruited at $25 to $30 a day, a high salary for a group of peo­ple used to earn­ing $600 a year, noted one reporter. “They even bring their own dogs,” Sach­son told a reporter who vis­ited the set. The two main In­dian roles were re­served for Car­ra­dine and Kwan. “With brown paint and a lit­tle oil on her long tresses, Miss Kwan, a Sino-Bri­tish Eurasian, can be dis­tin­guished among a crowd of Pue­bloans only by her haunting beauty,” ac­cord­ing to the reporter.

Film­ing took place in Galisteo, Te­suque, and San Idel­fonso, where land­scapes were with­out vis­i­ble power lines or other signs of moder­nity. Set dec­o­ra­tor Ge­orge R. Nel­son, who counted among his cred­its, built an In­dian vil­lage with hun­dreds of hides and a cabin. A group of di­lap­i­dated min­ers’ homes, as well as the church in Madrid, were spruced up to use as the town. A set for the in­te­rior of the McMasters’ ranch house was built in the nascent New Mex­ico Film Cen­ter.

Shoot­ing was com­pleted in seven weeks and the film reels sent to Lon­don for edit­ing. An es­ti­mated $1 mil­lion was spent in the state. Gov. Cargo and oth­ers such as Le­Maire were happy with the project, and soon an­nounced that three films were now sched­uled to be shot in New Mex­ico. “They ar­rive with mil­lions and de­part with a can of film,” Le Maire told the “Movie mak­ers do not pol­lute the air or ex­ploit our nat­u­ral re­sources — and as a fringe ben­e­fit they add im­mea­sur­ably to the charm of our com­mu­nity while they are here.”

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