“We abuse land because we regard it as a commodity belonging to us. When we see land as a community to which we belong, we may begin to use it with love and respect.” ~ Aldo Leopold, A Sand County Almanac (1949)
This Saturday the Adirondack Interpretive Center will be hosting the only Adirondack screening of the documentary Green Fire: Aldo Leopold and Land Ethic For Our Time. Leopold holds the honor of shaping and influencing the modern environmental conservation movement. Leopold is credited with inspiring projects all over the country that connect people and land. The title Green Fire refers to a passage in Leopold’s book, A Sand County Almanac when he is a young forest ranger and self-described as “full of trigger-itch.” Leopold writes how he shoots a wolf believing that fewer predators would mean a hunters’ paradise. He comes upon the injured wolf and watches “a fierce green fire dying in her eyes,” an event that would change his view of the necessity of predators in the landscape.
According to Adirondack Interpretive Center Program Manager Rebecca Oyer the one-day event will be packed with activities from bench building to a panel discussion. Oyer wants people to know that they can come for one event or all of the day’s activities.
“Starting at 9:00 a.m. those that register will be able to make a Leopold bench. The cost of the materials ($30) is the only fee for this whole day. The screening, readings and panel discussions are all free,” says Oyer. “ There will be a break around 10:30 a.m. with refreshments and panelists will read passages from The Sand County Almanac. After a lunch break we will show the movie Green Fire at 1:30 p.m.”
After the film the four panelists will discuss how each apply and implement Leopold’s legacy in their own work. Panelists: Dave Gibson, partner in the not-for-profit Adirondack Wild, Lisa Eddy, a Michigan High School teacher developing curriculum based on Leopold’s philosophies, Peter Brinkley, Adirondack Wild Senior partner and Marianne Patinelli-Dubay, environmental philosopher. Both Gibson and Patinelli-Dubay are regular Almanack contributors.
A complete schedule can be found here. Registration is required by calling 518-582-2000 for the January 21, Saturday, event. Keep in mind that the trails at the Newcomb Adirondack Interpretive Center are open for snowshoeing and cross-country skiing.
If you are bringing your own young people, know your family’s limitations. My children are excited to make the Leopold bench and see the rest of the hour-long film Green Fire. If they wish to listen to the readings and panel discussions, I am all for it. I will have snowshoes packed as a backup plan. We can discuss Leopold’s Legacy while enjoying the trails at the Adirondack Interpretive Center.
As a follow-up to last week’s piece on the late Mary Barber (Aunt Mary), below is the story of the movie that was filmed long ago on the barge canal in Whitehall. It was researched and written by my partner, Jill McKee, and is now part of an exhibit in Whitehall’s Skenesborough Museum.
In 1929, Universal Pictures released a film called The Girl on the Barge. The movie was about Erie McCadden, the illiterate daughter of a crusty, alcoholic barge captain. Erie falls in love with Fogarty, the pilot of the tugboat that is towing her father’s barge from New York to Buffalo on the Erie Canal. Captain McCadden is not at all pleased when he discovers the romance, and his anger is escalated further by the fact that Fogarty is teaching Erie to read. Happily, in the end the captain comes to his senses, likely due in no small part to Fogarty’s rescuing of McCadden’s barge when it is accidently set adrift. Erie marries her love and the two present McCadden with a grandson.
The Erie Canal proved too difficult a setting for the Universal production department to create on or near the studio’s lot. However, the Erie Canal itself was not deemed suitable either. At least that was the opinion of the movie’s director, Edward Sloman, who came to New York State with two veteran cameramen, Jack Voshell and Jackson Rose, to find the right filming location.
Such location trips were rare at that time in the movie industry, but Universal was willing to invest the added time and money necessary to film the movie in the correct setting. After scouting the entire modern, commercialized Erie Barge Canal from Albany to Buffalo, Sloman felt it would not be believable to audiences. “They would swear we faked it in California,” he said.
Enter a contractor from Waterford, NY, named John E. Matton. He believed the Champlain Canal was just what Universal was looking for. After seeing it, Sloman agreed and chose Whitehall as the filming location.
In May, 1928, Sloman and rest of the film’s cast and crew set up their headquarters at Glens Falls and took up temporary residence at the Queensbury Hotel in order to begin making the movie. The silent era was giving way to “talkies,” and The Girl on the Barge was a hybrid between the two—a silent film with talking sequences.
The film’s cast was made up of some notable stars. The title role of Erie was played by Sally O’Neil, who had found stardom in 1925 when she appeared along with Constance Bennett and Joan Crawford in Sally, Irene, and Mary. Erie’s father, the barge captain, was played by Jean Hersholt, who appeared in 140 films from 1906–1955, and served as president of the Academy of Motion Picture Arts and Sciences from 1945–1949.
Malcolm MacGregor (or McGregor), who appeared in over 50 films during his career, played Erie’s love interest, Fogarty. Erie’s sister, Superior McCadden, was played by Nancy Kelly, whose career spanned from the 1920s to the 1970s, during which time she received nominations for an Emmy and an Oscar, and also won a Tony Award. Both Ms. Kelly and Mr. Hersholt have stars on the Hollywood Walk of Fame.
The movie’s director, Edward Sloman, was no slouch either. He directed nearly 100 films and acted in over 30, with some producing and writing thrown in for good measure. The story on which the movie was based was originally written by Rupert Hughes for Cosmopolitan magazine. Mr. Hughes was a prolific writer who saw more than 50 of his stories and plays made into movies.
The entire episode apparently caused quite a stir in the Whitehall/Glens Falls area. Several Whitehall residents took part in various scenes in the movie, and a humorous incident at the Queensbury Hotel was reported in the Syracuse Herald on June 11, 1928.
It seems that Mr. Hersholt arrived at the hotel after a day of filming. He was still dressed as his drunken barge captain character and asked for his room number without giving his name. The desk clerk not so politely informed Mr. Hersholt that the hotel was filled with “those motion picture people,” and there were no rooms available. In order to gain access to his room, Mr. Hersholt had to call upon director Edward Sloman to vouch for him.
Universal had a three-tiered rating system for its motion picture productions at the time Girl on the Barge was filmed. Low-budget flicks were dubbed Red Feather, and mainstream productions were labeled as Bluebird. Girl on the Barge was categorized as one of Universal’s most prestigious films, called Jewel. Jewel productions were expected to draw the highest ticket sales.
The movie was released on February 3, 1929. Various newspaper ads and articles have been found showing the movie still playing in theatres around the country into the following fall. The movie also received many favorable reviews. The Chronicle Telegram of Elyria, Ohio, complimented the “realistic and picturesque scenes” of “the barge canals of Upper New York State” (May 20, 1929).
The New York Times reviewer, Mordaunt Hall, raved about Mr. Hersholt’s make-up and costume, and stated, “The scenes are admirably pictured.” The Sheboygan Press of Sheboygan, Wisconsin, called the film “an exceptional picture,” and went on to report, “The picture actually was photographed along the picturesque Champlain Ship Canal in Upper New York State.”
Photo Top: Movie Poster now on exhibit in the Whitehall Museum.
Photo Middle: Sally O’Neil and Malcolm MacGregor in a scene near the canal.
Photo Bottom: Movie advertisement in the Ticonderoga Sentinel, 1929.
Lawrence Gooley has authored nine books and many articles on the North Country’s past. He and his partner, Jill McKee, founded Bloated Toe Enterprises in 2004. He took over in 2010 and began expanding the company’s publishing services. For information on book publishing, visit Bloated Toe Publishing.
The Lake George Arts Project is seeking submissions for its Peoples Pixel Project – 2011: A Festival of Short Videos which will be held on January 22, 2011 at the Charles Wood Theater in Glens Falls. The festival is open to everyone living within 100 mile radius of Lake George. The deadline for all entries is November 20, 2010. Entries may originate in any format, however:
One video per disk. Video disks with more than one film will be rejected.
Entries MUST be submitted for playback in two formats – one disk per format FORMAT 1: DVD in NTSC format (common to most DVD players). DVD must NOT include menus or any formatting which does allow direct playback upon disk load.
FORMAT 2: AVI PC file.
All videos must be labeled with title, producer(s) name, category and total running time.
Entrants may submit up to 3 individual works in any category for which they are qualified. Please complete one form for each submission [pdf].
Entries deemed not suitable for a general audience will not be selected for screening.
Three awards will be presented in each of the following categories:
1. Tunes: Music related video where the primary focus is the music. Music MUST be original work for which the entrant owns the copyright.
2. U14: Work by artists 14 years old and younger in any category.
3. Get Reel: Documentary video.
4. Animated: Stop action, table-top animation, computer generated, hand-drawn, slideshow, etc., as long as it is not PRIMARILY live action.
5. Experimental: Experimental work, not necessarily narrative.
6. Narrative: Tell a story, but make it quick!
7. Short Shorts: Less than 60 seconds!(*new this year)
The much-anticipated local sci-fi adventure Recreator will have its premiere at The Wild Center on Thursday, August 19th at 7pm in advance of a local theatrical run, say the film’s producers, who shot the movie last fall in Tupper Lake. The premiere will benefit the Big Tupper Ski Area, according to Center Executive Director Stephanie Ratcliffe and ARISE Chairman Jim LaValley, co-hosts of the event. Tickets for the benefit, which includes the screening, reception and appearances by some of the actors and filmmakers are $25 and available online at www.wildcenter.org/recreator. » Continue Reading.
Ausable Forks was once the favored respite of one of America’s most famed and beloved actresses of her time. During the prime of her career in the 1920s, to escape constant media scrutiny, this lady returned often to the Adirondacks, a quiet, peaceful place filled with the memories of childhood.
Doris Kenyon was born on September 5, 1897, the daughter of James and Margaret Kenyon. James, once a protégé of Henry Wadsworth Longfellow, was a person of some renown in his own right, achieving widespread fame and praise for his skills as a poet. Many of his works were featured in Harpers, the Atlantic, and other reputable magazines. After writing two books, James remained in the literary world and became a publisher. His position would help open doors for his talented daughter.
The family lived for a time in Chaumont, New York, northwest of Watertown, and then moved to Syracuse, where Doris was born. Her brother, Raymond, nineteen years older than Doris, was a dentist and oral surgeon in both Philadelphia and Syracuse. Health issues and a deep love of hunting and fishing prompted his move to the Adirondacks in pursuit of a less strenuous life.
Ray Kenyon chose Ausable Forks as his new home, immersing himself in local life, business, and politics. He served in several key positions, including many years as chairman of the Essex County Republican Party, and several more as state assemblyman. Due to his great skill as a dentist and his affable nature, Raymond became a fixture in the community.
Young Doris was a frequent visitor and guest at her brother’s home—so frequent, in fact, that she has sometimes been claimed as an Ausable Forks native. She spent many summers at Fern Lake and was well known in the village, particularly for her singing ability.
When Doris was in her teens, her father became head of the publishing department of the National Encyclopedia of Biography. It was a position of prominence and power, earning James close ties with luminaries from many venues, including show business.
By this time, Doris had sung with different choirs and had developed a reputation for the quality of her voice. At a meeting of the Authors Club, which she attended with her father, Doris was invited to sing, delivering a very impressive performance.
Among the attendees was the renowned Victor Herbert, who had been a superb cellist in Europe, having played in the orchestra of Johann Strauss. In America, he worked at the Metropolitan Opera and became a famed composer and conductor. Like many other stars, Victor maintained a home in Lake Placid.
Her performance before the Authors Club wowed Herbert, and though Doris was only sixteen years old, he decided to cast her in the stage musical Princess Pat. The show opened on Broadway in the Cort Theatre, and Doris’ stage debut as the character Coralee Bliss was a big success. The movie industry soon showed an interest in her. (Apparently for her acting skills, and not for her lovely voice. The silent film era wouldn’t give way to talkies for another 14 years.)
Doris couldn’t resist the opportunity. She left a promising stage career to appear as Effie MacKenzie in The Rack (Milton Sills was the leading star), which was released in December 1915. That performance earned her the lead role in Pawn of Fate, released in February 1916. Within a month, Worldwide Film Corporation signed Doris to an exclusive three-year contract at $50,000 a year ($1 million per year in today’s dollars) … and she was still a teenager!
Despite her youth, Doris displayed maturity with her newfound wealth, donating to projects like the Childrens’ Home in Plattsburgh. She supported the troops during World War I, subscribing to $50,000 worth of Liberty Bonds, the highest amount of any actress in show business.
Under her new contract, Doris played the leading role in many movies. In 1917, after making A Hidden Hand for Plathe Films, she formed her own company, De Luxe Pictures. The crew stayed at the Lake Placid Club while filming its first project, The Story of Seven Stars.
As life became more hectic, Doris returned frequently to her childhood roots in Ausable Forks, spending time with Raymond. She and her brother shared an affinity for fox hunting, a very popular pastime in those days. Raymond’s camp on Silver Lake was one of Doris’ favorite places, and there she hosted luminaries from show business and other industries.
Doris went on to star in nearly fifty silent films, including 1924’s Monsieur Bocaire with living legend Rudolph Valentino, and 1925’s A Thief in Paradise with Ronald Colman. During her long career, she played opposite all the great stars of the day, among them Loretta Young, Spencer Tracy, Ralph Bellamy, John Barrymore, Melvyn Douglas, Robert Young, and Adolph Menjou. Her fame was such that newborn Doris Kappelhoff (born in 1922) was named after Kenyon. Kappelhoff would gain great fame under her stage name, Doris Day.
One of the leading men in several of Kenyon’s movies became the leading man in her personal life. Milton Sills was a major star of the era, and he and Doris had performed together many times. In May 1926, Doris announced she had purchased her brother’s camp, and a few weeks later came an update—she and Milt Sills would soon marry … on the shores of Silver Lake!
The ceremony took place amidst the October splendor of the leaf color change, creating a sensational backdrop at the camp Doris called “Moose Missie.” And, as they honeymooned through the Adirondacks (two days in a suite of rooms in Agora at the Lake Placid Club), plus Niagara Falls, the Grand Canyon, and Yellowstone Park, workmen were completing a beautiful mansion on their sixty-acre estate in Hollywood, California.
The wedding had been announced in May 1926, but was delayed until October due to Doris being ill. (Seven months after the ceremony, she gave birth to a son, Kenyon Clarence Sills.) Following the wedding and lengthy honeymoon, Doris took some time off from acting, but returned soon to star in several movies with her husband. In effect, they were the industry’s “power-couple” of the day, starring in movies and receiving constant media coverage.
In 1929, they passed the summer at Silver Lake, where Milton was recovering from illness. Doris spent several weeks at the camp, but she also did about a month of vaudeville performances before the two of them returned to making movies. And, upon special request, she served in August as a judge for the baby parade and pageant in Lake Placid’s summer carnival.
In 1929, Doris gave a concert performance in New York City, confirming that she still had a great singing voice. At the same time, unlike many other silent-film stars, she smoothly transitioned into the world of “talkies,” remaining one of Hollywood’s top stars.
In September 1930, tragedy struck Doris’ life. Shortly after playing tennis with his family, Milton Sills, 48, suddenly collapsed and died of a heart attack. Doris, just 33 at the time, was devastated by the loss, and buried herself in work to help ease the pain.
She had been recognized in the past for other skills—writing, poetry, and as a pianist—but it was singing that Doris really missed. Plans had already been made for a return to regular concert performances, and after the death of Sills, Doris went on a world tour. After many successful European shows, she returned to the United States with a renewed interest in her film career.
Through the 1930s, Doris remained a major movie star, appearing in at least fourteen more films. She was also quite busy on the marital front. First came Syracuse real estate broker Arthur Hopkins in 1933, a union that lasted only a few months (annulled). Next, Doris was married to Albert Lasker in 1938 for a year (divorced). Finally, she married Bronislav Mlynarski in 1947 (that one lasted twenty-four years, ending with Mlynarski’s death in 1971).
Through the WW II years, Doris again supported the troops by singing with the USO. In the 1950s, she acted in television shows, sang on the radio, and performed two roles in radio soap operas. From silent films to the advent of television, she had done it all.
It was an incredible career spanning the Metropolitan Opera, stage, screen, vaudeville, concerts, radio, poetry, television, and writing. She was a success at everything she tried (even marriage, in the end). One of Hollywood’s lasting stars, Doris Kenyon passed away from heart trouble in September 1979, just a few days shy of her 82nd birthday.
Top Photo: Poster from a Kenyon movie.
Middle Photo: Doris Kenyon in A Thief in Paradise.
Lawrence Gooley has authored eight books and several articles on the North Country’s past. He and his partner, Jill McKee, founded Bloated Toe Enterprises in 2004 and have recently begun to expand their services and publishing work. For information on book publishing, visit Bloated Toe Publishing.
Celebrating its 10th anniversary the Lake Placid Film Forum is showcasing women in the film industry, new directions in filmmaking and an environmental “green” focus in additional to its annual tribute to silent film.
Opening night on June 10th will be a bargain for families at $10 for two Buster Keaton movies and a foreign short “Salim Baba.” The Keaton films will show his career in reverse starting with the 1965 “Railrodder” with a Q&A with the film’s director Gerry Potterton then segue to the 1924 silent film “Sherlock Jr.”
Organist Jeff Barker will accompany “Sherlock Jr.” on the Palace Theatre’s 3/7 Robert-Morton Theatre Pipe Organ. The fully restored organ was originally installed in 1926 so only seems appropriate this 1926 gem will be in attendance to a 1924 classic. We have been fortunate to see the Palace Theatre’s classically restored organ put to use. We watched the organist with as much enthusiasm as the film. He played without the benefit of sheet music; he just watched the screen, playing the score. It was magnificent to see the impact the live instrumental had on the film and the audience.
Though the Lake Placid Film Forum has a range of ratings, families can find plenty of reason to attend this cultural treat. All families can be entertained on Sunday, June 12 with the “Summer of Walter Hacks.” An older teen audience will garner insight to hardcore skaters through this Appalachian skate park film, “Skatopia: 88 Acres of Anarchy”.
A last minute addition for children ages 11 to 14 is an on-camera acting workshop conducted by Kevin Craig West. Held at the Lake Placid Center for the Arts on June 12 from 9:00 a.m. – noon for a $40.00 fee. Interested parties should contact Lake Placid Film Forum Artistic Director Kathleen Carroll at 523-3456.
This year the Lake Placid Film Forum (July 10-13) will feature actor Parker Posey, well known independent film actor from numerous Christopher Guest films and other projects, as well as veteran actor Hal Holbrook. A range of filmmakers, producers and authors are scheduled through out the weekend for panel discussions and talk-backs.
In addition to the screenings, “Sleepless in Lake Placid” is back for the 4th year. This invitation only, 24-hour student film competition will pit students from RIT, Ithaca College, SUNY Purchase, Syracuse University and Burlington College against each other for the Robin Pell Emerging Filmmaker Award.
The film screenings will be taking place at a variety of Lake Placid venues. Film screening vouchers are $10 per show and available for purchase 45 minutes before show time. The scheduled “conversations” and panel discussions” are free and open to the public on a first come-first serve policy. Please call 518-523-3456 for more information.
photo used with permission from the Lake Placid Film Forum
The terms “North Country” and “world premiere” haven’t mingled very often, but May 8, 1953 was one notable exception. It all had to do with Fort Ti, but not the one we’re all familiar with. This was Fort Ti, the movie, and it was special for several reasons.
Since the earliest days of movie-making, film crews have used dozens of locations across the region, but this particular movie had a significant impact both locally and nationally. The fact that Ticonderoga hosted a world premiere is itself impressive. It carries added importance that the historic State Theatre hosted the event. Ticonderoga’s Union Opera House had been a center of culture in the village for more than two decades, but when it burned in 1916, it was replaced with a theatre, The Playhouse. Culturally, the town didn’t miss a beat, as The Playhouse hosted violinists, pianists, lecturers, movies, bands, vaudeville shows, magicians, and myriad other performers for the next twenty years.
In 1937, owner Alfred Barton leased the building to a company that owned 140 theaters in the northeast. An intense remodeling ensued, and the changes were dramatic: a new domed ceiling; new lighting; drapes and curtains added to the stage; new plush carpeting; air conditioning; a large marquee sign; capacity expanded to 800; and newly upholstered and roomy seating, staggered for easy viewing from any location.
A month later, the building reopened as the State Theatre, receiving glowing reviews from all, and calling to mind one word: magnificent. A variety of events were held there, but it was primarily a movie theater, and when the time came to select a site for the premiere of Fort Ti, the State Theater was the obvious choice.
This wasn’t just any movie. Though most modern reviewers still give it two stars out of four, Fort Ti was important for another reason. Television was a new and growing medium, and its effects were felt throughout the movie industry. People were staying home evenings to watch TV, and something new was needed to bring viewers back to the theaters. In the 1950s, 3-D movies were the solution.
Fox, MGM, Paramount, and Warner Brothers all rushed to produce movies in 3-D format. Columbia employed the Natural Vision System, the same technology used by a few of its competitors. Fort Ti was to be Columbia’s showcase offering, and movie attendees had to wear polarized glasses to enjoy the intended effect. One lens was red and the other blue, and in general, the idea was to merge two visual impressions into one. The result? Objects looked like they were jumping out from the screen, right at the viewer.
The launch at the State Theater was accompanied by a pageant portraying events surrounding the capture of Fort Ticonderoga by Ethan Allen on May 10, 1755. The premiere date of May 8 was chosen for its proximity to that anniversary. Media from the entertainment world were on hand, including representatives from magazines, newspaper, and radio. (What, no TV?)
After all the hype, it was time to watch the movie. Was all this 3-D stuff for real? Fort Ti producer Sam Katzman and director William Castle certainly thought so. In an unusual move, Columbia had employed Katzman for the project, a man who LIFE magazine called “the only independent producer whose films—though all despised by critics—have never lost money.” It didn’t matter much that he was often known as a “schlock” producer: for forty years, he made money for the studios, and that was what counted.
Since Katzman was the producer, what better choice could there have been than William Castle as director? Here was a man who made a career out of movie gimmickry, and 3-D certainly looked like a gimmick. As usual, Castle made it work to great effect. Reviewer Donald Kirkley said after watching Fort Ti, “Many times moviegoers were observed to duck as things seemed to come their way, breaking through the screen barrier.”
Others referred to it as “the throwingest picture yet,” a reference to the many objects sent flying towards viewers. How was it done so effectively? In his autobiography, Castle later revealed some of his secrets: “Every evening I took a large pot and practiced throwing things into it: knives, forks, spoons … anything I could lay my hands on. My wife thought I was crazy, but my aim was becoming perfect.”
Castle was clearly pleased with the results, adding, “I attended the preview of Fort Ti. The audience, with glasses perched on their noses, ducked constantly. Tomahawks, balls of fire, arrows, and cannonballs seemed to fly out of the screen. Smiling, I said to my wife, ‘I’m not a director—I’m a great pitcher.’ ”
The movie is only rated average, but “unrated” components conferred cult status on it. Though Ticonderoga is nearly on the East Coast, Fort Ti is generally categorized as a Western. Some movie historians include it on their lists of the most important Western films of all time, not for the story, but for the new 3-D format and the effect it had on viewers.
For the record, the film included many Hollywood embellishments, and dealt with a story of Rogers Rangers, Jeffrey Amherst, and several other players, with a romance built in, and plenty of fighting action (offering ample opportunities for throwing things at the audience). George Montgomery played the leading role as Captain Jed Horn, while young Joan Vohs (a former Rockette) played his love interest, Fortune Mallory. One other participant was Ben Astar, said to be one of Israel’s top actors, and fluent in twelve languages.
Was Fort Ti the best 3-D movie ever made? Hard to say. Was Fort Ti the best movie ever made in Ticonderoga? Not even close. But that’s a story for another day.
Photo Above: Fort Ti movie poster.
Photo Below: A sample dual-image clip used to create the 3-D effect in Fort Ti.
Lawrence Gooley has authored eight books and several articles on the North Country’s past. He and his partner, Jill McKee, founded Bloated Toe Enterprises in 2004 and have recently begun to expand their services and publishing work. For information on book publishing, visit Bloated Toe Publishing.
The Northern Forest Canoe Trail (NFCT) will bring its Northern Forest Paddlers Film Festival to Lake Placid on Friday, April 16 at the Lake Placid Center for the Arts. Doors open at 6:00 p.m. and screenings begin at 7:00 p.m.
Four documentary films and a clay-animated short will cover a range of themes on recreational canoeing and kayaking from exploring the Antarctic peninsula and Inside Passage, to finding record whitewater kayak waterfall runs and building a traditional birch bark canoe. The lineup of films:
– Selections from Terra Antarctica: Rediscovering the Seventh Continent (20 min) An up-close look at the iceberg and turquoise blue water landscape of the Antarctic Peninsula by sea kayak.
– Selections from Dream Result (30 min). A group of extreme whitewater kayakers explore wild rivers and monster waterfalls in Canada, Chile, and Scandinavia, and one dares the world record descent of 186-foot Palouse Falls in Washington.
– Earl’s Canoe (30 min). Follow Ojibwe Nation member Earl Nyholm as he builds an Ojibwe birch bark canoe on Madeleine Island, Wisconsin, using traditional tools and methods.
– Paddle to Seattle (50 min). This independent documentary chronicles the journey of two intrepid adventurers paddling handmade wooden Pygmy kayaks from Alaska to Seattle via the 1,300-mile Inside Passage.
– Kayaking is Not a Crime (7 min). A clay-animated short with a fun pro-kayaking message created by young New York filmmaker Ben Doran.
All proceeds from the festival will benefit NFCT programs and stewardship activities along the canoe and kayak waterway that begins in Old Forge and stretches for 740 miles to northern Maine. There will be paddling-related door prizes and a silent auction.
Tickets are $8 for students and $10 in advance or $12 at the door for adults. Tickets can be reserved by calling the Lake Placid Center for the Arts at .
The Champlain Valley Film Society will be celebrating its 100th film with a free showing of classic Katharine Hepburn/Humphrey Bogart film The African Queen. In 1952, this film won Humphrey Bogart his only Oscar though he had been nominated for Casablanca and The Caine Mutiny.
This movie is based on the classic novel by C.S. Forester of the same name. Set during World War I, disgruntled trader Charlie Allnutt and an English missionary Rose Sayer find themselves thrown together aboard the steamboat, The African Queen, in the heart of the African jungle. As in the book, the audience will find themselves immersed in suspense, military maneuvers, and narrow escapes.
One of the CVF Society’s Founding Member David Reuther, says, “The Society started with a group of four friends coming up with the same idea at the same time. We were not able to see the type of movies that we wanted to see.”
So in 2003, Larry Barns, Thurston Clarke, Bill James and David Reuther pooled resources to pull together a showing of Steven Spielberg’s Close Encounters of the Third Kind at the Willsboro School theatre. They attempted to show the films in summer and outside but really hit their mark in the winter of 2006. By showing critically acclaimed films indoors the crowds grew in size. With the support of a developing and enthusiastic audience the group was able to garner such films as the Oscar-winning Capote and the classic foreign thriller Z.
Reuther says, “This started because we felt there is something quite different about seeing a movie on a big screen and seeing it with an audience. It is like seeing a concert rather than listening to a CD or the radio. Movies are made for the big screen. We wanted to create that opportunity for people to have a conversation about film.”
The Champlain Valley film Society now has a working board of 15 people and a 30-member advisory board that helps select the films. The organization shows films year-round with an average audience of 100 people a show. With a diverse schedule so far the 2010 schedule includes Julie & Julia, District 9, (500) Days of Summer, the Hurt Locker, the Cove and An Education. The spring shows are still being arranged.
In addition to showing films the CVF Society looks for guest speakers to sometimes introduce the films. In 2008, author Russell Banks introduced the movie Affliction based on his book by the same name and writer/director Courtney Hunt was on hand to answer questions and introduce her Oscar nominated film, Frozen River. This January 16th retired chef John ferry will open up about his long-standing friendship with Julia Child as he presents the film Julie and Julia.
There is no membership available for the Champlain Valley Film Society. Each film is $5.00 for adults and $2.00 for children. Consider the free showing of The African Queen as an early gift!
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