American Cinematographer - June 1995 - 105

filmed on this set. A man carrying an unlighted
torch is lowered head down from the darkness into the
well. With the torch lighted, he is lifted back to a level
with the braziers at the feet of the colossi. He swings
was

light each of the braziers, thus revealing the cruel
open to admit scores
of soldiers, priests, musicians, dancers and dignitar¬
ies. The weird, angular dances were created by mod¬
ernist ballet master Benjamin Zemach. Later, Leo and
Holly rescue Tanya and hurl the high priest (Julius
Adler) into the well. In a spectacular fight, they kill
to

stone faces far above. The doors

several of the soldiers and set the stairs aflame before

they get

away.
A hair-raising sequence

in a cave follows as
across a chasm onto a delicately
balanced rock. Full-scale action, miniatures and glass
the

fugitives leap

paintings were combined to create the setting. As their
pursuers leap to the rock, Leo and Holly send a halfdozen of them falling to their doom, finally shoving
the rock itself into the gorge. The stuntmen actually
dropped into a net, and animated figures took over to
lengthen their falls out of the frame.
The climactic

scenes

of She's immolation

oc¬

in a weird, cubistic cave room where the geyser of
flame emerges periodically. The dissolution of the
cur

June 1995

accomplished smoothly with progressive
makeup effects by Carl Axcelle revealed gradually in
a series of
optical dissolves by Lin Dunn. The spiral¬
ing flame is animated into the action.
Principal photography was completed early
in May. Scoring, opticals and other postproduction
work was then undertaken and, as always, was done
"under the gun" for a summer release.
queen was

Max Steiner, musical director at the studio,
called

Cooper "a great friend of music." It was Coo¬
who insisted upon extensive scoring on the big
pictures at RKO beginning early in 1932, a time when
most studios had long concluded that pictures no
longer needed musical accompaniment now that they
had learned to talk. Typical pictures at that time had
only main and end title music plus whatever inciden¬
tal music was depicted on camera. To do otherwise
was
regarded by many as being hopelessly old-fash¬
ioned. Steiner, a product of the Viennese operetta tra¬
dition, had composed elaborately descriptive orches¬
tral scores for such pictures as The Most Dangerous
Game, the Kong pictures, Bird of Paradise, Symphony of
Six Million, The Lost Patrol, and The Informer (which
won him the first
Academy Award for musical scor¬

At the

Ceremony of the
Flame. Gustav
von

Seyffertitz

and Helen
Mack stand in
the

The

foreground.
guard at

left is future

action star

Ray

Corrigan.

per

ing). For She he wrote the music he considered to be

American

Cinematographer

107



American Cinematographer - June 1995

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