Jivaro

The adventure began in 1952, when, as reported by Edwin Schallert in the Los Angeles Times, Pine-Thomas “have invaded the book mart” to purchase the rights to a new novel by David Duncan, entitled “Morro Treasure,” a story of the jungles of Colombia and the native Jivaro (pronounced “he-va-ro”) head-hunters.  Duncan was to create a screenplay from his own novel, with production to be made in 1952.  Schallert speculated the leads were likely to be John Payne and, with educated prescience, Rhonda Fleming.  By December 1952, the title had been changed to “Lost Treasure of the Amazon,” slated for production in 1953, and to be filmed “entirely abroad.”

By February 1953, the project literally took on a new dimension as Variety reported on the 26th, “Lost Treasure of the Amazon” as being Hollywood's first three-dimensional feature to be shot outside the U.S.  It's “skedded for lensing” in South America starting July 15.  “Pic replaces 'High Voltage' (dramatizing the electrification of atomic submarines) on the P-T roster and reported to be helmed by Lewis R. Foster, who is writing the screenplay.” No mention was made on why David Duncan was no longer involved.

For the role of Rio Galdez, enterprising skipper of a small launch and proprietor of what appears to be the only restaurant/bar in his stretch of the Amazon, Fernando Lamas was once again loaned out from M-G-M for the new film, “rolling May 18 in 3-D Technicolor.”  His bare-chested swagger and compelling screen presence having proved itself a chief asset in “Sangaree,”, Lamas once again brings his own brand of panache to the role, this time of a man who feels he will never escape a tragic past.

Variety suggested a possibility Lamas could be re-teamed with Arlene Dahl for “Lost Treasure.”  The location ambitions begin scaling back, as the report added, “Part of the Paramount release will be shot on location in South America.”  Note, “part.”  Well, even if the announced location work was never to be so extensive in the first place, the production team surely intended to invest their film with a genuine tropical feel.  As reported by Variety on April 9, 1953, production manager Howard Pine (son of Bill), and art director Earl Hedrick were to fly the following day to Tampa, Florida to scout locations, with plans to “hop to Brazil and Colombia for further site-scouting afterwards.” 

Aside from some hand-held insert shots which may have been taken “on location,” the closest the production got to the equator was the Silver Springs attraction in Florida, famous for its glass-bottom boats.  With a three-strip Technicolor camera and doubles for main cast members, various exotic establishing shots, inserts, and background plates were filmed without ever needing a passport.  Because this 2nd unit work was photographed from a distance, the lack of 3-D is not obtrusive.

Lamas' co-star was revealed by Hedda Hopper in her April 11th column with, “Rhonda Fleming steps right out of 'Those Sisters from Seattle' and into another Pine and Thomas picture, 'Lost Treasure of the Amazon.'”  In addition to “Redheads,” Miss Fleming would soon be seen in another 3-D feature, 20th Century-Fox's “Inferno,” as a flaming red-head femme fatale.  In “Jivaro,” her role as Alice Parker is considerably less cynical, as a perfectly coiffed and attired fish out of water, eager to visit her fiancé who has been greatly exaggerating his success in the wilds of the jungle.

Cast as Miss Fleming's fiancé Jerry Russell, whose success appears as real as his quest for a fabled lost treasure, and less attainable than his next bottle, was Richard Denning.  Another busy actor, Mr. Denning was best known at the time for his television series, “Mr. and Mrs. North.”

On April 17, the role of Tony, the prospector whose lust was not always for gold, was assigned to the sturdy Paramount contractee Brian Keith.  Son of familiar character actor, Robert Keith, it was around this time, the younger Keith was transitioning his professional name from Robert Keith Jr. to Brian. 

Adding to the roster of welcome familiar faces is Lon Chaney. The Master Character Creator had dropped “Jr.” from his credits with release of "The Wolf Man" in 1941.  Though only in one scene, Chaney makes quite an impact, figuratively and literally, as Pedro Martinez, a jovially unscrupulous merchant for whom retail is a contact sport and complaints are handled with bare knuckles. 

Not surprisingly it didn't take long for the gossip to begin, albeit with a sly wink, as Army Archerd reported in Variety, “(Lamas is) making music with Rhonda Fleming on “Lost Treasure of the Amazon.”  They discovered their voices harmonize...”  Even Hedda Hopper threw some fuel onto the fire with, “When Rhonda started “Lost Treasure of the Amazon,” she got a room full of posies. The biggest bunch came from Fernando Lamas.”  Later, Archerd would report, “Arlene Dahl visited 'Lost Treasure of the Amazon' set coincidentally when Fernando was doing his love scenes with Rhonda Fleming.” 

Lamas was a hot property for sure, but Miss Fleming took great stock in her fans.  She had a piece of fan mail framed and hanging in her dressing room which says, “I think you're the most beautiful actress in Hollywood.  I'd rather be kicked by you than be kissed by Marilyn Monroe.”

As production sailed on, the industry waters were becoming choppy in a way which would have repercussions upstream.  As quoted in the June 15, 1953 Film Bulletin, William Pine said, “Too many gripes are due to faulty projection of 3-D films, urging exhibitors to give special attention to proper booth procedure.”  A lot of critical comments, he felt, could be attributed to improper projection.  As for the future of 3-D, let the public decide, he said.  It must have been challenging to have consummate professionals such as Lindon and crew taking pains to produce the most effective and visually pleasing stereo cinematography only to have it thoroughly diminished at the exhibition stage.

In spite of such vexations. Pine-Thomas expected the 3-D “Sangaree” to quadruple the profits of any of their previous pictures, and enthusiasm for the current production was high.  Harrison Carroll's June 16 “Behind the Scenes” column paints a vivid picture of studio production at its most efficient and confident: “For 'Lost Treasure of the Amazon,' Paramount's tank set has been transformed into a small river trading post on the upper reaches of the Amazon.  Indians are unloading supplies from a weather-beaten launch tied up to a dock.  All around, the background is lushly tropical.  Rising from the water's edge are cypress trees. The folds in their trunks stand out like gray tendons.  Several huts and storage buildings line the banks.  They are thatched with straw.  Even the sides are covered with the same material.  They look like fat, untended palm trees with drooping and matted yellow skirts.  In the scene that Director Edward Ludwig is about to shoot, Rhonda Fleming watches from the bank while river trader Fernando Lamas, stripped to the waist works on the engine of the launch.  With her pale white skin and flaming red hair, Rhonda herself looks as exotic as a jungle orchid.  Fernando, in faded denims and with grease smudges all over his tanned and muscular arms, waves a greeting from the bowels of the launch.  He calls to me, 'I'm playing a South American and I'm dressed like a bum.  I feel like I was back home!'”

However, filming an action-adventure isn't always so postcard pretty.  Only a few days later, as Mr. Carroll describes, “Pine-Thomas had the scare of their lives about Fernando Lamas.  Running down a hill for a scene in “Lost Treasure of the Amazon,” Fernando looked back to fire a revolver and ran head on into a rock. Knocked himself cold.” Rita Moreno suffered a less severe sprained thumb during a fight scene, and an incident between Rhonda Fleming and director Ludwig created an awkward stir.  As described in the production report by 2nd Unit Director Clem Jones, “Had a half-hour’s delay but everything is okay now. Director and Rhonda Fleming had a tiff and Fleming’s make-up had to be repaired but all is serene now.” 

A behind the scenes publicity still hints to the nature of the tiff.  In the film, Miss Fleming is required to run through an intense studio-created tropic rainstorm, and her legs become muddy as expected.  However, in the photo below, the mud extends to her face, suggesting Ludwig had put her through more than she had bargained for, and which would have required the reported make-up repair, but not after the stills photographer secured the evidence.  The incident was followed up in the press describing Miss Fleming as “...almost in tears after words with director Eddie Ludwig” and “Rhonda Fleming hasn't spoken to director Edward Ludwig since he flared up at her on the “Lost Treasure of the Amazon” set,” so it may have taken more than a half-hour for that return to serenity.

By the fall of 1953, the film was completed and ready for unveiling, though it's doubtful any previews were shown in 3-D.  What is known is tweaking was still going on, as evidenced in this Inside Hollywood report from September 28, “Following sneak preview of 'Lost Treasure of the Amazon' at the Picwood Theater, Pine & Thomas has scissored from the film Fernando Lamas singing “This Night.”  According to Thomas, it wasn't that Lamas' larking didn't measure up, but that the song didn't fit.  'Treasure' is an action adventure film.”

Additionally, on October 27, it was decreed after numerous title changes throughout production, the film would be released in the states as “Jivaro,” with “Lost Treasure of the Amazon” retained for foreign release.

As previously mentioned, 3-D had been taking a hit due to unsatisfactory projection and for many in the industry, the format's days were numbered.  Anyone, including Pine-Thomas, would be following the exhibition trends with a watchful eye (or in this case, eyes), with consideration of the additional costs incurred from releasing in 3-D.  The situation was even more concerning when all the extra effort and expense becomes a liability rather than the “plus factor” Pine-Thomas originally intended. 

After what appeared to be a steady decline in interest throughout 1953, the Motion Picture Herald reported on November 28 that 3-D was far from dead, and was in fact poised for a resurgence in the near future with high profile titles such as M-G-M's “Kiss Me Kate,” Columbia's “Miss Sadie Thompson” starring Rita Hayworth and Jose Ferrer, and Paramount's own “Money From Home” with Martin and Lewis, and produced by Hal Wallis.  Wallis' “Cease Fire” was also mentioned, along with John Wayne in “Hondo,” and a host of others, including Alfred Hitchcock's “Dial M for Murder,” carrying the 3-D release schedule well into 1954.  “Jivaro” was also counted as part of the anticipated 3-D revival.