CINAMAGIC - April/May '15 by CinaMagic Magazine

inamagic

April-May

Tribute to:

Photographers:

Rich Sepcic, Faith McGary & David Bolduc

Leonard Nimoy

Our Feature Story:

Southern Warrior Sister Tribe

APRIL - MAY 2015 Photography: Richard Sepcic/Photo Stylist: Holly Qualman Photo Retouch: Salleh Sparrow Model: Jessica Lucido/Designer: Faith McGary Hair: Gregory Rodriguez/Make-UP: Damien Vasquez Stylist: Magan Ashleigh Brown/Location: Ikonik Studioâ&#x20AC;&#x2122;s

Photography and Designers; Richard Sepcic & Faith McGary-Sepcic Photo Stylist: Holly Qualman Retouched: Studio Tekstil Model: Alisa Matthews HMUA: Damien Vasquez & Ernesto Tepox Tapia Location: Ikonik Studio, Houston, TX

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Spring Love

Models: Anjelica Ridings and James Dunn Photo by: Beth Rose

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Photo by: Beth Roose

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Photo by: Beth Roose

cinamagic APRIL - MAY 2015

Hopping Down The

BunnyTrail

Model: Kelsey Elliott Photo by: Beth Roose

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Photo by: Beth Roose

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Photo by: Beth Roose

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Photo by: Beth Roose

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hite W Dress

Photo by: Beth Roose MUA: Beth Roose Designer: Faith McGary Models Tori Brazier, Kelsey Elliott, Reagan Thompson, Ginny Posey, Lauren Lee

cinamagic APRIL - MAY 2015

Photo by: Beth Roose

cinamagic APRIL - MAY 2015

Photo by: Beth Roose

cinamagic APRIL - MAY 2015

Photo by: Beth Roose

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Photo by: Beth Roose

cinamagic APRIL - MAY 2015

Photo by: Beth Roose

cinamagic APRIL - MAY 2015

April-May

2015

Cover Stories: Photographers: rich sepcic, faith McGary, p. 92-104 david bolduc, p. 168 southern warrior sister tribe

138 168

leonard nimoy

Photo by: Beth Roose

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Cars, Fashion & Beauty Photos by: Beth Roose Desginer: Faith Mcgary Models: Ginny Posey, Alisha Baldwin, Anjelica Ridings,Caia England, Crystal Butterfly, Kelsey Elliott and Tori Brazier

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April - May 2015

ARTICLES 138 Southern Warrior Sister Tribe 146 Horse Mania

174 28 HOLLYWOOD

SPOTLIGHTS

25 Kentucky Derby Top Movies

Photographers: 92 Rich Sepcic & Faith McGary

52 Classic Movies for Motherâ&#x20AC;&#x2122;s Day!

104 Rich Sepcic 112 D.G. Bolduc

54 Classic Movies 168 Hollywood

PARTY IDEAS/ RECIPES 260 Kentucky Derby Party Ideas 262 Recipes

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From the Editor’s Desk

“I think we need to do some deep soul searching about what’s important in our lives and renew our spirit and our spiritual thinking, whether it’s through faith-based religion or just through loving nature or helping your fellow man.”

-Louis Schwartzberg

“

ooks truly can be deceiving. Joy, love, energy, and vitality don’t end when your body gets old, but can continue until your last breath and beyond. Fame, fortune, and material things may look nice on the surface, but they don’t bring your heart and soul any lasting peace or happiness. This natural world we live in is both blessed and beautiful, but beyond it there is another world that is even more blessed and more beautiful. We are only here for a short time. Let’s not be deceived by appearances then. Look at things with your eyes, but feel them with your heart and see them with your soul. Take care of your body, but know that you are much more. Work in this world, but always live in the Kingdom of Heaven. Do all the good you can, share all the love you can, and choose all the joy you can in this life. But know that an even greater life full of God’s love and light awaits you.■

This natural world we live in is both blessed and beautiful. cinamagic APRIL - MAY 2015

inamagic President Beth Roose

Editor Fina Florez Graphic Designer Fina Florez Contributing Writers & Photographers: Beth Roose Richard Sepcic & Faith McGary-Sepcic D.G. Bolduc Photography Address: 22777 Franz Rd, Suite 4212 Katy, Texas 77449 We are accepting images for the June/July editions of CinaMagic Magazine.. Picnics, State Fairs, Carnivals, Hot Air Balloons, Classic Cars and Pin Ups. All images are due by June 4th 2015. You must provide images that are 8.5x11 and 300 DPI.. In addition, all model releases must be included in the submission folder you provide via dropbox or wet transfer. I look forward to reviewing your images for consideration in CinaMagic Magazine. Please send them to nationalpark4u@yahoo.com

cinamagic APRIL - MAY 2015

It is Kentucky Derby Time.... so in Honor of the Derby... top 10 horse movies

Spirit: Stallion of the Cimarron

The Silver Stallion: King of the Wild

Flicka

Black Beauty

Hidalgo

Seabiscuit

Secretariat

Dreamer

The Black Stallion

10 Phar Lap

cinamagic APRIL - MAY 2015

Derby Hats

Heads of Distinction

What sets the Kentucky Derby and Kentucky Oaks apart from other sports and entertainment events? Is it the world-class horses? The Hollywood stars? The romantic Twin Spires? Well, first and foremost, it’s the hats!! Part Southern tradition, part spectacle, the Kentucky Derby hat parade is much of what makes “The Greatest Two Minutes in Sports” one of the greatest people-watching events in the world! From the fantastic to the sublime, there are no rules or limits when it comes to choosing your Derby hat.■

Model: Crystal Ellis Photographer: Wendy Bertagnolli Vizion Photography Photo Editor: Beth Roose

cinamagic APRIL - MAY 2015

A pril showers

Photo by: Beth Roose MUA: Beth Roose Designer: Faith McGary Models: Tori Brazier, Kelsey Elliott, Reagan Thompson, Crystal Butterfly, Ginny Posey, Anjelica Ridings, Lauren Lee, La Toya Moses

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Photo by: Beth Roose

cinamagic APRIL - MAY 2015

Photo by: Beth Roose

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Photo by: Beth Roose

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Photo by: Beth Roose

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Photo by: Beth Roose

cinamagic APRIL - MAY 2015

Photo by: Beth Roose

cinamagic APRIL - MAY 2015

Photo by: Beth Roose

cinamagic APRIL - MAY 2015

Photo by: Beth Roose

cinamagic APRIL - MAY 2015

Photo by: Beth Roose

cinamagic APRIL - MAY 2015

Photo by: Beth Roose

cinamagic APRIL - MAY 2015

Photo by: Beth Roose

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Photo by: Beth Roose

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childhood

Fairies

Models: Ginny Posey, Reagan Stevenson and Tori Brazier Designer: Faith McGary Photo by: Beth Roose

cinamagic APRIL - MAY 2015

Photo by: Beth Roose

cinamagic APRIL - MAY 2015

Photo by: Beth Roose

cinamagic APRIL - MAY 2015

Photo by: Beth Roose

cinamagic APRIL - MAY 2015

Photo by: Beth Roose

cinamagic APRIL - MAY 2015

Photo by: Beth Roose

cinamagic APRIL - MAY 2015

Photo by: Beth Roose

cinamagic APRIL - MAY 2015

Photo by: Beth Roose

cinamagic APRIL - MAY 2015

Top

10 Mother’s Day Films

1.- Steel Magnolias As a tear-jerking chick flick that celebrates the relationships between a mother, daughter and friends in a small Southern town, this movie succeeded in portraying female characters, who, as its title suggests, are not only as delicate as magnolias but also as tough as steel, making you appreciate your mother and life. Definitely, it can be one of the perfect Mother’s Day movies to watch with your mommy. (By the way, for DVD owners who want to get these movies out of plastic discs and put to iPad, iPhone for watching on Mother’s Day conveniently, a DVD ripper software is must-have.)

2.-Terms of Endearment Terms of Endearment depicts a comedic yet weepy story between formidable mother (Shirley MacLaine) and daughter (Debra Winger). Nabbing five Oscars including Best Picture and Best Actress, this weepie will surely the way to go if you’d like to show your appreciation and love to your mom on Mother’s Day.

3.- Mamma Mia! If you want to a top notch Mother’s day with your mother, go to see this flick. Serving as a background for a wealth of ABBA songs, this story told us a bride-to-be trying to find her real father. So if your mom love ABBA and want to have a good laugh, why not watch this film for Mother’s day with your mom as the gift of relaxation.

4.- The blind side As an inspiring true story about a mom who forms a bond with a young homeless man bound for athletic stardom, The blind side will have you cheering with its mix of gridiron action and heartwarming emotion. So if you are going to give thanks to your mom’s unselfishness and greatness, I can say this is one of the best mother’s day movies to convey your appreciation.

5.- Stepmom Another tearjerker that stars Ed Harris, Julia Robert and Susan Sarandon. This movie revolves around a terminally-ill mother has to settle on the new woman in her ex-husband’s life, who will be their new stepmother. Well, don’t forget to prepare a box of facial tissue while enjoying the movie on Mother’s day with your mommy.

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Spend Mother’s Day cuddling up on the couch, enjoying one of the following 10 movies in your DVD player. 6.- Little Women Having been filmed several times, this American classic includes the highly acclaimed 1994 version with Winona Ryder, Susan Sarandon and Kirsten Dunst. I can say without reservation this is one of the most suitable movies for mother’s day to watch on the special day. And you’ll appreciate both your mom and your sisters after watching it.

7.- August Rush A fairy tale based drama in which a mother, father and their orphaned musical prodigy son search to find one another. This heart-warming film does a great job of establishing the connection between Evan and his mother. August Rush is a wonderful classic that everybody must see at least once in their lifetime. To me, this is one of my all time favorite movies on Mother’s day to watch with my Mom.

8.- Changeling Another story about a persistent and devotional mother (Angelina Jolie) who fights to find her missing 9-year old son. This film is a solid, interesting story with great performances that deserve to be seen with your mom on this Mother’s day.

9.- The Sound of Music Revolving around a woman leaves an Austrian convent to become a governess to the children of a Naval officer widower, this flick won a total of five Academy Awards including Best Picture and displaced Gone with the Wind as the highest-grossing film of all-time. So if you want to experience a fairly good family entertainment with lots of warmth and great musicianship, this movie is the one you cannot miss on Mother’s day.

10.- Dumbo This is a timelessly classic family film, with the gorgeous handcrafted animation that’s a hallmark of early Disney films. Dumbo’s mom is really protective and loving to her son and is an important part of why Dumbo is the way he is. Actually, watching this movie on Mother’s day can be something of meaningful as it gives your mom a couple topics like racism and cruelty to the elephants to discuss with older children.■

cinamagic APRIL - MAY 2015

Classic Movies

cinamagic APRIL - MAY 2015

he only movie match-up of screen legends Katharine Hepburn and Humphrey Bogart, The African Queen is a classic adventure movie and a grown-up love story, with a little bit of travelogue and a dollop of wartime propaganda. “A story of two old people going up and down an African river... Who’s going to be interested in that? You’ll be bankrupt.” So spoke British producer Alexander Korda to American producer Sam Spiegel upon learning that Spiegel wanted to film The African Queen. Korda wasn’t alone in his skepticism. The novel by C.S. Forester had been making the Hollywood rounds since its 1935 publication. Columbia originally bought it as a vehicle for Charles Laughton and his wife Elsa Lanchester. When that duo instead made The Beachcomber (1938), a similar story, the deal fell through. Warner Bros. then bought it for Bette Davis and David Niven, but that deal also unraveled before the property ultimately found its way to Spiegel. “It will give John [Huston] the kind of commercial hit he had when he made The Maltese Falcon [1941],” Spiegel boasted to The New Yorker before shooting even began. But Spiegel would turn out to be right: the roughly $1.3 million gamble turned out to be not only a critical success, earning four Oscar nominations, but a huge commercial hit, pulling in $4.3 million in its first release. The African Queen (1951) is set at the beginning of WWI. German troops set fire to an African village, resulting in the death of an English missionary. His straightlaced sister Rose (Katharine Hepburn), now alone, is taken aboard a riverboat, the African Queen, by its gin-soaked Canadian skipper, Charlie Allnut (Humphrey Bogart). Allnut would love to sit out the war just drinking and smoking, but Rose convinces him otherwise; newly invigorated and desiring revenge, she persuades him to take her downriver where they will try to destroy a German U-boat using homemade torpedoes. Along the way, the unlikely pair falls in love. The location shoot in the African Congo turned out to be one of the most difficult, most legendary, and most recounted in Hollywood history. To start, the company arrived in Africa without a finished script. James Agee had collaborated with Huston on the screenplay, but a heart attack kept Agee from flying to Africa for the shoot and from writing the film’s ending. Instead, Peter Viertel came in to help, and he later related his run-ins with Huston in his novel White Hunter, Black Heart, a thinly disguised expose of the making of The African Queen and its director who would rather hunt elephants than shoot film. (Clint Eastwood directed a film version of that book in 1990, playing the Huston character himself.) Hepburn’s entertaining 1987 book The Making of the African Queen also details Huston’s obsession with hunting. One day he even convinced Hepburn to join him, and he inadvertently led her into the middle of a herd of wild animals from which they were lucky to escape alive. Other location problems included sun, rain, snakes, scorpions, crocodiles, tsetse flies, hornets, huge biting black

ants, and constant humidity which created mildew everywhere. Further, the African Queen’s engine had problems, rope would get tangled in its propellers, sound from the generator would interfere with shots. One night the Queen sank, and it took three days to raise the boat and get it ready again. There also were no toilets except the outhouse back at camp. The food was OK but the dishes were washed in infected river water, and virtually everyone in the cast and crew got sick - except for Bogart and Huston, which they attributed to the fact that they basically lived on imported Scotch. Bogart later said, “All I ate was baked beans, canned asparagus and Scotch whiskey. Whenever a fly bit Huston or me, it dropped dead.” But in Hepburn’s memoir, the shoot nonetheless comes off as a grand adventure, led by John Huston, a man with a strong but odd personality. Hepburn was frustrated with Huston’s lack of interest in discussing the script - which Hepburn thought had major problems - before leaving for Africa. Finally he “ambled” up to her hut one morning and began to talk the script over with her. “We had long and amiable arguments,” wrote Hepburn. “Nothing much was done, really, and I seemed to be happy. I found that I could be quite honest with John about what I thought, and I also found that where I had good ideas he would take them. Where I was just worrying and confusing the issue, he would say, ‘Let it alone.’” As Hepburn found out from Bogart, Huston’s nickname was “the Monster” for the way he tended to treat people around him. He enjoyed seeing his actors suffer, it seemed. Simply deciding to shoot in the Congo was one way of torturing everybody. Another example was the scene in which Bogart finds his body entirely covered with leeches (This was actually shot in the studio in London). Bogart insisted on using rubber leeches. Huston refused, and brought a leech-breeder to the studio with a tank full of them. This made Bogart queasy and nervous - qualities Huston wanted for his close-ups. Ultimately, rubber leeches were placed on Bogart, and a close-up of a real leech was shot on the breeder’s chest. Hepburn observed these kinds of incidents, and later wrote of Huston, “I never did see him go to the outhouse. Maybe he never did. Wouldn’t surprise me a bit. Would explain a great deal.” Still, for all Huston’s oddities and the pranks that he and Bogart pulled on Hepburn (such as writing dirty words in soap on her mirror), she came to respect his talent deeply. One episode in particular won her over for good. The director had been dissatisfied with Hepburn’s performance, finding it too serious-minded. He came calling at her hut one day and suggested that she model her performance on Eleanor Roosevelt - to put on her “society smile” in the face of all adversity. Huston left the hut, and Hepburn sat for a moment before deciding, “that is the goddamnedest best piece of direction I have ever heard.” Hepburn, Bogart, Huston and Agee went on to earn Oscar® nominations, and Bogart won the Best Actor Academy Award® for the first and only time in his career.■ cinamagic APRIL - MAY 2015

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he imposing Victorian house on San Francisco’s Telegraph Hill, where Victoria Kowelska once thought she would find peace, is now up for sale. Victoria remembers how her story began, eleven years earlier in 1939, when the German army left her home near Warsaw, Poland in ruins: Her husband died in the siege, and Vicky became one of thousands herded into concentration camps. At the camp at Belsen, Germany, Vicky becomes friends with another Pole, Karin Dernakova, a sickly, frail woman, who shares her life story with Vicky. Karin doubts that she will ever again see her son Christopher, whom she smuggled out of Poland to the United States just before the war began. After Vicky protects Karin from another prisoner’s attempted theft, Karin invites her to San Francisco to live with her and Chris in the big house belonging to her aunt Sophie, a Polish noble who emigrated to the United States in 1904. Karin dies three days before the camp is liberated, however, and because Karin had not seen her aunt since she was a little girl, Vicky decides to impersonate her. At a displaced persons camp, Vicky sends a cable to Sophie, but receives a reply from Joseph C. Callahan, an attorney in New York, informing her that Sophie is dead. Although her hopes are diminished, Vicky perseveres, and in 1950 reaches New York on a United Nations refugee ship. At Callahan’s office, she meets Alan Spender, a relative of Aunt Sophie by marriage, who adopted Chris after her death, believing that Chris’s parents also had died. Callahan reveals that Sophie left her valuable estate to Chris, with Alan as guardian, and says he has doubts concerning Vicky’s claim to be Karin. When Vicky vows to fight, Alan, admiring her resolve, invites her to dinner and during the next two weeks, woos her. Feeling that her best chance for safety is to be married to an American, Vicky accepts Alan’s proposal and goes to San Francisco as his wife. Vicky soon suspects that something is wrong in the house, although she is comforted by the friendship of estate lawyer Marc Bennett, who recognizes Vicky as a refugee he questioned years earlier when he was in the army. While playing catch with Chris one day, Vicky discovers an abandoned, damaged playhouse. Vicky then searches for Margaret, Chris’s governess, to ask about the playhouse and, not finding her in her room, is examining a locked album when Margaret enters. Margaret states that Aunt Sophie gave her the album and calls Vicky an intruder. Vicky gives Margaret notice to leave, but when Alan returns home, he refuses to fire her. At the playhouse, Vicky discovers an

extremely dangerous hole in the floor leading to a steep drop to a street below. When Alan enters and chillingly questions her, she backs up in fear and falls through the hole, but he rescues her. Although he tries to comfort her, her suspicions about him increase. One day, as Vicky prepares to go out with Chris, Margaret stops them, saying that Chris has not cleaned his room. Vicky drives off by herself, and when she steps on the brake while on a steep hill, she discovers she cannot stop her car. Vicky barely manages to save herself, then calls Marc and tells him that Alan tried to kill her and Chris in order to get control of the estate. Marc doubts her, but promises to investigate, and after he confesses his love for her, she reveals her real identity. Having seen Belsen himself, Marc understands her attempt to seek a better life, but feels that her guilty conscience has led her to distort events into unwarranted suspicions about Alan. Later, while home alone, Vicky pries open the album in Margaret’s room and finds Aunt Sophie’s obituary, stating that her death occurred a few days after the date of the cable sent to her in 1945. Alan surprises her, and later that night, takes the phone off the hook in the library, then fixes a glass of orange juice for Vicky in the bedroom. When she starts to go to the library for a book, he goes instead, and upon returning, encourages her to drink the juice. When she says that earlier it tasted bitter, he pours himself a glass from the pitcher and drinks it, then says it tastes fine and she drinks hers. After Vicky accuses him of killing Aunt Sophie, in addition to trying to kill her and Chris, Alan reveals he has put a large dose of a sedative into her glass of juice. Aghast, Vicky informs Alan that he has drunk the contaminated juice himself, for when he left to get her book, she poured herself a different glass and poured the juice from the first glass back into the pitcher. Now sweating profusely, Alan tells Margaret that Vicky has poisoned him and asks her to call a doctor, explaining that the receiver in the library is off the hook. When Alan confesses to trying to kill Chris, but says he did it so they could be together again, Margaret, who loves the boy, informs him the line is dead. The police arrive and find Alan dead, and although Vicky tries to defend Margaret for not calling a doctor, the police take her away for questioning. Marc takes Vicky and Chris from the house to his mother’s home, but before leaving, Vicky stands in front of Aunt Sophie’s portrait. Marc asserts that Aunt Sophie would approve of her, and Vicky replies that all she can do is thank her for everything.■ cinamagic APRIL - MAY 2015

cinamagic APRIL - MAY 2015

n overlooked charmer of a comedy, 20th-Century-Fox’s It Happens Every Spring (1949) opens with a mock-sappy duet of the title song played over credits and a series of well-executed cartoony drawings of animals frolicking amorously in the springtime (boy sheep chases girl sheep, boy bunny chases girl bunny, etc.). The movie proper opens on a college campus accompanied by sprightly, silly music and a printed quote by Albert Einstein! This winking juxtaposition is a clear indication that the viewer is in for something different. For the record, the Einstein quote is as follows: “The results of scientific research very often force a change in the philosophical view of problems which extend far beyond the restricted domain of science itself.” The man conducting scientific research in this case is Prof. Vernon K. Simpson (Ray Milland), a chemistry professor at a Midwestern college. Serious and energetic, Simpson knows that he must finish his doctorate and earn more money so that he can marry Debbie Greenleaf (the beautiful Jean Peters), a senior at the school who also happens to be the daughter of the college president, Prof. Alfred Greenleaf (Ray Collins). Prof. Simpson is somewhat older than Debbie he has been delayed in his studies by war service and by a string of “bad luck” but he is on the verge of discovering an important new compound a “biophobic” that will keep insects away from wood. A contract with a biochemical company will be financially rewarding enough that he could ask for Debbie’s hand in marriage. The many months of his carefully crafted experiments are literally shattered, though, when a baseball slams through the window into his elaborate setup of beakers and Bunsen burners. A hodgepodge of mystery components collect in the lab sink, and when Simpson retrieves the soaked baseball, he discovers that it is repelled by wooden objects! He conducts a practical experiment on the school’s diamond with jock students Schmidt (Alan Hale, Jr.) and Isabell (Bill Murphy) and discovers that, indeed, a dab of the solution hidden in his glove turns him into an unhitable big league pitcher! Simpson takes a leave of absence, travels to the training camp of the St. Louis ball club and convinces team owner Edgar Stone (Ed Begley) and manager Jimmy Dolan (Ted de Corsia) that he can win the Pennant for them. Under the name “Kelly” Simpson becomes their star rookie, but Stone and Dolan assign catcher Monk Lanigan (Paul Douglas) to keep his eye on the new pitching phenomenon. It Happens Every Spring is a one-note trick film, to be sure, but the trick is a very good one, and the playing by the leads is winning and the situations feel genuine and are varied enough to maintain one’s interest throughout. Several convincing, human details also make for a believable show. For example, when rookie Simpson is put into his first real game, a wild pitch lets the opposing team score a run. His nervousness continues as he throws several balls before he finally finds the plate. The always-interesting Ray Milland plays the baseball-loving professor as an earnest, determined character rather than a cartoon or an absent-minded cliché. Told he is thought of as a “screwball” by the ball club’s front office, he insists that he is “quite the opposite everything I do is perfectly logical.”

The laughs then proceed in a similarly natural fashion; catcher Monk is obviously rooting for the rookie he has been assigned to room with, and he has many of the best lines as he affectionately looks out for the new pitcher against opposing teams and the press. Monk also has his own run-ins with the solution; told by Simpson that the stuff is hair tonic, Monk uses it on his head and watches his hair dance a jig on its own to avoid a wooden brush! The critic for Time magazine felt that the premise of the film was slight, although the movie ultimately worked for him: “Making baseball history is a cinch with the help of a moist pad concealed in the hollow of his pitcher’s mitt. Every time his wood-repellent ball comes steaming across the plate, it takes a neat little hop over the advancing bat. ...With remarkable skill, this single-cylinder fantasy has somehow been kept in motion by director Lloyd Bacon (Mother Is a Freshman, 1949) and writer Valentine Davies (Miracle on 34th Street, 1947), who apparently have a gift for making a fairly funny movie out of a downright silly idea. Even so, without the sly comedy sense of veteran Milland and the pug-faced antics of Paul Douglas, Every Spring could easily have struck out in the second reel.” Bosley Crowther in The New York Times likewise finds the setup for the film to be one-note in nature, writing that “like a pitcher who has but one fast ball or one curve in his pitching repertoire, It Happens Every Spring... has but one cute idea. ...Somehow or other, [screenwriter Valentine] Davies and the people at Twentieth Century-Fox, which produced this hopeful little picture, made a woeful mistake. They assumed that the ludicrous spectacle of a batter swinging wildly at a ball which trickily dodges his bludgeon is funny innumerable times. They also assumed that a dumb catcher who doesn’t comprehend the pitcher’s trick can keep on killing an audience just by acting dumb. As a matter of fact, if anybody could make such a catcher bearable, that somebody is Paul Douglas and, fortunately, he plays the role. Mr. Douglas, who will long be remembered as the lummox in A Letter to Three Wives [1949], is delightfully droll for a short while, playing dubious, baffled and dumb. But finally the very dullness and monotony of the script puts even him in a bad light.” Critics aside, It Happens Every Spring performed fairly well at the box-office. The Variety year-end wrap issue of January 4, 1950 published a list of the top-grossing films of 1949. Of the 92 films that promised to gross $1,500,000 or more in domestic (including Canadian) film rentals, It Happens Every Spring ranked at number 58, with an estimated gross of $1,800,000. (For comparison’s sake, the number 57 film on the list was White Heat, now one of the most highly regarded pictures from that year). A little over a decade after It Happens Every Spring was released, Walt Disney Productions got into the habit of turning out shrill fantasy comedies with a sports angle, such as The Absent-Minded Professor (1961 basketball), Son of Flubber (1963 - football), and The Love Bug (1968 auto racing), but the slapstick in these films was broad and characters like Fred MacMurray’s Prof. Brainard were gratingly absent-minded. Disney would have done better to try and emulate the more naturalistic charms of Prof. Simpson and his “baseball with a hop.”■ cinamagic APRIL - MAY 2015

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he fanciful writings of Jules Verne have been a wellspring of inspiration for filmmakers from the earliest days of the cinema (i.e., the always celebrated works of Georges Melies) up through the present. Adaptations can be found in every decade movies have been made, but during the 1950s boom in American science fiction movies, several works of Verne received the high-budget treatment from major studios. Some of these were highly touted events, such as Walt Disney’s opulent and expensive 20,000 Leagues Under the Sea (1954), and Mike Todd’s all-star, epic treatment of Around the World in 80 Days (1956). Bringing up the rear in the decade was 20th Century Fox’s Journey to the Center of the Earth (1959), a big-budget, family-friendly film with “something for everyone” and a generous helping of visual treats. As with the best adaptations of Verne, Journey to the Center of the Earth embraces the whimsy inherent in a period-style treatment and plays the situations with tongue slightly in cheek. The film opens in Edinburgh, Scotland, in 1880, where geology professor Oliver Lindenbrook (James Mason) is congratulated by peers and students for his recent knighthood. One of the professor’s prize pupils, Alec McKuen (Pat Boone) gives Lindenbrook an interesting piece of lava. When the professor examines the sample, he discovers that it contains an Icelandic rock, despite the fact that the lava is Mediterranean. When he tries to melt the lava, it explodes and reveals a plumbbob which contains an etched message from Swedish explorer Arne Saknussem, who years earlier had sought the center of the Earth and disappeared. Lindenbrook sends the inscription to Swedish geologist Goetaborg for the translation, but Goetaborg travels to Iceland with the information. Lindenbrook and Alec also head to Iceland, leaving Alec’s fiancée Jenny (Diane Baker) behind. In Iceland they find Goetaborg dead, but recover instructions for passage within a volcano crevice to the center of the Earth. Goetaborg’s widow Carla (Arlene Dahl) will give the explorers her husband’s supplies only if they take her along. Husky Icelandic jack-of-all-trades Hans Belker (Peter Ronson) is enlisted to help the team; Belker also brings Gertrude, his pet duck. The team descends deep into the Earth, initially not knowing that they are being tailed by the evil Count Saknussem (Thayer David), a descendant of the original explorer. Lindenbrook and his friends encounter a wild variety of danger and wonder in their quest, including flooding chambers of rock, a forest of giant mushrooms, a tumbling boulder chasing them through a narrow crevice, a spinning vortex of salt, enormous and angry prehistoric reptiles, a vast underground ocean, and much more, including nothing less than the lost city of Atlantis.

The producer and co-screenwriter of Journey to the Center of the Earth was the witty and talented Charles Brackett, best known for his long collaboration with writer-director Billy Wilder which resulted in such classics as Ninotchka (1939), Ball of Fire (1941), The Major and the Minor (1942), The Lost Weekend (1945), A Foreign Affair (1948), Sunset Blvd (1950), and many others. As a producer and sometimes writer for non-Wilder projects, Brackett had scored with releases like Niagara (1953), Titanic (1953), The Girl in the Red Velvet Swing (1955), and The King and I (1956). Although it does not have the Intermission-demanding epic length of Around the World in 80 Days, Journey to the Center of the Earth stills clocks in at a longish 132 minutes. Even so, it is full of unexpected twists, interesting visuals, and incidents that lend color to the characters. Pop crooner Pat Boone does an adequate job as the juvenile lead and manages a few harmless songs which do not seem out-of-place; his presence adds to the “something for everyone in the family” vibe of the picture. The always-interesting James Mason adds distinction and gravitas by his presence; perfectly believable as the enthusiastic scientist Lindenbrook, Mason’s performance also often adds to the film’s light touch. As the determined Captain Nemo in 20,000 Leagues Under the Sea, Mason was a no-nonsense, villainous instigator of mayhem in the cause of science (and revenge), but here he drives the plot in a different way, reacting to situations with an infectious sense of wonder and delight. Make no mistake; some of the situations encountered by the band of adventurers in Journey to the Center of the Earth are quite ridiculous. The prehistoric dimetrodons on view are merely iguanas with fins attached to their backs, enlarged by high-speed photography and rear-projection screens. This method of creating “dinosaurs” had appeared in Hal Roach’s One Million B.C. (1940), and that black-and-white footage was subsequently reused as stock footage by legions of low-budget filmmakers needing a quick view of prehistoric animals. Requiring color and scene-specific battle footage, the producers of Journey to the Center of the Earth at least improved greatly on the look of the earlier Roach lizards. There are several other perils and wonders encountered that defy logical science, such as the vortexes of salt and the convenient “luminous rocks,” which light the way for the underground journey just as the lamps our heroes are using die out. These situations never feel like lapses in logic, however, thanks to the sly, whimsical tone established early on. After all, any story in which a duck becomes one of the supporting characters is, by definition, lighthearted in tone. One of the highlights of the picture (and one of the reasons it does not feel repetitive during the many cinamagic APRIL - MAY 2015

scenes of characters climbing down treacherous pathways during their journey) is the evocative score by Bernard Herrmann. Celebrated for his music for the films of Orson Welles, Alfred Hitchcock, and the fantasy works of special effects maestro Ray Harryhausen, Herrmann wrote a superlative score for Journey to the Center of the Earth, and it remains one of his most underrated. Herrmann wrote in the liner notes of an album (The Fantasy Film World of Bernard Herrmann, Phase 4, 1974) containing a suite from the film, “I decided to evoke the mood and feeling of inner Earth by using only instruments played in low registers. Eliminating all strings, I utilized an orchestra of woodwinds and brass, with a large percussion section and many harps. But the truly unique feature of this score is the inclusion of five organs, one large Cathedral and four electronic. These organs were used in many adroit ways to suggest ascent and descent, as well as the mystery of Atlantis.” In his exhaustive genre survey Keep Watching the Skies! American Science Fiction Movies of the Fifties (McFarland, 1986), Bill Warren praises the film for the most part, writing, “Journey to the Center of the Earth is one of the best SF movies of the declining 1950s. It isn’t so much of its era as just in it. It’s the kind of film that could easily have been produced, even on this scale, if the 50s SF boom had never existed.” Warren notes some of the movie’s flaws as well: “...Its delights are best appreciated on one viewing. The overall buoyancy of the film deflates when it is watched again and again. There’s a certain plodding quality to the picture, perhaps inherent in the plot, and some elements seem overly farcical. The mismatch between the constructed sets and the few scenes actually shot underground in Carlsbad Caverns becomes apparent on repeated viewings.” Reviews at the time of release were mostly good, although a few critics, such as Bosley Crowther of the New York Times, panned it. Crowther wrote, “It’s really not very striking make-believe, when all is said and done...even those horrible giant

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lizards are grotesque without being good. Their only service is to frighten little children who should be the best customers for this foolish film.” The critic for Variety was confused by the tone, writing that it “...takes a tongue-in-cheek approach to the Jules Verne story, but there are times when it is difficult to determine whether the filmmakers are kidding or playing it straight... If one is willing to accept the film as one big spoof, it can turn out to be a fairly amusing entry.” Jack Harrison raved in the Hollywood Reporter, “Juveniles of all ages and all lands will be fascinated and thrilled, their elders and caretakers will be entertained and amused... Many of the titillations bear a sharp resemblance to those in the classic cliffhangers.” 20th Century Fox must have found Journey to the Center of the Earth to be a big success for them, because they went on to partner with producer Irwin Allen to turn out other science-fiction and fantasy films that mimicked its basic structure, such as The Lost World (1960, based on the book by Arthur Conan Doyle), Voyage to the Bottom of the Sea (1961) and Five Weeks in a Balloon (1962, based on another Verne novel). Irwin Allen never displayed much good taste or subtlety though, so these films are markedly inferior to the Charles Brackett-produced movie they are patterned after. Cast Producer: Charles Brackett Director: Henry Levin Screenplay: Walter Reisch, Charles Brackett (screenplay); Jules Verne (novel) Cinematography: Leo Tover Art Direction: Franz Bachelin, Herman A. Blumenthal, Lyle R. Wheeler Music: Bernard Herrmann Film Editing: Stuart Gilmore, Jack W. Holmes Cast: Pat Boone (Alexander ‘Alec’ McKuen), James Mason (Sir Oliver S. Lindenbrook), Arlene Dahl (Carla Göteborg), Diane Baker (Jenny Lindenbrook), Thayer David (Count Saknussem), Peter Ronson (Hans Belker), Robert Adler (Groom), Alan Napier (Dean) C-132m.■

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orth by Northwest (1959) is a suspenseful, classic Alfred Hitchcock caper thriller. The box-office hit film is one of the most entertaining movies ever made and one of Hitchcock’s most famous suspense/mystery stories in his entire career. One of the film’s posters advertised: “Only Cary Grant and Alfred Hitchcock ever gave you so much suspense in so many directions.” The film paired debonair Cary Grant with director Hitchcock for the fourth and last time: their earlier collaborations were in Suspicion (1941), Notorious (1946), and To Catch a Thief (1955). And Hitchcock also chose Oscar-winning Eva Marie Saint as the blonde heroine (to the studio’s and Grant’s surprise) - one of many such female characters in his film repertoire. The film’s themes include many plot devices and elements typical of Hitchcock films (especially The 39 Steps (1935) and Saboteur (1942)) - predominantly the themes of mistaken identity for the innocent, ordinary, ‘Wrong Man’ hero. Another of its themes is false pretenses and survival in 20th Century America during the Cold War. [The Leo G. Carroll character in the film - the head of the American Intelligence Agency, was possibly modeled after two 1950s real-life figures: Secretary of State John Foster Dulles and his brother Allen W. Dulles, head of the CIA.] Arthur Hiller’s Hitchcockian Silver Streak (1976) paid homage to this film, with a similar train ride, dangerous circumstances, pursuit by police, and a mysterious woman. The quick-paced, glamorous espionage thriller includes a tongue-in-cheek odyssey away from the city - a perilous adventure for a man who is normally sheltered by his wealth and prestige. A light-hearted and complacent hero/bystander (a successful Manhattan advertising executive in a corporate Brooks Brothers suit) is suddenly totally vulnerable, isolated, and caught up in an unexplainable series of events - after being accustomed to making up ‘the truth’ with slick ad copy for marketing purposes. After an abduction, he is victimized (mistaken for a government undercover Federal agent by a group of foreign spies), and then on-the-run as an implicated murder suspect (after being framed for a UN official’s murder). He is pursued (cross-country across part of the US) by a seeming conspiratorial group of spies, the police, and the FBI. The American is eventually forced to assume another man’s identity (George Kaplan, a non-existent US agent), while confronted with murder, mayhem, a world of spies and counterspies, a domineering and unbelieving mother, and an untrustworthy, mysterious blonde, femme fatale lover. His final salvation occurs on the Presidential faces carved on Mount Rushmore - the most modern American image of all. As with many of Hitchcock’s films, there were Academy Award nominations, but no Oscars. This film was nominated for three awards: Best Story and Screenplay (Ernest Lehman), Best Color Art Direction/Set Decora-

tion, and Best Film Editing (George Tomasini). [Some believe that the film’s premise was based on the famous 1956 international espionage case titled: “The Galindez Affair.”] The film also included a superb score by Bernard Herrmann. However, there were no nominations for Best Picture, Best Director, or Best Score, to name only a few. Although much of the film was made in the studio, Hitchcock chose three prominent locales for brief segments of the photogenic film [Other Hitchcock films have included such famous locales as The British Museum, Albert Hall, and The Statue of Liberty.]: • The United Nations Building (New York City) (a hidden camera filmed the hero’s entrance up the steps into the building, but the UN lobby was a recreation) • Grand Central Station (New York City) • Mount Rushmore (in South Dakota) (there are shots of the exterior of the park’s monument, but the actors crawled next to a reproduction of the Presidential faces) Exciting set-pieces include the seduction scenes with steamy double entendres during a cross-country train ride, the seven-minute bi-plane crop-duster attack scene near a Midwest cornfield, the auction scene, and the dangling finale at Mount Rushmore, heralded in another film poster: From the killer plane in the cornfield to the cliff-hanger on George Washington’s nose, it’s suspense in every direction! The director’s familiar MacGuffin in this film (the device or plot element that catches the viewer’s attention or drives the logic of the plot) is the secret information sought by the spies, and secondarily, the mistaken identity at the film’s start. Hitchcock’s classic is filmed mostly in brilliant sunlight (especially in the famous crop-dusting scene) in glorious Technicolor, unlike so many other thrillers or dark film noirs, and the film takes full advantage of the wide-screen VistaVision process. The title of the film is an anomaly and a clue to the absurd, confused plot in which no one is what he/she appears to be - there is no sharply delineated N by NW on a compass - it is an improbable direction. Apparently, it refers in part to the directionless, surrealistic search of the befuddled hero/common man around the country for a fictional character. [In Shakespeare’s tragedy Hamlet (Act II, Scene II), Hamlet is quoted as saying: “I am but mad north-north-west: when the wind is southerly, I know a hawk from a handsaw.”] The archetypal hero only finds a resolution to his disorientation and troubles by traveling from New York to Chicago by train and then flying north by Northwest (Airlines) to South Dakota and Mount Rushmore, a northwesterly trajectory. The allusion to traveling ‘North’ by Northwest (airlines) seems to be the most probable explanation for the film’s title. [At various stages of the script, the original working titles were Breathless, In a Northwesterly Direction, and The Man on Lincoln’s Nose.]■ cinamagic APRIL - MAY 2015

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merican moviegoers shifted their anxieties with relative ease from feared Axis attacks during WWII to the Cold War expectation of balls-out thermonuclear war with the Soviet Union. Financed by American International Pictures, Panic in Year Zero! (1962) came at the tail end of a vivid corpus of Truman/Eisenhower era fear films inspired by the detonation of the A-bomb and subsequent reports of its horrific radioactive consequences. Like the atom itself, this science fiction subgenre split into wildly divergent schools of thought. While one imagined atomic radiation breeding monsters of sufficient scale to smash our comparatively puny metropolis to crumbs think The Beast from 20,000 Fathoms (1953), Them! (1954), Tarantula (1955) the other eschewed a big canvas to etch portraits of regular folk sitting out Armageddon’s cool-down. Produced just a tick of the clock past Trinity, Arch Oboler’s Five (1951) stamped a template to which filmmakers would return for decades: a small group of strangers thrown by circumstance into a common cause to mourn the end of days and build a new tomorrow. Roger Corman’s Day the World Ended (1955, remade in 1967 as In the Year 2889) added a monster to Oboler’s mix but changed little else while his Last Woman on Earth (1960) winnowed the number of survivors to a crowded three. By the end of the 1950s, the major studios got in on the act with Stanley Kramer’s all star On the Beach and Ranald MacDougall’s arty but thoughtful The World, the Flesh and the Devil (both 1959) as atomic fear films refocused from big bugs to the plight of the little guy. Although they didn’t come much smaller than Jack Arnold’s The Incredible Shrinking Man (1957), in which the “monster” of the piece is an irradiated average Joe (Grant Williams) who reduces in size to a pinpoint to illustrate the individual’s diminished stature in the ever more depersonalized modern world, Panic in Year Zero’s Harry Baldwin (Ray Milland) is more illustrative of the typical pre-Road Warrior (1982) post-apocalyptic protagonist. Unpleasantly surprised by the appearance of a mushroom cloud over Los Angeles while on a fishing trip with his wife (The Asphalt Jungle’s [1950] Jean Hagen) and teenage son (a pre-Beach Party [1963] Frankie cinamagic APRIL - MAY 2015

Avalon) and daughter (Spider Baby’s [1968] Mary Mitchel), Harry is spared instant death but finds himself cruelly cut off from the things that make him a man of importance and influence. By 1962, Milland could no doubt relate to Harry’s feelings of isolation and helplessness. The Wales-born actor was by then thirty years out from his 1929 film debut and two decades past his Best Actor Oscar® for The Lost Weekend (1945). In his heyday a leading man of considerable charm but easy irritability, Milland suffered from baldness that would knock him back to second lead status by the 1950s. Deciding to become a film director and give himself roles the studios wouldn’t, Milland helmed five movies between 1955 and 1968, with Panic in Year Zero! likely being the only one that even most cinephiles can name-check. Harry’s intractability, misanthropy (“Idiots... fools...”) and resilience make the character a good fit for Milland, who knew all too well at this point in his career that when the going gets tough the tough get going. However titanic their stakes may have been, post-apocalypse scenarios were a boon for indie filmmakers, who could decamp to the desert with a handful of actors and a skeleton crew and let dread of the unknown (“man’s greatest demoralizer”) be the special effect. Exteriors for Panic in Year Zero! were filmed at Chatsworth, California’s Iverson Ranch. Located twenty miles northwest of most of the studios, the ranch was a popular location for feature films and serials from the silent era through the 1960s, its rolling hills and unusual rock formations forming the backdrop for such TV series as Gunsmoke, The Virginian and Bonanza. (Not long after its use in Panic in Year Zero!, the ranch was bisected by the Simi Valley Freeway and has since been subdivided for condominiums and gated communities.) Milland and director of photography Gilbert Warrenton (who had shot Paul Leni’s Expressionistic The Man Who Laughs in 1928) get good mileage out of their obviously limited budget, relying on simple opticals to communicate the destruction of Los Angeles and letting their actors carry the rest. In its depiction of a quasi-Biblical exodus fraught with peril, Panic in Year Zero! points ahead to such later doomsday scenarios as Cornel Wilde’s No Blade of Grass (1970), Wes Craven’s The Hills Have Eyes (1977, remade in 2006) and Danny Boyle’s 28 Days Later (2002), as well as to several novels by British writer J. G. Ballard, namely The Wind from Nowhere, The Drowned World and The Burning World. The relaxation of censorious standards in Hollywood allowed the film a particularly lurid advertising campaign, which foregrounded the specter of rape in Panic’s “orgy of looting and lust.”

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Working titles for Panic in Year Zero! included the terse Survival and the pessimistic The End of the World (under which the film was re-released in 1965). Although scenarists Jay Simms (whose The Creation of the Humanoids [1962] was an unlikely mix of post-nuke fantasy and Sirkian melodrama) and John Morton receive sole screenplay credit, the team borrowed heavily from two obscure but well-regarded short stories written by novelist Ward Moore. In Lot (1953) and Lot’s Daughter (1954), Moore repurposed the Biblical tale of Sodom and Gomorrah for the atomic age but the particulars were far from heavenly. Simms and Morton made use of Moore’s eye-opening first act, a snaking motorcade of automobiles fleeing a devastated City of Angels, but shied away from the author’s galloping cynicism and contention that family values would be thermonuclear war’s first casualty. While Panic in Year Zero! not only dilutes and denies Moore’s thesis, Simms and Morton’s script is not without interest. Harry Baldwin’s argument that the particulars of polite society (from maintaining personal hygiene to giving thanks to “the Almighty”) continue to matter even as he compromises these principals to protect his family makes for potent, thought-provoking drama even half a century after the fact. The addition of a gang of toughs spewing antiestablishment invective through a filter of beatnik rebop adds an unfortunate kitsch factor that has made Panic in Year Zero! something of a Psychotronic whipping boy (the jazzy Les Baxter score doesn’t help either) but the sincerity and seriousness of the filmmakers is clear. To his credit, Milland doesn’t soft pedal Harry Baldwin’s innate contradictions and failings, nor does he offer his sympathetic but conflicted characters an easy out. In Panic in Year Zero!, the fact that the world ends is only the beginning. Cast Producers: Arnold Houghland, Lou Rusoff Director: Ray Milland Screenplay: John Morton, Jay Simms; Ward Moore (stories “Lot and Lot’s Daughter”, uncredited) Cinematography: Gilbert Warrenton Music: Les Baxter Film Editing: William Austin Cast: Ray Milland (Harry Baldwin), Jean Hagen (Ann Baldwin), Frankie Avalon (Rick Baldwin), Mary Mitchel (Karen Baldwin), Joan Freeman (Marilyn Hayes), Richard Bakalyan (Carl), Rex Holman (Mickey), Richard Garland (Ed Johnson), Willis Bouchet (Dr. Powell Strong), Neil Nephew(Andy), O.Z. Whitehead (Hogan), Russ Bender (Harkness). BW-93m.■

he phenomenal success of the television series I Love Lucy had convinced MGM to star Lucille Ball and Desi Arnaz in a feature film, The Long, Long Trailer (1954). It was also a hit, one of the biggest of the year. Studio head Dore Schary then offered the couple a two-picture deal, with terms highly favorable to Arnaz and Ball. The first film would be shot at the Motion Picture Center, Desilu’s studios, which would increase their profit participation, and establish the company as a feature film producer. In addition, Arnaz would produce the film, which would be a joint production of MGM, Desilu, and the Ball-Arnaz company, Zanra. In exchange, MGM would receive big plugs in the forthcoming I Love Lucy episodes in which the Ricardos go to Hollywood. In the show, “Ricky Ricardo” would be signed to star in an MGM film. For the first film in the deal, Schary suggested a property the studio had bought in the 1940’s as a vehicle for Spencer Tracy and Katharine Hepburn -- about as far from Lucy and Ricky’s personas as MGM was from TV sitcom. Extensive revisions would be necessary. In Forever, Darling (1955), Arnaz plays a research scientist so involved in his work that he neglects his wife, Ball. Her guardian angel, who happens to look like her favorite movie star, intervenes to save the marriage. The

couple wanted Cary Grant to play the angel, but he was too expensive. The suave James Mason got the role, and played it elegantly. Two decades later, Mason would play a similar celestial creature in Warren Beatty’s Heaven Can Wait (1978). Lucille Ball was well known for her loyalty to old friends and colleagues, and she hired one of them to direct Forever, Darling. Alexander Hall was an old boyfriend and mentor of Lucy’s from her starlet days in the 1930’s. In fact, she’d dumped Hall when she met Arnaz, but they’d remained friends. Hall had not worked much recently, and was happy to get the job. But one Desilu executive recalled that “they hired Al Hall, but wouldn’t let him direct.” As they were used to doing, Ball and Arnaz ran the show, and brought in I Love Lucy writers Madelyn Pugh and Bob Carroll for some uncredited script doctoring. All their efforts, however, didn’t help the film. Officials at Radio City Music Hall called Forever, Darling “substandard,” and refused to premiere the film there. Instead, it opened at Loew’s State, where the newlywed couple had performed their first vaudeville act in 1941. Reviews were not good, and Forever, Darling was a disappointment at the box office, barely returning its production cost of $1.4 million. By mutual agreement, Ball, Arnaz and MGM cancelled the second picture in their deal. Plans for Desilu to move into feature film production were dropped as well, and the couple went back to doing what they did best, I Love Lucy. In spite of Forever, Darling’s failure, it left a lasting legacy to the Arnaz family - the tender title song, with music by Bronislau Kaper and lyrics by Sammy Cahn. It became a family tradition, sung by Desi at anniversaries and other events, a tradition that endured long after the marriage ended. When he sang it at daughter Lucie’s wedding to actor Laurence Luckinbill, his ex-wife wept, and they hugged and kissed after the song. Cast Director: Alexander Hall Producer: Desi Arnaz Screenplay: Helen Deutsch Editor: Dann Cahn, Bud Molin Cinematography: Harold Lipstein Costume Design: Eloise Jensson Art Direction: Ralph Berger, Albert M. Pyke Music: Bronislau Kaper Principal Cast: Lucille Ball (Susan Vega), Desi Arnaz (Lorenzo Xavier Vega), James Mason (Guardian Angel), Louis Calhern (Charles Y. Bewell), John Emery (Dr. Winter), John Hoyt (Bill Finlay), Natalie Schafer (Millie Opdyke). C-91m. Letterboxed. Closed captioning.■ cinamagic APRIL - MAY 2015

spring

Butterflies

Models: Crystal Ellis, Ginny Posey, Kelsey Elliott Designer: Faith McGary Photo by: Beth Roose

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C ircus Models: Crystal Butterfly, James Dunn, Kelsey Elliott, Lauren Lee,Reagan Stevenson, Tori Brazier Designer: Faith McGary MUA: Beth Roose Photo by: Beth Roose

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C arnival

Models: Lina Brazie Tori Brazier and Kelsey Elliott and Ginny Posey, Nora Kate and Anna Beth Sumner Photo by: Beth Roose

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Photographer

PHOTOGRAPHER SPOTLIGHT: Richard Sepcic & Faith McGary-Sepcic

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Room

fashion meets rescue

Photography and Designers: Richard Sepcic & Faith McGary-Sepcic Retouched: Methyss Design Model: Magan Ashleigh Brown Location: Katy, Texas Rice Dryers

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Photography and Designers: Richard Sepcic & Faith McGary-Sepcic Photo Stylist: Holly Qualman Retouched: Methyss Design Model: Asia Brown HMUA: Damien Vasquez & Ernesto Tepox Tapia Location: Ikonik Studio, Houston, TX

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Photography and Designers: Richard Sepcic & Faith McGary-Sepcic Retouched: Methyss Design Model: Holly Savage HMUA: Amburlee Price Location: The Houston Studio

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Photography and Designers: Richard Sepcic & Faith McGary-Sepcic Retouched: Methyss Design Model: Magan Ashleigh Brown Location: Katy, Texas Rice Dryers

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Photography and Designers: Richard Sepcic & Faith McGary-Sepcic Photo Stylist: Holly Qualman Retouched: Methyss Design Model: Deanna Naveson HMUA: Damien Vasquez & Ernesto Tepox Tapia Location: Ikonik Studio, Houston, TX

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Photography and Designers: Richard Sepcic & Faith McGary-Sepcic Retouched: Methyss Design Model: Holly Savage HMUA: Amburlee Price Location: The Houston Studio

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Photographer: Richard E. Sepcic Photo Stylist: Faith McGary-Sepcic Photo Retocher: ST Retouch Fashion Stylist: Feyi Omodele HMUA: Amburlee Price Models: Holly Savage, Texas Inked, Collin Nelson, Neal Hamil Agency, Chase Patton, Neal Hamil Agency, Trey Lenzo

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esigning clothing is not about one person, rather about a group of individuals who become the “Village” to move mountains to help the Abandoned, Abused, and Surrendered animals that reside in Animal Rescues around the Globe. Designing garments has become an educational process for other emerging designers… the designs represents community based Philanthropic endeavors. The gowns shown in

this editorial are designed, and made with the intent to be featured at events that raise the needed support for Rescues. Other gowns are sent to Rescues directly for online auctions that are held at most rescues. Couture Poetry is the Brand Name for Faith’s designs. They support animal rescues that are IRS 501 (3) C Organization’s. This year Couture Poetry will reach out on a Global Level.■

We support: Lone Star Bulldog Club Rescue: www.DFWBulldogRescue.org The Great Dane Rescue of Southeast Texas: www.saveadane.org The Afghan Hound Rescue of Greater Houston: www.houstonafghanhound.net/ St Tiggywinkles Wildlife Hospital: http://www.sttiggywinkles.org.uk/

PHOTOGRAPHER SPOTLIGHT: Richard Sepcic

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Thaw

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Photographer: D.G. Bolduc Photography Hair/MUA: Gabriella Bolduc/D.G. BolducPhotography Models: Colten Menninger, Dalton Menninger, Carter Walston, Jaxon fowler, Dominic meadows, Sidney Vaughn, Jesse L. Green as Captain Hook

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PHOTOGRAPHER SPOTLIGHT: D.G. Bolduc

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LostBoys

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