USA > Massachusetts > Norfolk County > Dedham > Dedham tercentenary 1636-1936 > Part 8
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Our sewing circle labored almost exclusively with the first period covering the Puritan Epoch, represented in Acts One and Two only of the scenario. The heavier military costumes of the Revolutionary Period, the quaint styles of early Nineteenth Century, and again the military coats of the Civil War were rented. We pause to thank Wolff Fording, Marie Krebs, and the Hayden Co., for their unfailing courtesy. When it came to the Lafayette scene (1824), the visit of Lincoln (1848), the Civil War Period and the "Gay Nineties," citizens were invited to provide their own cos- tumes -- which they did-largely from their own attics. This generous co-operation added brilliance to the scenes, and at great saving to the town.
Next came the problem of photography. It was decided to use color film at least for the "master picture" and to make a second film, possibly in black and white, for preservation. The black and white film was quickly abandoned, for it was evident that the master film in color was the one to be kept in perpetuity, after its showing as part of the celebration. Any other film for current use in our schools or elsewhere as the town might direct should be in color, also.
When it came to cameras and operators, there was yet another problem to face. The appropriation granted by the Town could not possibly cover the cost of cameras and projectors, not to mention photographers and other experts. It was obvious that the town expected our work to be strictly on the amateur basis-and volunteer!
An invitation was extended to all amateur photographers in Dedham to meet in the Historical Society Rooms and bring motion pictures of their own taking. Only two came. It was evident that the director would have to rely upon his own equipment. Dr. Joseph T. Finn was made Chairman of the Camera Squad, and a set of regulations was drawn to provide for any emergency. This being a town project, there was every reason to invite all citizens who so desired to take pictures for their own private use. The opportunity was unusual to say the least, with the town providing the actors, cos- tumes, stage and all arrangements. Our rules were to the effect that any member of the Tercentenary Camera Club might take pictures at any time.
Dr. and Mrs. Joseph T. Finn were the true sportsmen of the camera squad. Mrs. Finn qualified as an expert in the use of her cameras -- both for still and motion pictures. Her keen sense of proportion, wide experience, careful handling have enabled her to build up a private library of Tercentenary pictures which will be greatly treasured. Dr. Finn was with us often both as actor and camera man. The town cannot fail to ap- preciate their interest and helpfulness. Mrs. Finn was active also on the sewing com- mittee and was made a member of the Tercentenary Film Committee.
The first scene was filmed on Saturday, February 8, 1936, in the Church Woodlot, back of the Old Pound on High Street near the Westwood line. There was deep snow,
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a brilliant sun, and a good breeze. The camera had just returned from a factory over- hauling and its oil grew stiff. The delayed motion of the camera causes the picture on the screen to move with correspondingly greater speed. We were picturing the first settlers on a winter's day cutting timber. Their actions in the sharp air were brisk to begin with. On the screen they are more than sprightly, adding a humorous touch, not altogether foreign to the times.
Soon a major difficulty arose. How could we take interior scenes with color film. The Eastman Kodak Co., through their New England agent, Mr. A. H. Dockray of Dedham, advised us to build an out-of-door stage, and take all our interiors by sun- light. The Kodachrome film then in use required a filter for artificial light, and when we came to estimate the amount of current necessary to illuminate even a small stage, the results were staggering. The out-side stage was the only answer.
A platform 24 ft. square was quickly built by Mr. George C. Willard, and the stagecrafters were soon at work. The first scene was to be the interior of John Dwight's house in Watertown. Measurements were made of the old Fairbanks House in Dedham, and of other houses near that date, and the simple lines of our first scenes established. The fireplace would have a nine foot mantle. It should be over four feet high and almost that deep; and fireproof. Mr. Hugo E. Peterson built an iron frame and covered it with pressed steel to represent brick. This with a touch of water color paint made a realistic fireplace.
The walls of the room were not so easy to fabricate. We were using large panels of wall board four by twelve feet, and must paint them to represent pine boards. All hands turned to, and soon a pattern was established with graining and knots closely re- sembling the pine interiors of early days. A group of young artists from the School of Practical Art in Boston came out and worked for long hours in the scorching sun to finish these side walls in time for our scheduled picture. Mrs. Philip Sherwood proved to be a master at graining old pine, and Mrs. Isabella Halsted lent her skill and energy to the task for many hours.
Mr. Matthew McGrath came in opportunely as carpenter, actor, and general helper. In all roles he displayed a willingness and ability which we were sorry to lose, as he was called to other duties. The stage was up when the actors assembled for the first scene. The wind was a bit strong, the huge panels of light material swayed and bellied like the sails of a yacht. In the middle of the act one panel blew in. The actors turned and caught it as it fell. No heads were broken. Pity we could not get a picture of that action!
Before the next scene the stage was strengthened, and all went well for many days. Sir Harry Vane acted here, and most of the Comfort Starr scenes went on in the shelter of these same pine walls and beneath a sweltering sun.
Just as we were gaining full command of our sunlight stage, Mr. Dockray sent us a note announcing a new film which would soon be on the market. Kodachrome Type A, especially adapted for artificial light. He did not recommend its use until it had been tried. We went to Mr. Charles Cline, our Dedham Representative of the Edison Co., and told him our story. He answered that the Company would provide special installation in any house we might name. Engineers came out and wired the Fairbanks House for a trial. It was encouraging. The next installation was made at the old Metcalf House in Medfield, built in 1680 and now owned by Mrs. Gideon S. Holmes. The cast assembled on May 16th, another warm day, and the scene of the "petition" was made. The camera was placed outside the house and pointed through the window. The interior was illuminated by twenty-five ordinary photo flood lights and one giant of the species drawing 1000 watts. Our characters moved in a blaze of light which tortured their eyes, and beaded their brows with perspiration. This was our first real test of the new film, and we could have no assurance that our lighting was correct. The films came out so much better than we had dared to hope that we gave up our daylight stage, moved our hand-painted pine walls into the Parish House and made steady use of the huge black three-wire cable which the Edison Co. had lent to
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us. Mr. Howard C. Spiers was engaged as electrician, and we had to keep him on call to replace blown fuses-and pull us out of occasional difficulties.
Our electrical outfit greatly extended the range of reflectors, the vermicelli of connecting wires were carted successively from Medfield to the Parish House, to the Cobb House at 18 Norfolk Street where the scene of the Dedham Institution for Savings was taken, to the Grand Ball Room of the Austin House for the Gay Nineties Party, to the Old Fairbanks House for the wedding of 1644-(which may have been in that very room), to the First Church for the Civil War scene, to Memorial Hall and back to the Parish House for many more interiors.
When the last interior had been finished, the hand-painted pine was taken again to the scene of its first use, but this time for an exterior view. The platform of the original sunlight stage was taken down and its nail-studded planks built into a high framework to support "the First Free Public School in America." The panels which had served for so many interiors now became the outer walls of the quaint little house which has puzzled so many craftsmen during these later years.
As the world comes to recognize more fully the importance of that vote which stands on our town records under date of 1644, it takes keener interest in that other record under the date of 11 mo. 15-'48, whereby the first schoolhouse was authorized. Just how shall we reconstruct that house for our pictures. Many years ago an artist drew a picture which has been modified from time to time; but any craftsman or artist might be forgiven if he fail to give an accurate drawing of that which is described in the quaintly ambiguous wording of the original vote.
"A school house to be built as followeth: together with a watch house the length of 18 foote being 14 foote beside the chimney, the widenes 15 foote; the studd 9 foote betwixt Joynts. one floor of Joyce; 2 convenient windows in the lower roome and one in the chamber. the plancher layed. the floor planked, the stayers made. the sides boarded. featheredged and rabbited. the doors made and hanged.
"the watch house to be a leanto set at the back of the chimney sixe foot wide. the length thereof 2 foote & one half mor then the house is wide. so placed that the end therof may extend past the corner of the house so that the watch may have an aspect 4 severall wayes, & open windowes therein suit- able to a watch house & covered with board. up to those windowes & upon the roofe, & a mandle tree hewn and fitted for the chimney." (Vol. 3, Page 157 of the printed records. )
Having puzzled for at least six months over these problems of design we built the little house as nearly as we could to the specifications, and assembled the cast of puritans for the last scening of the entire program, Thursday, August 20.
No one has done more to give us a correct view of the first schoolhouse than Mr. Charles E. Mills, who has done three notable paintings representing both the first meeting-house and the school. Mr. Mills combines historical veracity and artistic sense, with the result that in years to come artists and historians alike will be indebted to him.
Two other artists of ability lent their talents to the stage scenery. Manley Butler not only helped paint the backgrounds but favored us with an oil painting to represent the British Coat of Arms as it appears on the front of Sir Harry Vane's desk. The design was provided by Dr. Harold Bowditch, who lent us a rare and valuable book on heraldry from his own library.
Mrs. Eleanor Baker Bates returned from New York just as we were working out the large design for the titleboard. It was to be in patriotic colors resembling the United States shield, and in the final scene to have seven little girls dressed in red to represent the red stripes of the flag. Mrs. Bates spent long hours in research and study of design forms. The beautiful execution of the Town Seal which opens our picture is her work.
The seven candle bearers were recruited by Mrs. Theodore T. Braaten, who was
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particular to select one from each school in Dedham. Mrs. Braaton also designed their costumes, giving a touch of Elizabethan dignity and elegance.
Before we had traveled far the need for systematic records became imperative. Each scene presented new characters, and it was a full-time job to secure the necessary data in regard to each one. Then too, it became increasingly important to assemble particular casts, and make sure that on one was overlooked. Two efficient helpers came into the scene at about the same time and brought sunshine every time they opened the door: Marion Hebblethwaite and Mary Kennedy. Miss Kennedy was given the office work, which covered the exacting task of listing all characters and properties in each scene throughout the entire picture. She also kept a running account of all proceedings, made a scrap book of news items about the work, looked after correspondence and made out the list of names for the certificates given by the Committee to each person who had contributed in any way to the production of the film. The cheerfulness with which she carried out even the most exacting orders was equalled only by her accuracy and thoroughness.
Miss Hebblethwaite and Miss Kennedy actually built the cast for the last half of the film.
Among the volunteers Mr. E. Theodore Hedlund came first upon the scene, and has remained to the last. He has devoted more hours to the work than any town ought to accept without compensation. He proved most valuable in making contacts with out- side interest, building stage scenery, gathering properties, making up Indians, and run- ning a camera. When the last picture was taken he turned at once to the task of publi- city and ticket distribution for the final performance.
Dramatic action was by no means the easiest of problems. There was no time for long rehearsals, and no means of recruiting a cast of experienced actors. No money to hire a coach, and, as many observed at the time, nothing in hand to begin upon. All of which turned out to be rather to our advantage, for it meant that we should invite citizens of Dedham from all sources to take part. We accepted all who volunteered, and then sent messengers to invite additional actors.
When it came to coaching, there were certain fundamentals which had to be kept in mind; chiefly that we were re-living the history of the town, and must therefore keep the action natural and spontaneous. Our clue was to tell the actors the story which they were to represent, ask them to go through it once-or possibly twice- using their own words, or any that came to their mind, but making all action direct and natural. The director must preserve the same feeling of spontaneity, and never allow his doubts and disappointments to poison the scene. The characters entered so heartily into the spirit of the occasion that we have in the finished film a remarkably fresh, vital and happy record-as if the citizens of Dedham had spent 300 years in the valleys of joy and contentment. Our difficulties came on those rare occasions when the action should express grief or pain, as in the scene where the messenger brings news of an Indian massacre or where Ralph Wheelock the schoolmaster is flogging a boy. The boy would not cry.
The first call for actors carried the announcement that only two points of prefer- ence would be observed;
(a) lineal descendants of the characters to be represented and
(b). those who occupy official positions in Dedham today.
The response was all that could be desired. Keen interest was taken in the search for lineal descendants, and there seems to have been no jealousy aroused among the large number who from the beginning to the end have marched across our stage.
The spirit of the cast has been remarkable throughout. Many citizens have sacri- ficed personal and family interests to answer the call of the director. Some came long distances, others cancelled important engagements, or gave up much needed vacations. It seemed a crime, often, to ask these people for so much, yet without their immediate and above all, cheerful response there could have been no picture.
When it came to properties the words of George Francis Dow came frequently to
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mind. Much blood was shed. How could we assemble oxen, millstones, canoes, tools, household furniture-and endless variety of objects, yet each to appear in its proper setting.
Friends came immediately to our rescue. The Dedham Historical Society gave us full and constant access to its library, and lent some of its most valuable possessions, the old Metcalf Chair, the Lynch spinning wheel, powder horns, whatever we asked, but always the property to be accompanied by Mr. Charles Stearns, curator.
Mrs. Gideon S. Holmes not only opened her house, (The old Metcalf House built in 1680) in Medfield, but lent us a store of antiques which Hollywood might bargain heavily to secure. Mr. Ernest Daniels opened his tool shed and produced old planes, augers, saws and hammers exactly appropriate to the school house scene of 1649. He also produced an Indian Peace Pipe made of stone, and with the date 1636 scratched on one side. The pipe has been handed down from generation to generation beyond the present knowledge of man. It is used in the King Philip scene.
Mr. Robert M. Bailey, Jr., lent his pine table for various scenes and kindly offered the use of any other antiques in his possession. Priceless treasures from the Old Fair- banks House, from the Austin House, and many homes, were placed at our disposal.
The birch bark canoes which add rare distinction to the early scenes were lent by Mr. John F. Veader of the New England Canoe Racing Association on condition only that we have Mr. Al Breed put them in good repair, and insure them for $100.00 each. Mr. John Lent of the Dedham Canoe Club gave them storage, and we had their use for six weeks. The Samoset Club lent a trailer, and thus our canoe problem was solved. The canoes were built nearly a hundred years ago, and on exactly the pattern of the early Indian specimens.
The ox team was equally difficult. Mr. Hedlund made contacts all over eastern Massachusetts and found ox teams scarcer than Indian canoes. Finally he discovered the team so often driven through the streets of Boston for the Raymond Co. They are owned by Mr. C. L. Dorr, and were out to pasture on his estate in Framingham. Mr. Dorr readily granted the privilege of picturing the patient beasts, and on May 16th our cast of characters in a small fleet of cars found their way to the pasture and there acted out the scene of "building the first meeting house."
Perhaps the largest single loan of properties came from the City of Salem. It appears that in 1930 when the Bay Colony was celebrating its three hundredth anniver- sary, Salem decided to build a pioneer village as part of the general program. Mr. Christian Lantz, chairman of the Salem Park Commission, and Mr. George Francis Dow, were the chief promoters of the enterprise. They had the rare good judgment (from our point of view) to send architects to Dedham to measure the Old Fairbanks House, and study the records of our early history. As a result, the Pioneer Village turned out to be a close replica of the first Dedham Village. The "Governor's Great House" is of the exact size and pattern of the original central portion of the Old Fairbanks House. The surrounding cottages are just such as were doubtless here three hundred years ago. Mr. Lantz readily granted our request and put his department to the trouble of opening the village for us on April 13, long before the regular season. Our cast made three pilgrimages to Salem and received every courtesy on each visit. The last scene was to represent the Massacre of Medfield, and we told Mr. Lantz that we were coming to burn his village.
"All right" he replied, "We shall have the fire department out to welcome you." The firemen were there, and were a bit disappointed to discover that our torches and fires were well enough guarded to make their extinguishers unnecessary. In our thanks to Salem, we should not forget that their Pioneer Village cost them a great deal more than we are spending for our entire celebration. These valuable and historically authen- tic scenes were ours for the cost of transporting our cast.
There was ever before us the question, where next? To Medfield, for an old interior, to Framingham for an ox team, to Salem for a village-but more difficult, where could we take Dedham scenes true to early history, yet with no modern build-
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ings, highways, bridges, or walls. One afternoon was spent in a canoe studying the banks of the Charles from Spring Street to the Needham Avenue Bridge. There at last was a place where the first landing might he enacted. And it was the only place which combined proper lighting, favorable landing and suitable background. The largest cast of the entire season gathered here on Saturday May 16th and made a genuine picnic of it. Some of our most attractive scenes were taken that eventful day.
The locale for the Revolutionary War Period was even more difficult. After much searching we found a field of daisies flanked by trees, ideal except for the fact that we needed greater variety. It was on the estate of Mr. James Jackson. Here on Sunday afternoon, while clouds drove the camera men to distraction, the Pillar of Liberty was erected, George Washington came riding in on his famous charge, Joseph Guild recruited his minute men, and the United States Flag (new Glory then ) made its first appearance.
The French Army Symbolized by two officers in uniform dickering with Nathaniel Ames for firewood, made its camp. Here was one of the painful historical impossibili- ties. The French Army struck camp in Dedham in December. Our picture shows them on a daisy field. Some day we may have a re-take and insert a new French Army scene in our film.
There are a dozen other stories which ought to be told, and countless incidents which will be long remembered by workers and cast-for example the millstone-that rolled into the river, the turkey that saved his own life by his superb acting, the brilliant scenes of the gay Nineties, and the arrival of Lafayette, the Dedication of Memorial Hall-etc .- but we are trespassing upon time and space.
The citizens of Dedham gave a sigh of relief when word went around that the last scene had been taken August 20th. Many were kind enough to say that "Now the Director might have a brief vacation before the Celebration." Of course, every movie fan knows that taking the picture is only the beginning. Every foot of the film has to be edited. In our project it meant weeks of careful study to select the best passages from each scene, and then at last to cull out the best from a bewildering maze of pic- tures. We had taken about five miles of film.
The Master Film is nothing without the story. How should it be told? "Sound on Film" was too expensive. Electric engineers were consulted. The Boston Music Co., recommended Mr. Wayne Brenckman of Winthrop, to make a record of music and story for us. Mr. John Austin proved to be a valuable consultant because of his own experiences in the field of sound reproduction. In the end Mr. Brenckman was engaged to build the sound transmisssion set and make the records which accompany the film. The music is provided by Mr. William F. Frank, organist of the First Church in Dedham, Mr. Frank L. Macdonald, Violin, and Mr. Attilio di Scipio, Cello.
That the entire performance could be produced with the original appropriation is a tribute to the citizens of Dedham, many of whom are not even mentioned in this narra- tive, who have worked together, often at great inconvenience to themselves. They have earned more thanks than they can ever receive, unless they accept these few words of appreciation as carrying the sincere gratitude of their "Film Director" and the hearty thanks of all our citizens. It has been a rewarding tour of duty. May the next three hundred years increase the spirit of unity which has grown among us during these eventful days.
Aug. 30, 1936
LYMAN V. RUTLEDGE,
Film Director.
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Misses Rosonna, Mary ond Anna Lynch with their grandmother's spinning wheel. (Now in the Dedhom Historical Society)
REV. L. V. RUTLEDGE
T. HEDLUND
The Director ond his ossistont "shoot" o scene on the improvised out-door stage. Scene-Gov. Vone Receives Petitioners-Act 2
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The Seven Lights of Dedham
SCENARIO
PROLOGUE SCENE 1. 1636 - 1936 SCENE 2. Scal of the Town of Dedham
SCENE 3. Dedham Historical Society Headquarters. Entrance.
Dr. Arthur M. Worthington, Chairman of the Dedham Tercentenary Committee greets his committeemen, Mr. Charles Stearns, Mr. James P. Roberts, Mr. Ernest J. Baker, Mr. John A. Hirsch, Mr. Julius H. Tuttle.
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