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Sven Libaek's Autobiography
Chapter 3 "Windjammer" | Read more at in70mm.com The 70mm Newsletter
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Written by: Sven Libaek. Reprinted with permission. Thanks to
Anders M. Olsson, Sweden for making the text ready for publication. | Date:
10.09.2011 |
Sven Libaek
in Australia 2011. Image by Richard Monk, from "Behind the Scenes of Windjammer" by
Dave Strohmaier
When American Film Producer Louis de Rochemont
came to Norway in 1956 to make arrangements for using the Norwegian square
rigger Christian Radich as the star of his next project, he was on top of
his game. His series "March of Time" and documentary "Fighting Lady", (about an
aircraft carrier), were both Oscar winners. He had a reputation for turning
up new and fresh talent, and for starting new trends. Lauren Bacall, Charles
Coburn and Dorothy McGuire portrayed roles before his camera and then
achieved stardom in Hollywood. Karl Malden, ("Boomerang"), Mel Ferrer, ("Lost
Boundaries") and Ernest Borgnine, ("The Whistle at Eaton Falls"), all actors
with good stage experience, were introduced to movie audiences through the
films of Louis de Rochemont. While he was a producer for 20th Century Fox,
he started the movement to "location shooting" (with "House on 92nd Street"),
thereby adding to the reality of the movies. Thus accustomed to taking on
new projects and unknown quantities, it is not surprising that he would
strive to realise on the new Cinemiracle screen the adventure-filled voyage
that is "Windjammer".
| More in 70mm reading:
"Windjammer" in Cinemiracle
Composer & Movie Star Sven
Libaek interviewed for "Windjammer" DVD/BR release
Movie Star Visits Copenhagen
"Windjammer" Cast & Crew
Interviews in Oslo
"Windjammer" Director Passes Away
Internet link:
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The
route of the Christian Radich. Illustration from Danish souvenir program
Christian Radich, (a training ship for the merchant marine in Norway), was
to sail on a nine months cruise, first through the English Channel to the
island of Madeira. Then across the Atlantic Ocean, visiting several islands
in the Caribbean and ending up in Key West, Florida. From there the ship
would sail up the East Coast of the USA, stopping in New York City and then
further north to Portsmouth, New Hampshire. From there it would head back to
Norway across the top of Scotland. All through this magnificent trip there
would be a camera crew on board with their monster Cinemiracle camera.
The ships crew would consist of the usual training cadets and officers, but
Louis also wanted a few Norwegian actors who the camera could follow
throughout the trip. Although the film was basically a travelogue, there
would be some studio shots and lines to be learned and lots of music to be
sung and played.
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11.09.2011
The "Windjammer Story" written by Sven Libaek on your web-site is very
impressive.
He wrote the report with great effort and much love. Also very
interesting are his narrations concerning the film-music by Morton
Gould. Many thanks to Mr Libaek for his work.
Nice Sunday and greetings... Gerhard
Witte, Berlin, Germany
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I had recently finished the Norwegian film "Nothing but Trouble" mentioned
earlier, and I jumped at the chance of meeting de Rochemont and put my name
down as one of the actors he was looking for. The fact that I was also a
pianist, more or less ready to make my debut as a concert pianist in Oslo,
made a positive reaction on Louis. None of us knew what he was about to do
about my piano skills, but I got the part in Windjammer, and everything that
has happened to me in my career from that moment on has been as a result of
"Windjammer". A piano was bought and chained to the bulkhead of the sailing
ship so that I could practise during the voyage, (which made my parents
happy) I was 16 years old, and was about to set out on the adventure of a
lifetime. It was to be a career move that was to determine my entire future
to this day, and one, because of my age at the time, I could not have
accepted without my parent's permission.
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Sven
Libaek in a publicity shot for "Windjammer"
The Windjammer cruise of Christian Radich and the filming of "Windjammer" need
a book all by its own, certainly more than a chapter in an autobiography.
For the 17 officers and men and 85 young boys, this would be a voyage of
such a unique nature that nobody else would ever have a similar experience.
We all have our memories and highlights of the trip, and this "Windjammer"
chapter covers mine.
Under dark, grey, snow-laden skies on December 8th, 1956 our ship nosed out
into the cold waters of the Osfofjord. It only took a couple of days before
we, the 5 "so called actors" realised that we would have to become part of the
regular crew, or probably be tossed overboard at some future stage. Our
adult real actor, Lasse Kolstad was to play the part of a ship's officer and
he immediately started learning the ropes. Harald practically over night
started a ship's newspaper, and the rest of us were up in the rigging from
word go. I still remember my first climb up to the main royal sail. The main
mast was 180 feet tall, and the royal is the top of five sails on the mast,
so the yardarm servicing it would be over 150 feet from the deck. When you
looked down from this height, the ship looked very small, almost to the
point of you thinking that, if you fell, you would miss the deck all
together. That was not the case, of course, but I am happy to say that
during the 9 months voyage, we had no major accidents on board.
We flew through the English Channel at 18 knots with all sails set, passing
lots of other ships. It was a great thrill, and we felt very superior.
Nothing wrong with the old sailing ships. On the 11th day we entered the Bay
of Biscay, and the fun was over. As we prepared to celebrate Christmas, we
were hit with a major storm that quickly turned into a gale. Almost everyone
got seasick, which is truly a horrible thing to suffer from, but I guess you
could say we got it over early in the voyage. Apart from some officers and
more seasoned sailors, the one living creature on board that did not get
sick, was our ship's mascot, our dog Stomp. He would stay next to the
helmsman on the bridge and sway against the waves, never loosing his
footage. He was a sight to be seen and had become a true sailor. Some things
I guess you don't have to train a dog to do. Everything below deck, which
was not properly secured, was sliding around crazily. I remember helping to
clean up after a barrel of marmalade had turned over and mixed with a barrel
of salted herring, and of course a fair bit of vomit from the guys cleaning
it up.
During the days of the storm, which seemed to last for ever, our ship, with
all sails secured and red storm lanterns displayed to notify other ships
that we could not manoeuvre, lay wallowing in mountainous waves - often
being blown back over 20 miles a day. These were some of the most miserable
days I have ever known. The great French ocean liner Ile de France was
forced back to port by the storm we had weathered. The glamorous job of
acting in a Hollywood movie had disappeared as quickly as it occurred. We
had become real windjammers less than two weeks into the voyage.
The only filming that took place during this first stage of the trip was
with a regular 35mm movie camera. Thank God the huge Cinemiracle camera was
not on board, because who knows what would have happened to it.
As we kept sailing south towards the island of Madeira, the weather slowly
changed, and all of a sudden it became warm, like spring weather in Norway.
Per Johnson, one of the other young "actors" started climbing up the
foremast shrouds with a red bundle under his arm. I followed him up to the
royal yard. When we reached the top, he loosened the bundle - it was his
long red underwear - and he let it float out into the sea. Everyone on deck
cheered. Per and I looked towards the horizon and we could see our first
landfall, Madeira. From this distance, we saw just a mountain sticking out
of the ocean and into a cloud. Everyone climbed the rigging to have a look.
Zarco, the Portuguese explorer saw the island in 1419 and he couldn't have
been happier than we were at that moment. The next day we would feel solid
ground under our feet again in Funchal.
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The
Cinemiracle camera and Thomas Conroy. Image from Richard Babish
When we docked, we were met by Louis de Rochemont and the complete
Cinemiracle camera crew, including our director, Bill Colleran. I didn't
know much about Bill, but I knew he had some serious credits to his name in
The US. What I did find out immediately was that he was married to the
talented and beautiful actress, Lee Remick. That night at the hotel, Louis
had arranged for us to put on a show in the dining room. Talk about short
notice. Lasse and Harald were good singers, and Per played the drums. I was
on piano of course. It was great thrill playing a grand piano after weeks at
sea, practising on an upright, lashed to the bulkhead. I can't remember what
we put together and how we pulled if off, but it was a huge success. Louis
celebrated by opening a bottle of champagne for us all to share, and I had
my first taste of Don Perignon. Yes, don't get your knickers in a knot. I
know I was underage by today's Australian standards, but fortunately Europe
is not so uptight about it. And, surprise, surprise, it didn't turn me into
an alcoholic as an adult.
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Madeira was our first location shoot with the Cinemiracle camera and we
loved it. Being in a foreign country, (other than a Scandinavian country)
was something new to most of us. Madeira is a beautiful island, and the feel
of the whole place was so different to Norway. Not to mention the warm
breezes, which Norwegians long for most of the year back home. Getting used
to the huge camera and all the planning that had to go into each and every
shot was time consuming but interesting. One of the highlights of the
Madeira sequence in the film was the ride on the famous basket sleds. It
became a most thrilling scene in the movie, thanks to the triple camera that
filmed the action. To the future audiences it would be like actually riding
the sleds themselves. The film crew of 19 also moved the camera on board and
started looking into the many problems of filming on board a sailing ship at
sea. Our next port of call was to be San Juan, Puerto Rico, and during the
long crossing of the Atlantic "on board" filming was to take place.
We left Madeira, following the route Columbus took in 1492. We soon entered
the Trade Winds, and the trip as a whole was very pleasant compared to what
we had been going through on the way to Madeira. We had quiet days when we
could do maintenance, scrub the teak decks, fix ropes in the rigging and
repair sails "blown out" during the Bay of Biscay gale. The living quarters
of the boys in the crew were quite ingenious. All of us slept in one big
area below deck, (no luxury here.) However, we all slept in hammocks. When
you think of it, this is truly a brilliant arrangement. A sailing ship is
frequently moving between the port or starboard tacks. In a cabin with a
bunk, you would either lie flat against the wall, or, suddenly as the ship
went about, struggle not to fall out of bed. In a hammock you hung straight
all the time and it was easy to sleep in all weather conditions as soon as
you got used to it. The officers all had proper cabins, but I really think
the boys were better off - except for no privacy of course. The "boys
toilet" was another story all together. It was popularly referred to as "the
10 seater". And that was what it was. Basically a plank with 10 holes in it
and a channel underneath to catch the crap. The plank was running along the
bulkhead, so here we definitely had the "bunk problem". When the ship was
under sail, you sat on the toilet, either practically lying down with your
back against the side of the ship, or you were fighting not to fall forward,
off the seat and bang into the other side of this delightful little room.
Passing
the Pamir in mid Atlantic. Publicity still from the film.
The trip across the Atlantic was fairly uneventful except for one
unbelievable chance meeting. I was standing stern lookout on the poop deck
just a couple of days out of Funchal, when I saw what looked like the top
gallants and upper topsail of what must be another sailing ship. One of the
other boys climbed the rigging and could see her black hull. It was the
German four-mast bark Pamir. She was altering course and sailing towards us.
None of our officers, or the captain, had ever experienced a chance
encounter with another Windjammer in open waters. We sailed side by side for
several minutes, shouting greetings to each other. She was on her way to
Montevideo, Uruguay. What made this meeting at sea of historic significance
to us all was that, before our own windjammer cruise was over, we found out
that the Pamir had gone down in a hurricane in the North Atlantic with all
but six of her crew. Her captain had tried to race across the hurricane's
face to get on the right side of it and keep his big ship safe. He almost
got away with it, but it proved to be a costly mistake. Pamir would have
been better off hove to, like we had been during the Bay of Biscay gale.
Water got inside her, and once that happened, the ship was doomed. It took
the greater part of a dreadful day for the big school-ship to slide under
the sea, and the crew fought till the end. Only six young boys survived and
were rescued by searching vessels after many days adrift in a broken
lifeboat. We always thought of ourselves as unsinkable after passing our
early "test", but I am sure the trip would not have been quite as enjoyable
if we had heard of the Pamir incident early in the piece.
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Image
from the film. Cinerama Inc
We had many scary moments ourselves. One was about to happen as we entered
the harbour in San Juan, Puerto Rice. We always wanted to sail into a new
port whenever possible. A square rigger under full sail is a beautiful
sight, and would get our film cruise great publicity. However, on this
occasion a sudden wind change almost sent us on the rocks. We managed to do
a quick tack just in time, and to the hundreds of people watching from the
shore and the dock, it looked like a perfectly planned "entry". Little did
they know how close we had been to disaster.
On this Atlantic crossing the first filming was done at sea with the huge
Cinemiracle camera. They even managed to figure out a way of hoisting it up
the mast to take birdseye shots of the ship from above. The main problem the
camera crew had was the fact that with the enormous screen, future audiences
would actually feel that they were at sea. How could they make sure that
members of the audience would not get seasick?
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Image
from the film. Cinerama Inc
We had a great time in Puerto Rico. It was our first contact with the
Americans, (other than the camera crew), and there were invitations and
parties all over the place. Louis de Rochemont and Associates had already
been negotiating with the US Navy to involve them in the film for an "old
and the new" type segment. We spent many a pleasant moment at the US Naval
Base in San Juan, discussing the many aspects of the sea. They were all a
great bunch of guys. We were also invited to a reception at the Governor's
Palace Fortaleza. In this beautiful location we filmed a special performance
by the legendary cellist Pablo Casals. Louis was planning many important
musical sequences in the film, but he hadn't yet mentioned what he had in
store for me. We filmed all over the city and got some great shots of this
beautiful island, including the then famous flamingos at Caribe Hilton.
Having gotten the "touch and go" entry to the city out of the way,
everything else during our stay went smoothly and to plan. There was one
small incident which happened one night when the Bosun of the ship, and
myself, were walking down a rather dark street a bit out from the main drag.
We were being followed rather too closely by a couple of unsavoury looking
characters. The Bosun, being a powerful looking chap, "took the bull by the
horn". He turned around suddenly, faced them and said "can I help you?" The
two guys mumbled something in Spanish and took off in a hurry. I have often
thought subsequently that they were probably totally OK and only took off
because they thought we might rob them. I really enjoyed my stay in Puerto
Rico. It was my first visit to a Caribbean island. The climate was
wonderful, the beaches breathtaking, the people friendly and helpful. Don't
forget, we were looking at it all with northern European eyes, and I somehow
knew right there and then that I would eventually end up in a warm climate
place. What I didn't know of course, at the time, was that years later I
would marry a girl with a Puerto Rican background. There are many strange
coincidences in life.
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Intermission
title card from the film. Cinerama Inc
For the next two months we cruised around in the Carribean, filming on many
famous and exotic islands. We were stranded on St. Thomas in the Virgin
Islands for almost a month of this time. Some major changes to the
production and the production team was in the works, and Louis did not
discuss these problems with us "sailor/actors." Mind you, it wasn't a bad
place to be stuck for a while. Lee Remick delighted all the men and boys on
the ship by flying down from Hollywood to spend some time with her husband,
our director Bill Colleran. We took a side trip in one of the longboats to a
place called Salt Island where we went skin diving. It had some of the
clearest and cleanest water in the world, and it was fascinating to be able
to see for what seemed like kilometres under water. The marine life on the
reefs was spectacular. We had one scary moment involving Lee. She was the
last person in the water, swimming towards the boat, when we noticed a shark
fin not too far behind her. The worst thing we could do was scream out and
cause her to panic. Bill kept his cool and called out, "come on - hurry up,
we got to be going back". We pulled her into the boat with a few meters to
spare. She turned very pale when we pointed out what had been swimming
behind her.
The island of St. Thomas, in the past, used to belong to Denmark. Some of
the older natives still spoke Danish and it was a curious sight having a
blond Norwegian and a black Carribean islander sitting together talking
Danish. The main town on the island was Charlotte Amalie. It had many
nightspots to entertain sailors and tourists. We used to frequent one in
particular where they had a really nice jazz pianist. Per and I did our
piano and drums bit there on the occasional night for free drinks. One night
we walked in and the pianist was playing all this really catchy music which
we had never heard before. We asked him if it was his own compositions, and
he said: "I wish...." My Fair Lady had just opened on Broadway, and he had
gotten hold of some of the music, and that was what we were listening to.
Little did I know that a few days later I would be sitting in the Broadway
theatre attending that very musical.
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Image
from the film. Cinerama Inc
Three weeks without any filming and seeming to go nowhere, Louis invited us
five "actors" up to his hotel room. He explained that they were in the
middle of changing aspects of the film and future places to visit. In the
meantime he had decided that he would fly two of us to New York, so that we
could have a look at some of the rushes of the filming done so far. We had
to decide between the five of us, which two were to go. We decided just to
draw lots. Harald and I won the trip. To get to New York from St. Thomas
back then, we first had to take a "local" shuttle flight to Caracas,
Venezuela. This was an old DC3 and in fact was the exact island hop flight
you see in old movies. The passengers consisted of a calf, three dogs, and
several women carrying cages with chickens, fruit and vegies, plus two
Windjammers. The one pilot was a tall, dark, handsome and beautifully
uniformed Venezuelan. The airport in Caracas had more armed soldiers in it
than passengers. Another coup in progress no doubt. They used to have them
regularly back then. However, we were soon on the flight to New York without
incident.
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Louis de Rochemont in Oslo October 30, 1999
during production of "Cinerama Adventure". Picture by Thomas Hauerslev
My first impression of New York was instant love. We stayed in a hotel
on Madison Avenue, close to the head office of Louis de Rochemont and
Associates. If I remember right, it was now late March or early April.
Anyway, it was still cool in NY. I found out something very interesting
about my body. I had stored up so much heat from the weeks in the West
Indies, that I honestly didn't feel the colder weather. People used to
look at me because I walked the streets in short armed shirts while New
Yorkers were still bundled up. We were "in town" for only one week, and
the highlights were of course seeing "Windjammer" rushes. It was
fantastic. We had never seen a screen this big, and the shots at sea
were spectacular. We certainly had something to tell the rest of the
ship's crew on our return to St. Thomas. So did they us. We had only
been gone a short time, but big changes had occurred. Bill Coleran was
no longer our director. We never did find out if he resigned or was
fired. Anyway, he and Lee had gone.
Louis de
Rochemont III, son of our
producer was taking over. It was not a popular choice. We had nicknamed
him "little Louis" quite early in the piece, and looked at him as a bit
of a bumbling fool and a daddy's boy. Of course, as usual, we were
totally wrong. Little Louis did a great job with the rest of the film
and he and I remained friends, and stayed in touch until the day he
passed away. He eventually moved to Norway after falling madly in love
with a beautiful Norwegian girl, Turi. Their love story would make the
love stories in "An Affair to Remember" or "Sleepless in
Seattle", look tame in comparison.
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Impression
of the film on a deeply curved screen
However, back to "Windjammer". Things were now happening again in a hurry. The
sails were set, and off we went to cruise other film locations in the West
Indies. We were "on the road again", or should I say more correctly, "at sea
again".
We had two major locations left to film in the Carribean, and of course the
sailing between them. One of them was Trinidad. Calypso music was very
popular back then. Harry Belafonte was on top of his career, and everyone
was fascinated by steel drums, and the sound they produced. Trinidad became
a musical event for all of us. Although some of the Calypso numbers were
written for the film by Terry Gilkyson and the Easy Riders, native
musicians, singers and dancers performed them with a spontaneity which
appeared to be inspirations of the moment. We arrived just in time for the
Carnival in Port-of-Spain, and had a ball. We also filmed the famous limbo
dancing where tall natives would bend backwards and go under a bar that
would be as close as a foot or so above ground. It was amazing stuff and
made for a great sequence in the film. Another Trinidad sequence was the
annual cutting and harvesting of the sugar cane, a major Trinidad export.
Naturally this sequence was also backed by another calypso song.
The other location was the Dutch island of Curacao. It was a great contrast
to Trinidad in that it was much more European. Captain Kjelstrup was about
as good as those ancient Vikings who could tell their position by the colour
of the water. He dead reckoning brought us right close to Curacao" harbour.
Sailing up the "main street" we could almost talk to the Dutch on either
side of the channel. They were very exited about seeing a windjammer.
Curacao was fun. Those Dutch girls were charming and many brief
relationships occurred. We enjoyed a rijstuffel, a sort of large picnic on
an old estate. Our ships mascot Stump also went on liberty - unofficial that
is. I don't know how he managed to escape, but he proved he was a real sea
dog by rejoining us. I know he met "a friend" in Willemstad. He was sitting
on the poop deck looking back, longingly as we sailed away from the island.
His whiskers had been flattened back by the wind for so long that they now
grew that way.
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We were now on our way to the United States and our first port of call was
to be Key West on the southern tip of Florida. The Florida Keys were to
become one of my five favourite places in the world. However, on the way
there I, and the rest of the crew, had a fright. I was standing look-out in
the bow of the ship one beautiful sunny day. We had standard signals we had
to give the helmsman if we saw something. One bell for something to
starboard, two bells for something to port and three bells for something
dead ahead. I just happened to be looking down, and I saw the bottom.
Sailing ships are not only moving forward by the wind, but because of the
constant pressure of the wind on the sails from one side or another, also
over time, can drift a considerable distance sideways. We had drifted over
the Bahama Grounds. There were no "bells" for seeing the bottom, so I ran up
on the bridge and warned the captain. Nobody else had noticed it yet. We
immediately went about, but for more than an hour we just waited for the
"crash" of our keel hitting and grounding us. We were very lucky as it
didn't happen. The rest of the trip to Key West was not totally uneventful.
One day some of the boys coming off watch swore they could see neon lights
from the American shore. There was one startling light we could see for
sure. After sundown we noticed a strange grouping of very bright stars. It
was in fact a large comet that the radio had said would be visible in our
latitude. There it was, suspended in space, apparently motionless - but we
knew it to be roaring through space with a fiery tail extending hundreds of
thousands of miles behind it.
Arthur
Fiedler and Sven Libaek on the pier playing the piano. Still from the
film
In Key West Louis de Rochemont came on board and "sprung the bombshell". The
quote as nearly as I can remember it, went something like this: "I have
arranged for you to play the Grieg A minor Piano Concerto with the Boston
Pops Orchestra under the baton of its conductor Arthur Fiedler. We will make
it a major sequence in the film. We will film the performance and then use
some of it as background music for beautiful scenes of the fjords and
mountains of Norway. I have also arranged for you to work with a famous
pianist in New York to bring you up to speed, so it's time for you to really
start practising." I was a stunned 17 year old. Sure I had studied the piano
since I was 5. Sure I had a piano on board which I had practised on "now and
then", but in no way was I prepared for this type of performance with one of
the world's most famous symphony orchestras and conductors. However, I had
no choice. The cost of all this was enormous, and the deal had already been
made. The piano lashed to the bulkhead became my home during the trip from
Key West to New York. I had to pull this off or make a total fool of myself
in front of a hundred professional musicians, not to mention the film crew
and everyone associated with the production of "Windjammer". When I sat down
at the old upright for the first time after getting the news, both my hands
and legs were shaking. The music that resulted was nowhere as good as it had
been a week earlier. It was scary stuff, and the first time I had
experienced real "performance nerves", so common among classical soloists.
Like with sports stars, you have to learn to control those nerves, but that
takes years.
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Christian Radich entering New York harbour under full sails was an event
that New Yorkers would never forget. We were met by hundreds of pleasure
crafts, and the fire department was out in their vessels, spraying water
into the air with their hoses. We docked at New York's Battery and hundreds
of people came down to visit the ship. The New York segment was shot by
WEEGEE who had developed some magic lenses. It showed New York in a way that
had never been seen before. It was a fantasy impression of the world's
greatest city on the world's biggest screen. These were some of the first
"special effects" ever developed. Nowadays it's hard to find a film without
them. We had a song about it in the film called Village of New York. It had
lyrics like: "In the Village of New York - they say the buildings grow so
tall they push away the sky" and "They never dim the lights along the Great
White Way and when the day is done, the Midnight Sun comes out like in
Norway". I missed most of the fun in New York this time as I was "stuck" in
the studio of pianist Bernardo Segal, preparing for my first appearance with
a symphony orchestra. He had me practising 8 hours a day and gave me many
tips that have stayed with me all through my musical career. I felt pretty
good after the few weeks I spent with him. The ship was off again, shooting
a large segment with the US navy - the old against the new. One of the most
amazing shots in the entire film took place in this segment. They strapped
the camera to the front of a submarine and filmed as it surfaced. It was
spectacular because the first thing you saw when the sub emerged was
Christian Radich under full sail. It became even more spectacular when
Morton Gould added his music to the scene. How they managed to plan that
shot is a mystery to me to this day.
Studio
filming in New York. Image from Robert Weisgerber
While the boys had all the fun working with the US Navy, I flew to Boston to
meet with Arthur Fiedler and The Boston Pops. I played the first movement of
the Grieg Concerto for him, and after making a few pointers, he agreed it
was good enough to record. We went into Boston Symphony Hall and recorded
it. I have certainly heard better interpretation of the Grieg, but I was
pretty happy with my performance. I thought they were going to film in
Boston Symphony Hall, but they flew the entire orchestra, Fiedler and me to
Portsmouth, New Hampshire where we set up on the dock with the ship in the
background, and filmed to playback. In the film you see the opening section
of the Concerto being played on the dock, and then the cameras move to
Norway, showing some of the most incredible shots of the country that we had
ever seen. It became the highlight of "Windjammer", and set me on a musical
career with interest in acting dropping by 25%, although not quite yet dead
all together.
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Recording
the symphonic soundtrack in New York. Image from Robert Weisgerber
The filming, as far as we were concerned, was now over. While the camera
crew flew to Norway to film the magnificent scenes I described above, we
sailed back to Oslo, going north of Scotland. 237 days after departing we
could see the lights of Norway, and on the next day we were met by two other
sailing ships, the Danish "Denmark" and our own "Sørlandet" and the three of
us sailed into Oslo harbour together. It must have been quite a sight. We
had experienced an adventure so unique that we knew it was something that
would never again be repeated. We all thought that was the end of it. Little
did we know.
I had missed the last year of high school, so I went back to studying hard.
I was allowed to take all the final exams as a private student, and I
passed. "Windjammer" was now in postproduction and I was waiting for the news
that the film had opened in Hollywood. Instead I got a call from Louis de Rochemont telling me that I, together with another five boys and Lasse, were
required in New York for studio shots to tie the "Windjammer" cruise and story
together. I didn't know it at the time of course, but this time I left
Norway for good - except for future visits. The studio shots required
dialogue, (in English, of course) and the film company sent us to a New York
drama coach, Claudia Franck, who was famous for her work with many Broadway
starts, and film stars like Sal Mineo. She got us into shape, but later on
would be even more influential in the way my life turned out.
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Mixing
the soundtrack in New York. Image from Robert Weisgerber
With the filming all completed, Harald, Kaare and I decided to remain in the
United States to further our advanced education in our chosen fields. Harald
was to study drama at Yale, Kaare studying business at Dartmouth, and me
trying to get accepted into Juilliard School of Music. Being interested in
music, I was invited by the film company to attend the recording sessions
for the background music to "Windjammer". Morton Gould composed the
magnificent score, and it was my first experience at a movie scoring
session. It was thrilling, and I knew right away that this was what I wanted
to do with my life. Morton was scoring "to the film". The orchestra was
placed in front of an enormous screen, and the music was recorded while the
film was playing in the background, so you knew immediately how it was going
to work. A stripe moved across the screen from left to right, and when it
hit the end, the music cue started. The Cinemiracle Symphony Orchestra was
conducted by Jack Shaindlin. Jack had a long and successful association with
both Morton Gould and Louis de Rochemont. For a number of years he was
musical director for "March of Time", and for some years also the musical
director for 20th Century-Fox Films.
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Publicity
still of the Norwegian boys in "Windjammer".
At the first recording session for "Windjammer", the orchestra had pre-planed
pulling a dirty on him. As the stripe moved across the film for the opening
titles, Jack had his baton raised and ready. When the moment came, Jack gave
a significantly strong down beat - and, nobody played, followed by a lot of
laughter, maybe not from Jack. This never happened to me in my career, so it
must be a New York thing.
The "Windjammer" adventure had just started for Harald, Kaare and me. When the
film was ready to open worldwide, the film company re-hired us to travel
around and promote the film and attend opening nights. We decided to form a
singing trio so we could do more than just talk on all the radio and
television shows we were invited on. Kaare and I played guitar, and I
quickly arranged several songs for the three of us. The Kingston Trio was
very big at the time, and I based our arrangements on their sound, although
we included, for obvious reasons, sea shanties and the like. The world
premiere of the movie took place at the famous Grauman's Chinese Theatre in
Hollywood. Louis had hired a well known PR man to take us around. His name
was Van Wolfe, and his most recent claim to fame was working with Mike Todd
on "Around the World in 80 Days". Van was a Hollywood "insider" and knew
more about the film industry and it's stars than we could ever dream of. He
told us about Marilyn Monroe's involvement with the Kennedys long before it
became common knowledge. The four of us headed for the Hollywood opening on
the famous "Superchief" train from New York, via Chicago to Los Angeles.
What a way to see America for the first time. We stayed in glamorous first
class cabins with all the trimmings. Just out of Chicago, Van told us that
there was a lady in a cabin near us, who had heard about "Windjammer" and
wanted to meet us. The next moment we are sitting there having coffee with
Rita Hayworth. Unbelievable stuff. She got off the train in Pasadena to
avoid the mob at Union Station in Los Angeles. The press had found out that
she was on the train, and dozens of reporters and photographers were there
waiting - and we thought they were there for us. Van Wolfe was talking up
the film wherever we went. You would think he was talking about "Gone with
the Wind". I asked him one day what he really thought about it, and he said,
"I haven't seen it". We were stunned. He explained that he didn't want to
see it, because if he did, and didn't like it, he couldn't sell it. It sort
of made sense I guess, but all this was so new to us that we had no idea of
the ins and outs of "the business".
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Hollywood
premiere at the Egyptian. Contemporary postcard
The world premiere was a typical Hollywood event, and there we were, three
young Norwegian boys, who a year earlier could only have dreamt about
attending such a spectacle. "Windjammer" received a plaque in the forecourt of
the theatre among all the famous hand and foot prints of the stars. It was
fun to re-visit the place many years later when I lived in Los Angeles for
17 years. The film next opened at the Roxy Theatre in New York, then the
European premiere in Oslo, Norway, followed by London. Our newly formed
"singing trio" The Windjammers attended all these openings. One thing that
had started to annoy me was, that because of my performance of the Grieg in
the film, I was constantly asked to play the piano. With all this travelling
I didn't have time to practise much, so I was very reluctant to do it. I
used to try and find excuses for saying "no" in a polite way, not to upset
some important people. We had a big reception at the Norwegian Embassy in
London, and of course I was asked again. I told them I was happy to do it,
but I had found throughout my travels that a lot of pianos I was asked to
play on hadn't been tuned for years. They immediately changed the subject,
and I was not asked again.
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The Oslo opening was special. After all, this was a film about a Norwegian
sailing ship, manned by Norwegian sailors. Also the spectacular sequence of
Norway during the Grieg Concerto performance made a big splash. The whole
Royal family attended and it was an evening to remember for all of us
forever.
The three of us had to return to the US to attend our different colleges, so
we missed some of the other European openings, but our trips were not over
and done with. Practically every weekend and holiday we all gathered
together again. We attended openings in Chicago, Pitsbourgh, Cincinnati,
Detroit, Montreal, Oklahoma City and many others. This many years later,
they are a bit of a blur. I remember talking a girl home on the train in
Chicago after a date in minus 20 degrees, too cold even for a Norwegian. The
most memorable US trip was to Oklahoma City. We spent a whole summer
vacation there, which coincided with the premiere of "Windjammer". This is
where The Windjammers became a really professional trio. Practically every
day we entertained at Rotary, Kiwanies and Lions Club luncheons. (I have had
a hard time eating chicken ever since). We were "discovered" by a local PR
man, Bobby Boyd, and he arranged for us to get a recording contract with RCA
Victor. They flew us to Nashville, where we recorded and album produced by
Chet Atkins and John D. Loudermilk. We performed on the Grand Ol Opry and
other TV and radio shows. The Windjammers had become recording artists.
Cinemiracle
layout. Three cameras, three films and three projectors, plus the soundtrack
and the illusion of reality is complete
Although Cinemiracle is a triple camera and projection system, it is
difficult to realise while viewing Cinemiracle's huge curved projection
screen that three projectors are actually doing such a precision job. The
blending or vignetting of the three projected panels, the perfect
registration and steadiness without vibration, the even distribution of
screen illumination, the good definition and clarity were responsible for
making Cinemiracle a perfected wide-screen process. In the theatres, three
specifically designed projectors were electrically interlocked with a seven
channel sound reproducer in a single compact projection room at the rear of
the auditorium. Cinemiracle's projection had a great depth of focus without
the blur characteristic of other wide-screen processes at the time. This
eliminated eyestrain for the viewer. It was, (and still is), truly a
remarkable cinematic experience to watch this process in action. By the time
you have watched Windjammer, more than nine miles of picture film will have
travelled through the three electrically interlocked projectors.
"Windjammer", the film, with it's spectacular screen size and audience
participation, was an instant success everywhere it played. In Norway alone,
with a population of 4 million, 500,000 people went to see it.
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28-07-24 | |
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