Adult 



{Continued from page 3) 



Lecture Series 



October 21 — Devil's Highway 



John M. Goddard 



Seventeen hundred miles of treacher- 

 ous water and breath-taking scenery — 

 this is the mighty Colorado, America's 

 most dangerous river. John M. God- 

 dard, a professional explorer, traveled 

 the river's entire length in a rubber life 

 raft to produce a film record charged 

 with excitement. When a short segment 

 of "Devil's Highway" was presented on 

 the television show, "I Search For Ad- 

 venture," it was immediately chosen the 

 most outstanding program of the series. 

 Reasons for its selection are such scenes 

 as Goddard's near fatal plane crash at 

 the river's source, 8,000 feet high in the 

 Rockies; the exciting discovery of a new 

 natural bridge in the wild, unmapped 

 plateau country of southern Utah; a 

 spectacular cloudburst in the heart of 

 the World's Eighth Wonder, the Grand 

 Canyon; a visit to the Shangri La of 

 America, the remarkable canyon village 

 of the Havasupai Indians; and the col- 

 lecting of magnificent botanical speci- 



October 28— Heart of the Wild 



Cleveland P. Grant 



Anyone who has seen Walt Disney's 

 "Vanishing Prairie" is sure to remember 

 the memorable scene in which two big- 

 horn mountain rams lock in a furious 

 battle. Cleveland Grant was responsi- 

 ble for the filming of that sequence. 

 Now, in his own full length film, "Heart 

 of the Wild," Grant goes beyond the 

 bighorn combat to the dramatic story 

 of the bighorn harem, the harem mas- 

 ters, and their raiding parties. Grant 

 and his wife spent many months in some 

 of the northern hemisphere's finest wil- 

 derness areas to film his nature story, 

 including the waterfowl marshes of 

 Manitoba and the more remote ranges 

 of the Rockies. There they recorded the 

 intimate stories of trumpeter swans and 

 Canada geese; canvasback, redhead, 



Page 6 



lesser scaup, and ring-necked diving 

 ducks; mallard, pintail, gadwall, and a 

 host of nature's other wild creatures. 



November 4 — "Zanzabuku" 



Lewis Cotlow 



"Zanzabuku," or "dangerous safari," 

 was filmed against the grandeur of Mount 

 Kilimanjaro. It is a record of the never- 

 ending drama of life and death in Africa, 

 a continent of fascinating animals and 

 ritualistic tribal life. The film begins at 

 the home and animal stockade of Ken- 

 ya's great game collector, Carr Hartley, 

 at Rumuruti. There Hartley maintains 

 a Disney-like menagerie of playful hat- 

 snatching hyenas, baboons that steal 

 candy bars, cigarette-eating antelopes, 

 and monkeys whose curiosity about cam- 

 eras constitutes one of the minor men- 

 aces to the expedition. From Rumuruti 

 we travel on to Uganda and then to the 

 Belgian Congo. Encountered along 

 the way are Masai warriors, fierce Tur- 

 kana tril>esmen, and diminutive Pygmies 

 who built for the filming crew a bridge 

 of twisted vines across a river infested 

 with crocodiles. It is the marvelous 

 game country of Tanganyika, however, 

 that provides some of the most unusual 

 scenes in the film — a witch-doctor whose 

 ear lobes are so stretched that a baby 

 can be passed through the holes in a 

 primitive form of baptism; and a tragedy 

 of nature, hundreds of hippopotamuses 

 dying under the blazing sun in drought- 

 dried stream beds. 



November 11 — Three Worlds 

 of Peru 



Eric Pavel 



Eric Pavel believes that the best in- 

 sight to a country is through a knowledge 

 of its people. Scenery is the backdrop 

 for the human panorama. "Three 

 Worlds of Peru," therefore, is the dra- 

 matic film story of three different phases 

 of Peruvian life — its modern society, its 

 Indian life, and its antiquities. Repre- 



lndian girl from the Upper Amazon. From 

 Eric Pavel's "Three Worlds of Peru." 



sentative of modern society is Lima, 

 Peru's capital, a city with functionally 

 designed buildings and splendid homes. 

 Indian life is presented in a visit with 

 the Yagua people, sharpshooters whose 

 children play with wild animals and 

 whose young girls paint their bodies and 

 faces red. For antiquities the film focuses 

 on Machu Picchu, the archaeological 

 capital of the Americas, whose temples, 

 buildings, sundials, forts, aqueducts, 

 pools, and terraces make it an unfor- 

 gettable highlight in a film packed with 

 memorable scenes. 



November 18 — A Story of 

 Spain 



Karl Robinson 



Spain's cultural heritage is enriched 

 by the many diverse peoples who at vari-, 

 ous historic times have dominated the 

 Iberian Peninsula. The Moors, for ex- 

 ample, contributed a legacy of culture 

 from the most advanced civilization of 

 its day. Although modern Spain is mov- 

 ing with the times, there remain many 

 picturesque back eddies of time still pre- 

 served in its national life. Karl Robin- 

 son has incorporated this diversity of 

 history and customs in his human-inter- 

 est portrayal of the Spanish people and 

 their country. No bull fight enthusiast, 

 Robinson focuses his camera, instead, on 

 visits with Spaniards in their homes, at 

 work, and at play. The film also ranges 



