Buck Moon Trail, Part 3

Note: This is the third part of a series of fan fiction. Please keep in mind that outside of the primary character, Tom Tyler, all others are fictional, and any resemblance to actual persons, living or dead, or actual events is purely coincidental. Screencaps are from Tom's movies and are used simply as visuals. With the usual disclaimer aside, if you would like to link back to this story and need help doing so, please contact me at aventurasdetomtyler@triggertom.com. Thank you and enjoy the story! 

Supper that night might have been mundane as last night's had Julie not been thinking about Joe's conversation with her earlier. When the time came for her to help feed Tom, who remained in the covered wagon all bundled up, peering out the back and feeling the warmth of the campfire, her movements might not have felt so forced. Julie lovingly held a bowl of hot stew, and spoon fed Tom, occasionally offering him a vegetable or bite of bread. At least his stomach was able to hold down some nourishing food. Plus, Julie felt a lot safer sitting next to Tom for supper than she did with any of the other men, although she did not know why.

“Was that good?” Julie asked Tom, as he finished the last drop of a second bowl of stew. Tom dabbed the left corner of his mouth with a green cloth napkin.

“It was delicious. Thank you, Julie.” Tom's face was close to her own and she looked into his amber eyes. Almost golden, she thought to herself. Pupils visible, eyes that sometimes seemed darker from Tom's left side when the light cast onto it. Now Julie smiled, her lips parted slightly, dropped a tiny kiss on his forehead. All of a sudden she forgot what happened over an hour ago, and started to fall into Tom. A warmth spread over her and it wasn't from the campfire; it melted away her worries, her troubles.

“You're welcome, Tom.” Julie picked up the other end of the blanket Tom left unused, and wrapped it around her shoulder. Tom's eyes widened and he smiled at her. “Do you have any idea how good you are for me?” she asked him.

Tom burst out laughing. “I may as well have asked you the same thing!” he replied, his nose touching her face. They both laughed merrily, a laughter that drowned out the chit-chat of Joe and the other men on the other side of the campfire. Julie felt Tom's arm around her, his big strong hand on her left shoulder. His touch was gentle, yet friendly and protective, like that of a sibling. For the first time during their trip across the country, Julie felt content for the first time. It could have been the first hour of darkness that helped, while the embers of the campfire started to burn down. Every single ember Julie watched go out, matched a part of her past which died out completely. Why would she be worried about such insignificant things anyways, when Tom's health meant so much more to her anyways? She breathed out and shut her eyes. Tom must have noticed because he looked at her expressionless face, which slowly grew back into one of a happy love.

Julie thought to her herself, 'There is just no way I am in love with a man like Tom. It's impossible. It cannot happen. It cannot happen to me. Why? HOW do these things happen?' Her eyes remained closed.  “If you only knew...” she began, her soft words trailing off into the dark of night.

Tom raised his eyebrows before producing a closed-lip smile. His eyes studied her face, taking in her translucent skin and pale pink lips. “I care about you too, Julie. You're just like a sister to me.” At that moment Julie's eyes opened wide before she burst out laughing, loud enough for the men outside the wagon to hear her, also startling Tom.

“Where's my flask?” Julie screamed, thrusting her right hand into her cotton purse and yanked it out, almost tearing the fabric. Tom's eyes widened at her while she took a deep swig. Julie's eyes closed once again and right before she was ready to pass out, a sharp bolt of lighting hit the land close by. It seemed to come out of nowhere, for no rain could be heard falling from the sky. The skies were clear after all when the troupe entered Missouri. Yet something changed, which made Julie think there something more than just a disturbance in the atmosphere. For her, it was a feeling, something that should not exist, something she had to overcome, whether she was drunk or not. 'Ignore it', Julie told herself. 'Just ignore it.' She wanted to scream but did not, could not, perhaps due to Tom's making a resigned sigh before turning over on his side, an indication he wanted to sleep.

“Goodnight Julie,” Tom softy called to her. He wanted to say something about her drinking before bedtime but figured it was useless. His only hope was that she was sober by the time they arrived at their destination. The distant whirring of cicadas lulled Tom to sleep but kept Julie awake. She finally got up, as tipsy as she was, climbed out of the back of the wagon and started walking away from the camp. Joe and the other two men were asleep in their sleeping bags under the stars in front of the wagon, so she did not have to

worry about one of them waking up and following her. Julie kept going on, walking into the night going by the light of the moon. Not really thinking, she found an outcropping of rocks, and sat down by them. Encrusted with mica and quartz, the moonlight seemed to make the rocks wink at her and beckon, as she ran her fingers over them. Pulling out her flask once more, Julie took a final swig and passed out, crawling underneath the shallow ledge of the upper rock. The thunder started up once again only this time, approached closer, and the darkness of night soon turned yellow, drowned out by the sound of rain falling.

To be continued...

Update on Aventuras de Tom Tyler website

By now regular visitors have noticed a change to the homepage of Aventuras de Tom Tyler. There are two reasons behind this: the code needs to be brought up to date for 2018, and due to the volume of material on the site, for aesthetics. Nothing will be lost or removed; if anything, more will be added, particularly regarding the types of roles Tom Tyler played on film. Those four animated stars on the homepage, courtesy of CSS3 code, will have links for each one of them: Cowboys, Superheroes, Movie monsters, Dramatic Roles.

Also – because a number of Tom's “lost films” have surfaces in the past several years, there will be a stress on the need to restore and digitize them (the list thus far consists of: “Jungle Mystery”, “The Man from Nevada”, “The Man from New Mexico”, “Lightning Lariats”, “Cyclone of the Range”,

Tom's non-FBO silent films made for Syndicate Pictures and directed by J. P. McGowan are most likely to be found here in the states; his FBO films, in Europe, active centers being Spain, Russia, Belgium, Netherlands. This is not say an FBO film won't pop up in another European nation; it primarily depends on how thorough a film archive documents what it holds, not to mention the constant influx of donated collections. A film archive operates like a museum; film collectors donate their collections, items are accessioned, the condition of the donated items evaluated (35mm prints from the silent film era usually take priority due to their unstable nature, being made from nitrate which is highy flammable), entered into their database (most professional archives utilize PastPerfect, a software database created just for museums, libraries, film archives), and so on.

In the meantime, the main website is still fully functional, any kinks in the code will eventually be worked out, and enjoy all regular updates there and of course on the blog.

Tom Tyler and the Motion Picture Hall of Fame in Anaheim, California

The Motion Picture Hall of Fame in Anaheim, California sounds like a prestigious institution in the domain of Hollywood glamour, but at the height of its operation between 1971 and 1979, it was a combination historical Hollywood museum and cinema which specialized in exhibiting films made before 1950. These films included all genres, even silent films, and film serials. The theatre originally had 48 seats but was eventually remodeled to include 98 seats, with enough space left over to display the collection of the cinema owner, Doug Wright, who worked in movie promotion for a major Hollywood agency. Doug's collection included 2000 items ranging from celebrity autographs, films scripts, movie posters, movie props of all kinds, and early motion picture cameras. Located in what was an old banquet hall located in back of the Saga Hotel (now called Grand Legacy at the Park) on 1650 S. Harbor Boulevard in Anaheim, with the nearest crossroad being Disney Way, Motion Picture Hall of Fame became a destination for connoisseurs of classic film. What diehard cinema patron would not want to be surrounded by a plethora of film memorabilia while enjoying pre-1950's classic films? At the same time, any funds generated from ticket and museum prices went towards a permanent home in the form of a museum for Doug's entire collection.

Most importantly, Doug Wright held an annual event which honored a number of stars in memorable roles, films that were relevant to Hollywood history. In 1975, one of those films happened to be “Adventures of Captain Marvel”,  the 1941 Republic production which is considered to be the greatest serial of all time. Frank Coghlan, William Benedict, Louise Currie, and David Sharpe attended the event during the second week of March, 1975. Tom Tyler was also honored posthumously at the event,  and most importantly, the cinema ran “Adventures of Captain Marvel” from February 27 to May 20 of that year, one chapter per week, in true film serial style.

From The Los Angeles Times, CA, March 14, 1975

Cinema ticket prices were only $1.50 on weekends for the matinee, and for children under the age of 12, $.75 cents. Museum admission was $2.00. While the Motion Picture Hall of Fame generated enough interest among locals and tourists,  funding for the permanent museum ran short and by 1979, ceased operation as a cinema.

Sadly, the Motion Picture Hall of Fame of Anaheim no longer exists although the hotel remains, along with a number of businesses that include Pizzaterian, Jimboy's Tacos, Alpha Mart, Discount Tickets & Tours and Creamistry on the ground floor. Despite its brief period of operation – just barely one decade long – it held an important position in Hollywood cinema history.

Tom Tyler at Mostly Lost 2013

One of the most important events in the nitrate community is the annual Mostly Lost one held at Library of Congress Packard Campus for Audio Visual Conservation in Culpeper, Virginia. Open to the public, the audience of film enthusiasts attempt to identify the exhibited films. It just so happens that back in 2013 at Mostly Lost, a snippet of a Tom Tyler film was shown. Titled “Tom Tames Outlaw”. This film was distributed by Excel Movie Products, a Chicago, IL based company that distributed both 16mm and 8mm films for home use. The company also manufactured film projectors for home use, to encourage people to buy them specifically designed for use with the films available in their catalogs. “Tom Tames Outlaw” was probably an 8mm of “War of the Range” (1933), probably during the 1940's or 1950's. Of course this is not the only one which has been repackaged for home use; Atlas Films was another company that frequently released movies on 8mm for home use, such as “Cowboy Justice”, another Tom Tyler film which was “A Rider of the Plains” (1931).

Screencaps of “Tom Tames Outlaw” can be viewed here.

An expert swimmer: Tom Tyler

While Tom Tyler's area of athletic expertise was weightlifting, he was also a talented swimmer, a skill which helped in a number of film roles in both silent film and talkies. Even though Tom was not selected to play Tarzan in the movies (that role went to Johnny Weissmuller), he could certainly swim like the famous Edgar Rice Burroughs character. As with the weightlifting, Tom also spent a considerable amount of time in the swimming pool at the Los Angeles Athletic Club, no doubt after a strenuous workout with the weights. Swimming was a great way to cool off, and for Tom, was also a favorite form of recreation. Looking fantastic in his swimsuit, Tom could swim well anywhere whether it was a swimming pool, river, ocean, or one of the Great Lakes. There is a photo of Tom with his newly wedded wife Jean Martel in their swimsuits,  (in “The Tom Tyler Story”, by Mike Chapman) in Michigan by one of the Great Lakes were they spent their family holiday swimming. Having been born in Port Henry, New York, the young Vincent Markowski probably spent many a summer swimming in nearby Lake Champlain, having already developed a well-toned muscular body.

One of the earliest movies that showcased Tom Tyler's swimming talents was “Born to Battle” (1926). In this silent film, he escapes from a boat where he was held after being kidnapped, and swims to shore on the property of a girl's school. Tom emerges from the water dripping wet, right in front of a group of schoolgirls. The same theme was repeated again in “The Avenging Rider” (1928), which allowed Tom to showcase his swimming talents once again. Unfortunately neither one of these silent films are available for viewing Tom's muscular strokes in the water - “Born to Battle” exists as a print in several film archives, while “The Avenging Rider” is a lost film. The good news is, Tom's swimming can still be seen on film in the  movie “Honor of the Mounted” (1932). In this movie Tom is hot on the trail of the man who murdered his friend in a cabin north of the American border. Tom is framed for the murder, and on permission from his superior, crosses the border to track down the murderer, Scott Blakely (Stanley Blystone). This particular role is a plus for Tom, as he plays a Mountie in full regalia and looking handsome as ever. During the climactic scene, he dives off a cliff into the river after Blakely, who has escaped in a canoe, and swims after him. Watching Tom engage in endurance swimming is exciting, chasing the murderer in the water, while he is wearing his uniform. Swimming in such a matter can be no easy task, and requires practice, since clothing can be restrictive in movement whenever one is in the water. Tom Tyler makes it look easy though, just like he makes all his other stunts look easy.

"Honor of the Mounted" 1932

"Honor of the Mounted" 1932

Collectibles: Tom Tyler lantern slides

Lantern slides, more officially referred to as coming attraction slides, were often displayed through the use of a special projector just for that use on movie screens in movie theatres of the 1900's through 1930's as a means of encouraging audiences to consider patronizing the next silent film being shown there. Often a series of different coming attraction slides were used during the minutes before the showing of whatever silent film was being shown that particular evening. Basically, these slides were the forerunner of the modern movie trailer and are considered highly collectible. While collectible they are also very fragile, being made of thin sheets of glass, which could be easily broken if not stored properly.

Early Tom Tyler FBO silent film lantern slides were manufactured by Combined Photo Industries, Long Island City, NY; National Studios, Inc, NYC; and Photo Repro Co. Inc., Long Island City,  NY. When it came to producing lantern slides, they were either drawn or hand painted, from a photograph taken of the subject, although some were also made directly from a photo, with color later being added by hand in a manner to preserve the transparency of the slide. Standard American lantern slides measured 4” x 3 1/4” in size. Each slide was cleaned then coated with a thin solution of varnish or gelatin. Once the solution dried, the slide was then ready to have an image created upon it.(1) In other words, the slide became the canvas for the work of art, which might contain the leading man or woman's headshot, film title, director's name, plus any other information. Sometimes if there was enough room on the slide, a small scene from the film might be added, too. For many of Tom Tyler's silent films, lobby card images were replicated onto lantern slides, such as “The Arizona Streak” and “Born to Battle”. One particularly beautiful lantern slide is from the silent film “The Cowboy Musketeer” which depicts Tom on horseback, rescuing Frances Dare from the path of a stampede of steer. This scene also appeared on the bottoms of lobby cards created just for this movie. As a coming attraction slide, this particular one was sure to attract the interest of young audiences anxious to view the next action packed Tom Tyler western. Lantern slides like those for “The Wyoming Wildcat” and “Let's Go Gallagher”, Tom is depicted sitting upon his horse, moving like the wind, as a clever piece of marketing. Even more delightful, what American youth would not be enticed to view Tom Tyler's next exciting silent film like “The Wyoming Wildcat” while waiting for “Let's Go Gallagher” to be shown at the matinee? So not only were these lantern slides a vital part of movie marketing, they were targeted particularly to the audience attending the film to be shown at that time – once again, in the same vein as the modern movie trailers shown at the cinema nowadays.

Storing lantern slides requires few special materials such as four-flap wrappers made of acid-free paper, and a cardboard box measured to fit these slides. Lantern slides should always be stored vertically instead of horizontally inside the box to prevents the weight of stacked glass from breaking the ones beneath. Avoid storing the box of slides in the attic or cellar, away from humidity. For further reading about the history and collecting of lantern slides, check out the article “Coming Attraction Slides: A Guide for Collectors” by Kevin John Charbeneu in The Silent Film Quarterly Spring 2016 issue.

1. Optic projection: principles, installation and use of the magic lantern, projection microscope, reflecting lantern, moving picture machine. Simon Henry and Henry Phelps Gage. Comstock Publishing Company: Ithaca, N.Y. 1914.

Tom Tyler the expert horseman

Can you imagine having to be an expert horse rider in order to become a movie star? That is what Tom Tyler had to do when he first signed a contract with FBO in 1925 after being selected from among many other young and eager hopefuls at a chance for the brass ring. Being able to ride efficiently was a central requirement according to FBO's contract, and even though Tom had practically no experience in horseback riding, still said yes to his employer on the day he interviewed. Tom also had to figure out how he could get in enough practice before the shooting of his debut film, “Let's Go Gallagher” in 1925. Given the two weeks he had for preparing to memorize his lines in the script, Tom made sure he could fit horseback riding lessons into his busy schedule, since that was also the time he became a member of the Los Angeles Athletic Club, winning one of his many weightlifting medals that year. Once Tom got in front of that moving picture camera on his horse Flashlight, his director told him he rode just like a real cowboy, as if Tom had been born on a ranch instead of a hamlet by Lake Champlain in New York. ("The Sucker Who Succeeded", Motion Picture Classics, July 1928) Of course, being an expert horseman not only means being able to ride exceptionally well, but to master a number of mounts besides the basic left-side mount, and to perform stunts when the script demanded it. Most importantly, Tom Tyler's horsemanship is what makes his westerns so exciting: the utilization of exceptional riding skills combined with his athletic prowess.

For example, one stunt that Tom mastered early on was moving from his saddle on his horse to a crouching pose directly on the saddle, sideways, then launching himself off onto another rider who was usually the bad guy, taking him down. A lobby card from his silent film “The Wyoming Wildcat” 1925 depicts Tom in this exact pose. A similar stunt was executed in “The Texas Tornado” when Tom is in high-speed pursuit on horseback in rescuing the ranch lease from Latimer, so that he could get to the bank in time to renew it.

Another fairly difficult horseriding stunt Tom learned to perform is grabbing onto an overhead tree branch and swinging the body upwards, leaving the horse completely. Tom did this on “Cheyenne Rides Again”, and while up in the tree, waited until the bandits came riding by to drop onto them and impede their destination. Again, the physical body strength required for this was of no challenge for the world's champion weightlifter.

Tom performing the rear mount in "Feud of the Trail"

One horse mounting method that Tom Tyler excelled at was the rear mount. He apparently had to practice at not leaping directly over the horse, given his upper-body strength ability, but rather land directly in the saddle. Rear mounting is no easy task and not recommended for riders who do not have the physical strength nor the coordination for it. In Tom's case, he had to learn the proper judging distance in mounting his horse, for more than once he would either launch directly over the horse, as if playing leapfrog, or even on the horse's neck, thereby injuring the both of them. By the time Tom was filming “The Man from New Mexico”, he discovered that the rear mount in particular could be hazardous, due to his incredible upper body strength. Over time, fewer to no accidents occurred to Tom during the rear mount procedure, and it is certain that his horse was equally grateful, too.

From The Los Angeles Times, April 10, 1927

The flying mount can be exciting to the viewer, if only for its daredevil appearance. This method requires the rider to hang onto the horn of the saddle while the horse is in motion, both feet and legs off the ground, forming almost a scissor-like position, and mount in the saddle while the horse remains in motion, often at a gallop. Tom would more or less “fly” beside his horse while in the process of mounting the moving animal. He learned this method of mounting early on in his career, and there is even a picture of him executing such a mount on his horse, Flashlight, during his tenure with FBO. Of course, this method of mounting also remained in use throughout his career in talkie westerns, as a means of providing excitement to the western story lines Tom Tyler appeared in.

One fascinating horseriding stunt is the ability remain in the saddle even when the horse is trying to buck its rider. This is what happened in “Ridin On” where Tom's horse was frightened by another man's horse drawn buggy, the two almost colliding into each other. Tom was able to get his horse under control without leaving his saddle – quite an achievement in itself. Most men would be tossed from the horse, resulting in serious injuries. Tom Tyler, however, made all of his stunts look easy though, with all of his hard work, to delight and thrill his audiences.