TORN BY A LEOPARD.

Taranaki Daily News, Volume LIV, Issue 100, 5 January 1912, Page 8

TORN BY A LEOPARD.

ACTRESS' THRILLL\G> EXPERIENCE. Whilst visiting the Selig Polyscope E Company's plant recently, writes Mr. •James McQuade, of the Film Index, I had the pleasure of meeting Miss Kath- g cryn Williams, premier leading lady of the Selig Eastern Stock Company, who has gained international reputation for her daring in the production of the great series of African pictures, in which the use of .wild animals contributes sensational features. Of this series the most ,5 thrilling is "Lost in the Jungle." This film will be released in November. Had it not been for the nerve and grit displayed by Miss Williams in the making of the '•Jungle" film, it is just possible that some of the most thrilling and realistic scenes of that subject would have been omitted. Take that exciting scene where the young Boer girl, lost in the tropical forest, sinks to the earth from fatigue and gives way to despair. Note the savage rush of the fierce leopard upon her. And mark well, too, that the animal springs and lights on her head and shoulders full weight. I imagine I can hear some of the incredulous wise ones say, with a shrug and a knowing smile, "A fake; of course it's a fake. That leopard is just a dog painted with stripes. Why, a leopard would tear the woman to shreds." And, incredulous one, that is just what i the real animal came very near | doing in this case; for, when Miss Wil-' liams was released by the animal trainer,) she was covered with blood to her waist, and suffered from a number of deep scalp lacerations, which were immediately subjected to antiseptic treatment, and several stitches taken in each. The manner in which that scene was pictured was this: Tom, the leopard in the picture, 1 had been trained to jump for pigeons ' and chickens, of which feathered creatures he is very fond. "In this picture he was supposed to jump at me, as I was resting, and not on me," relates Miss Williams. Just outside the camera field was a keeper holding a chicken, which Toin saw before lie was released from his cage. He apparently leaps at me, but in reality leaps at the chicken. Of course we rehearsed him to liis part, the camera man being ready on the instant to operate the machine when the effect was right. Tom acted his part beauti--3 fully the first time he tried it, and I ' had no fear of the result. The second time, however, I was late in my action of falling, thus hiding the chicken from his view. I had just time to cover my

face, when I felt his sharp claws sink into | and tear my scalp; but, luckily, I had j the presence of mind to lie perfectly still, I and that probably saved me from more { serious injuries. The trainer cracked his whip, gave a sharp order, and the leopard ! scampered off. I was not badly hurtjust a few scratches soon healed, and slightly nervous. That was all. You can get into the good graces of nearly i every animal through his stomach," continued Miss Williams. "I had been careful to practice this theory on Tom and | another leopard for some time before the picture was taken, and I am sure Tom had no intention of hurting me. He most! likely thought the. chicken was under '< me, and he was trying to get at it the | best way he knew. And, by the way, ' the wonderful rescue of the Boer girl by i an elephant, in the same' film, can be attributed to the same stomachic influence. In the opening of that scene—(Of course I I am the Boer girl)—the girl lies ex-1 hausted and helpless after mortally j wounding the leopard. She . hears a ! sound in the jungle, and knows that the runaway elephant, which has been used on her father's farm and to which she has been kind, is near by. She calls to him, and the brute, recognising the voice of his friend, comes to her. She commands him to kneel, and after vainly struggling to rise she falls fainting across his trunk. The elephant raises her until on regaining consciousness she is able to take hold of his ears with her hands. Then, supporting her on his trunk, he stars off on the trip homewards. 'Toddles,' the elephant used in the picture, has become quite friendly, as I visited him daily with fruit offerings. In fact, every time I passed his stall I would do something for him, until he came to known me at a distance and would trumpet to attract my attention. After several weeks of this acquaintance, rehearsal with him was begun. I would lie down within easy reach of him, com-! mand him to kneel, and then get him to j assist me to my feet with his trunk. | Whenever he did what I required him to do I gave him an orange. In this way he quickly understood my commands, and executed them with wonderful intelli-1 gence. It took me nearly a month to coax him to allow me to get on his head. It was delightful and fascinating work." EMPIRE PICTURES. Attracted by what has been written, seen and said 'of the change of programme on Wednesday evening, another large audience attended the Empire Theatre last night. "The Battle of Trafalgar" was the star item, and no one can witness it without being impressed by that stirring episode in the history of the nation. The cornet solo, "The Death of Nelson," that accompanied the scene, added largely to the success of the picture. The scenic pictures are always interesting and' instructive, and those of the. Lower Alps (Prance), the river Varant and! its walls were greatly appreciated. The Maoris were seen at football in England; Mr. Bonar Law, the new Opposition Leader, and his many supporters cheering him in London; the new modes of Parisian hair-dressing—-an interesting study nowadays, and other short pictures were shown. A dramatic piece, "Two Wolves and a| Lamb," in which two unscrupulous men are tripped up in trying to "have" a fellow-man, several humorous films, and Dante's vision of the nether regions, coneluded the programme. The same programme will be repeated to-night for flue, last time.