~1~ OCTOBER SPOTLIGHT - SCREENWRITER DALTON TRUMBO
CAREER HIGHLIGHTS

THURSDAY, OCTOBER 4
12:15 a.m. (ET)/9:15 p.m. (PT) FIVE CAME BACK (1939)

After being fired by MGM in 1938, Dalton Trumbo borrowed a large sum of money to purchase a 320-acre Ventura County ranch, which he named the Lazy-T. Though it would be easy to ascribe such a move to his penchant for extravagance (after all, he spent much of the late 1930s in a chauffeur-driven Chrysler he could barely afford), Trumbo needed to be away from the distractions of Hollywood in order to finish his anti-war novel, Johnny Got His Gun (1939). Trumbo's need for solitude was so great that when he signed a deal with RKO later that year, his contract contained an unusual clause explicitly allowing him to work from home. One project that was assigned to him was Five Came Back (1939), the story of some airplane crash survivors stranded in the jungles of South America within a region populated by head hunters.

The first writer involved with Five Came Back was, in fact, not Trumbo, but Nathanael West. Like many other writers, West had moved to Hollywood during the Depression to try his hand at screenwriting. And like his good friend F. Scott Fitzgerald, West's experiences in Hollywood became fodder for his novelistic imagination. In 1938, as he was putting the finishing touches on what would be his last (and best) book, The Day of the Locust (1939), West was released from his contract at Republic. Then, like Trumbo, he was hired by RKO Five Came Back would be his first assignment.

West took eight weeks to turn Richard Carroll's original story into a taut script. According to his biographer, Jay Martin, it was West who "reversed the usual formula by which native drumbeats stimulate fear in the audience, by directing that the drumbeats be woven into the musical score, building up to that moment of fearful silence when the drums stop." For reasons that today remain unclear, RKO wasn't satisfied with West's script and brought in Jerry Cady to work on it. Cady's rewrite, however, proved even less satisfactory, and so the studio brought in Trumbo for a second rewrite. Trumbo's contribution is hard to gauge (a 1977 biography of Trumbo doesn't even mention the film). What is known is that Trumbo restored much of West's original script. Interestingly, in the original story, the character of the anarchist did not appear. This was one of West's contributions. But in West's version, the anarchist is the villain; in Trumbo's revision, the anarchist is the one who commits the selfless act of heroism.

Like Stagecoach, released the same year, Five Came Back belongs to what Gary Wills calls the "'ship of fools' genre, which isolates strangers in a transient condition for an intense time of confrontation." In both films, a group of stock characters are forced by their precarious situation to reveal their true selves, and through this revelation, their social roles are reversed. In Five Came Back, the mobster becomes a caring surrogate father, the upstanding detective devolves into drunkenness, the playboy proves to be useless, and the anarchist becomes a hero. Oddly (or perhaps not) both Stagecoach and Five Came Back make good use of the well-worn cliche in which a former prostitute redeems herself through her instinctive caring for others in need.

Though it relies on a stock situation, the film rises above its B-picture pedigree, thanks to the enormous talent associated with it. In fact, one of the things that makes Five Came Back so pleasurable to watch today is the glimpse it provides of its actors, writers and directors in the moment just before they earn their place in film history. Within the next year, Lucille Ball would star in Dorothy Arzner's classic Dance, Girl, Dance (1940) (during the production of which she would meet Desi Arnaz at the studio's commissary), John Carradine would appear in both Stagecoach and The Grapes of Wrath (1940), and Dalton Trumbo would pen the Academy Award nominated script for Kitty Foyle (1940). Wendy Barrie, too, would soon become a name familiar to the public. In her case, however, it was due not to her acting, but to her short-term engagement to mobster Bugsy Siegel.

The cinematography was done by one of RKO's best, Nicholas Musuraca (Out of the Past (1947) . It was directed by John Farrow (Mia's father), an Australian notorious for his violent temper. On the set, he clashed repeatedly with the 27-year old Lucille Ball. Farrow would go on to direct The Big Clock (1948) as well as Back From Eternity (1956), a remake of Five Came Back with Anita Ekberg in Lucy's role. And, finally, if the actor playing Vasquez, looks familiar, it's because it's Joseph Calleia, the great character actor who played significant roles in both Gilda (1946) and Touch of Evil (1958).

Producer: Robert Sisk
Director: John Farrow
Screenplay: Jerome Cady, Dalton Trumbo, Nathanael West
Art Direction: Albert S. D'Agostino, Van Nest Polglase
Cinematography: Nicholas Musuraca
Costume Design: Edward Stevenson
Film Editing: Harry Marker
Original Music: Roy Webb
Principal Cast: Chester Morris (Bill), Lucille Ball (Peggy Nolan), Wendy Barrie (Alice Melbourne), John Carradine (Crimp), Allen Jenkins (Peter).
BW-76m. Closed captioning.

By Mark Frankel

~1~ ~2~ OCTOBER SPOTLIGHT - SCREENWRITER DALTON TRUMBO
CAREER HIGHLIGHTS

THURSDAY, OCTOBER 11
8:00 p.m. (ET)/5:00 p.m. (PT) KITTY FOYLE (1940)

In 2001 Americans have Bridget Jones and in 1940 they had sassy singleton Kitty Foyle (Ginger Rogers), the heroine of author Christopher Morley's 1939 bestseller subtitled "The Natural History of A Woman."

A white-collar career girl sharing a cramped New York apartment with two other struggling bachelorettes, Kitty works as a jack-of-all-trades at an upscale cosmetics store. The story of Kitty Foyle, as scripted by Dalton Trumbo, is told in flashback on the eve of her life's greatest decision: to either marry the respectable but ordinary Dr. Mark Eisen (James Craig) or run away with a dashing member of Philadelphia's upper crust, Wyn Strafford (Dennis Morgan). As she confronts her reflection in the mirror (in homage to her divided nature), Kitty flashes back to her working class girlhood in Philadelphia where the groundwork for such WASP adoration was laid. The young Kitty worshipped the exploits of the wealthy Philadelphia Main Liners, the social untouchables who provided a sharp, glamorous contrast to Kitty's own shabby origins and her coarse but loving Irish father, Tom "Pop" Foyle (Ernest Cossart).

Though the elder Foyle tries to discourage his daughter's fascination with the Main Line, the plucky Kitty can't be persuaded to give up her fantasies of the Good Life. She becomes involved with Wyn, the rich publisher of the magazine where she works. When the magazine folds and it looks like Wyn may only keep Kitty on as a permanent girlfriend, she flees to New York and meets the amiable but broke doctor Mark who almost lets her forget Wyn.

A sterling example of that love, marriage and babies obsessed genre known as the woman's film, Kitty Foyle has hoofer Rogers engaged in the melodrama's perpetual dilemma, torn between two very different men. A fairly racy storyline for 1940, Kitty Foyle flirts on more than one occasion with the subject of extramarital affairs and babies born out of wedlock, though its conventional ending tends to patch over any previous, scandalous details.

After a string of enormously successful musical pairings with fellow fleet-foot Fred Astaire, Rogers eased into drama with films like Kitty Foyle. It was a move that paid off richly when she won the Best Actress Oscar that year for her performance as the feisty Irish girl at the center of a complicated love triangle.

Though Kitty Foyle has the feel of one of Fannie Hurst's woman-centered novels (Imitation of Life, Humoresque), the screenplay was, in fact, penned by ex-newspaper reporter turned Hollywood scribe Dalton Trumbo. Trumbo's experience in the ink trade no doubt enabled him to pen lines like this exchange between Kitty and Wyn:

"Oh, darling, how did you ever find me?" Kitty coos.

"I just followed my heartbeat," effuses Wyn.

Not exactly the cloying sentiments one would expect to see fall from the leaky pen of a political martyr. The successful screenwriter (A Bill of Divorcement (1940), A Guy Named Joe, 1943) was one of the notorious Hollywood Ten (including director Edward Dmytryk and screenwriter Ring Lardner, Jr.) who were jailed for contempt of court when they refused in 1947 to testify on alleged Communist Party membership in Hollywood before the House Un-American Activities Committee. That implication of Trumbo's Communist allegiances bore immediate fruit. Trumbo's income plummeted from a weekly salary of $3,000 to $0. And the "hostile witness" ended up serving 10 months in an Ashland, KY penitentiary where, despite a blacklist in Hollywood that prohibited his work from being used, he managed to smuggle out scripts to sell. After his release Trumbo moved to Mexico where he churned out 18 scripts under a pseudonym and even - much to the industry's embarrassment - won a 1956 Academy Award as "Robert Rich" for scripting The Brave One. Through the later insistence of Otto Preminger and Kirk Douglas, Trumbo was finally credited for the Spartacus (1960) and Exodus (1960) scripts, thus ending the writer's exile from Hollywood.

Director: Sam Wood
Producer: Harry E. Edington
Screenplay: Dalton Trumbo from the novel by Christopher Morley
Cinematography: Robert De Grasse
Production Design: Van Nest Polglase
Music: Roy Webb
Cast: Ginger Rogers (Kitty Foyle), Dennis Morgan (Wyn Strafford VI), James Craig (Dr. Mark Eisen), Ernest Cossart (Tom "Pop" Foyle), Eduardo Ciannelli (Giono), Gladys Cooper (Mrs. Strafford), K.T. Stevens (Molly).
BW-108m. Closed captioning.

By Felicia Feaster

~2~ ~3~ OCTOBER SPOTLIGHT - SCREENWRITER DALTON TRUMBO
CAREER HIGHLIGHTS

THURSDAY, OCTOBER 11
3:00 a.m. (ET)/12:00 a.m. (PT) A GUY NAMED JOE (1944)

"In the American Air Forces, anybody who's a right chap is a guy named Joe," explains an admiring young boy at the beginning of A Guy Named Joe (1943), a World War II romantic fantasy. Spencer Tracy stars as devil-may-care fighter pilot Pete Sandidge who dies and comes back to earth as a guardian angel for novice flyer Ted Randall (Van Johnson). Things get complicated when the young pilot on earth falls for Pete's girl Dorinda (Irene Dunne), teaching all three about love, friendship and letting go.

A Guy Named Joe put Van Johnson on the Hollywood map, but it was a role that he almost didn't live to play. Shortly into production Johnson was in a terrible automobile accident that crushed part of his forehead and nearly killed him. The studio wanted to replace him, but Spencer Tracy, who was a top MGM star at that time, threatened to walk out if they didn't wait for Johnson's recovery. Tracy and MGM reached a compromise where the studio would push the shooting schedule back several months to accommodate Johnson. In return, Tracy and director Victor Fleming agreed to stop giving co-star Irene Dunne a hard time on the set. Apparently Tracy and Fleming had taken an instant disliking to Dunne and teased her relentlessly, sometimes driving her to tears. Dunne later recalled A Guy Named Joe as a difficult shoot full of tension before Johnson's accident. She heard rumors of being removed from the picture altogether before she, her co-star and the director worked things out. While Johnson recuperated in the hospital with a metal plate in his head, Tracy and Dunne used the time to re-shoot several scenes since earlier rushes showed their visible tension onscreen. Van Johnson, who went on to become a big MGM star, remained forever grateful to Spencer Tracy for influencing the studio to wait for him to complete the picture. "Without Tracy," he later stated in an interview, "my career could have ended then and there." Ironically, it was Johnson's injuries sustained on this movie that prevented him from serving in the real World War II, leaving him to rise to fame during the 1940s in the absence of many of Hollywood's established leading men. For Irene Dunne, who was already obligated to work on her next picture The White Cliffs of Dover(1944), the delayed filming schedule of A Guy Named Joe meant working double duty as an actress on both.

Despite its production problems, A Guy Named Joe became one of the most popular movies of 1943 and was nominated for a Best Writing Academy Award. Special effects wizard A. Arnold Gillespie showcases his talent with impressive WW II visual effects, and he went on to win Academy Awards for his work on such films as Thirty Seconds Over Tokyo(1944) and Ben-Hur(1959). The movie also briefly features Esther Williams in one of her first movie roles before she became MGM's first musical swimming star.

Dunne and Tracy never worked together again in a movie, but Tracy and Van Johnson remained lifelong friends. Director Steven Spielberg's love of this wartime fantasy inspired him to remake the film in 1989 as Always with Richard Dreyfuss, Holly Hunter and Brad Johnson as the romantic triangle and Audrey Hepburn in her last film role as the heavenly angel who brings pilot Dreyfuss back to earth.

Producer: Everett Riskin
Director: Victor Fleming
Screenplay: David Boehm (story), Frederick Hazlitt Brennan (adaptation), Chandler Sprague (story), Dalton Trumbo
Cinematography: George J. Folsey (as George Folsey), Karl Freund
Costume Design: Irene
Film Editing: Frank Sullivan
Original Music: Alberto Colombo (uncredited), Herbert Stothart
Principal Cast: Spencer Tracy (Pete Sandidge), Irene Dunne (Dorinda Durston), Van Johnson (Ted Randall), Ward Bond (Al Yackey), James Gleason (Lt. Col. W.D. 'Nails' Kilpatrick).
BW-120m. Closed captioning.

By Andrea Foshee

~3~ ~4~

SPOTLIGHT OF THE MONTH - SCREENWRITER DALTON TRUMBO
CAREER HIGHLIGHTS

THURSDAY, OCTOBER 18
8:00 p.m. (ET)/5:00 p.m. (PT) HE RAN ALL THE WAY (1951)

A tense, claustrophobic thriller that is often overlooked in film noir retrospectives due to its relative obscurity, He Ran All the Way (1951) is an almost perfect example of the genre with its doomed protagonist, gritty, urban setting, and overall sense of futility and paranoia. At the story's open, two petty thieves, Nick (John Garfield) and Al (Norman Lloyd), plan a payroll robbery. But the heist doesn't go as planned; Al is wounded by the police and Nick takes refuge at a public swimming pool where he befriends Peg (Shelley Winters), a shy blonde. When Peg takes Nick home to meet her family, tensions mount and Nick, growing increasingly agitated, takes the family hostage while masterminding his escape from the city.

In many ways, the sense of paranoia that pervades every frame of He Ran All the Way was real. John Garfield, director John Berry, and two of the screenwriters, Hugo Butler and Dalton Trumbo (who is uncredited), were already blacklisted by the industry at the time of He Ran All the Way due to their refusal to cooperate with the House Un-American Activities Committee. Trumbo, in fact, had already served time in a Kentucky prison for contempt of court along with other members of the "Hollywood Ten." He Ran All the Way would prove to be Garfield's final film; he died of a heart attack a year later, the cause partly attributed to the strain of being branded a communist sympathizer and blacklisted by the industry. The other three were soon forced into exile; Berry and Butler relocated to Europe where they were able to pick up various film projects, Trumbo moved to Mexico and continued writing screenplays for Hollywood features which he submitted under pseudonyms through "fronts."

He Ran All the Way pre-dates the popular stage play (and movie), The Desperate Hours by a few years and deals with the same set of circumstances: a family trapped in their own home by a hostile outside force. Unfortunately, Berry's film never got the credit it deserved in 1951 (it was an independent production picked up for distribution by United Artists) but its reputation has grown considerably over the years, not only for its excellent performances, sharp dialogue and stylish direction but also for James Wong Howe's atmospheric cinematography and Franz Waxman's moody score.

Prior to the making of He Ran All the Way, Shelley Winters was under contract to Universal to make a low budget turn-of-the-century drama about a belly dancer named Little Egypt (1951). Anxious to start work on Berry's film, she concocted a plan to get herself fired from Little Egypt and promptly gained enough weight to make herself look particularly unappealing for her wardrobe tests. The ruse worked and Winters went on a crash diet, losing fifteen pounds in a week - just in time to report to work on He Ran All the Way. According to Winters in her autobiography, Shelley II: The Middle of My Century, "the time frame of He Ran All the Way covered twelve hours. It starts in the early afternoon in a swimming pool (the Long Beach Plunge). James Wong Howe's camera was at the side of the pool above the water. The director had arranged for a stuntman double to do Garfield's swimming. Garfield had had a severe heart attack at the Beverly Hills Tennis Club a few months earlier. I knew that underwater swimming was especially taxing to the heart. I rehearsed with the double, but when we came to the actual shooting of the scene, Garfield refused to let the double do it. We had to do the scene about ten times to get the lighting in the water right. It was scary and unnecessary...Back then, I could not understand why John insisted on doing this dangerous shot himself. In retrospect, it seems almost as if he unconsciously wanted another heart attack. I didn't understand the political trouble he was in. I just knew that Warner Brothers, by breaking his contract and casting him adrift, were destroying one of their most valuable properties and breaking his heart." Despite her co-star's troubles, Winters remembers Garfield's kindness to her most of all. "He was generous to me in every way a big star can be to a newcomer. He gave me the best camera angles in two-shots, made sure the camera favored me and the audience saw both of my eyes. He spent hours on my close-ups, and if he didn't like the rushes and felt I could look prettier, he insisted that the director relight the scene and reshoot it." The attention was justified because among Winters' films, He Ran All the Way features one of her best performances. And even Winters admits it "was one of the most remarkable and important films I was ever to do."

Producer: John Garfield, Bob Roberts, Paul Trivers
Director: John Berry
Screenplay: Sam Ross (novel), Dalton Trumbo, Hugo Butler, Guy Endore
Production Design: Harry Horner
Cinematography: James Wong Howe
Costume Design: Joe King
Film Editing: Francis D. Lyon
Original Music: Franz Waxman
Principal Cast: John Garfield (Nick Robey), Shelley Winters (Peg Dobbs), Wallace Ford (Mr. Dobbs), Selena Royle (Mrs. Dobbs), Gladys George (Mrs. Robey), Bobby Hyatt (Tommy Dobbs), Norman Lloyd (Al Molin).
BW-78m.

By Jeff Stafford

~4~ ~5~ OCTOBER SPOTLIGHT - SCREENWRITER DALTON TRUMBO
CAREER HIGHLIGHTS

THURSDAY, OCTOBER 25
8:00 p.m. (ET)/5:00 p.m. (PT) EXODUS (1960)

Based on the best-selling novel by Leon Uris, Exodus (1960) focuses on the birth of Israel after World War II. It follows Ari Ben Canaan, an Israeli resistance leader as he tries to help a group of 600 Jewish immigrants escape British-blocked Cypress for Palestine.

Otto Preminger, director of Exodus, was certainly no stranger to controversy and almost from the beginning his screen adaptation of the Leon Uris novel had its detractors. The first flare-up occurred when he decided to discard Uris's screenplay because Preminger claimed the author couldn't write dialogue. His remark ignited a feud between him and Uris for years. He then approached Albert Maltz, another blacklisted writer, to pen the screenplay but Maltz delivered a version that was 400 pages long. (The average screenplay runs 150 to 160 pages). Preminger then turned to another blacklisted writer, Dalton Trumbo, who was hired to write the screenplay for Exodus under his own name. About the same time, Kirk Douglas helped hire Trumbo to write Spartacus (1960). The reappearance of Trumbo's name in 1960 helped break the power of the blacklist.

Trumbo, one of the famed 'Hollywood Ten,' was blacklisted for refusing to answer questions of the House Committee on Un-American Activities in 1947. After serving a year sentence for contempt in 1950, Trumbo moved to Mexico and continued writing under pseudonyms. He received an Academy Award for his script for The Brave One (1956) under the name Robert Rich.

Paul Newman described his experience filming Exodus as "chilly." Newman and director Otto Preminger had very different styles of work. Newman enjoyed discussing character motivations with his director, but Preminger only wanted actors to do what they were told. The two men got off to a rough start when Newman arrived with several pages of notes for the director. Preminger thought they were interesting, but replied, "If you were directing the picture, you would use them. As I am directing the picture, I shan't use them."

The director's non-compromising nature was probably well suited to this particular production. There were arguments against the film by governing heads of Israel where it was shot on location, as well as leaders of terrorist groups, so Preminger had to face external pressure as well as criticism from within the production. In his autobiography, Preminger said, "I think that my picture...is much closer to the truth, and to the historic facts, than is the book. It also avoids propaganda. It's an American picture, after all, that tries to tell the story, giving both sides a chance to plead their case."

When Exodus was first released, a funny story circulated concerning comedian Mort Sahl. Supposedly, he stood up in the middle of a premiere screening of the film with Preminger present and shouted, 'Otto, let my people go' in reference to the interminable length of the film. Most critics, but not audiences, tended to agree with Sahl.

Exodus received an Academy Award for best music score. And Sal Mineo received a Golden Globe for best supporting actor.

Director/Producer: Otto Preminger
Screenplay: Dalton Trumbo, Leon Uris (novel)
Cinematography: Sam Leavitt
Music: Ernest Gold
Art Direction: Richard Day, William Hutchinson (associate)
Principal Cast: Paul Newman (Ari Ben Canaan), Eva Marie Saint (Kitty Fremont), Ralph Richardson (General Sutherland), Peter Lawford (Major Caldwell), Lee J. Cobb (Barak Ben Canaan), Sal Mineo (Dov Landau), John Derek (Taha), Hugh Griffith (Mandria)
C-208m. Letterboxed.

By Deborah Looney

~5~ ~6~ OCTOBER SPOTLIGHT - SCREENWRITER DALTON TRUMBO
CAREER HIGHLIGHTS

THURSDAY, OCTOBER 25
11:30 p.m. (ET)/8:30 p.m. (PT) PAPILLON (1973)

Generally regarded as Steve McQueen's last great role, Papillon (1973) stars the late actor as Henri Charriere, known as Papillon (French for butterfly) for the tattoo on his chest. He's a petty thief who is given life imprisonment for murder and sent to Devil's Island, located more than 20 miles offshore in the French Guyana, from where there is no escape. Once there, the warden lays down the rules of Papillon's new home: first escape attempt will get you two years in solitary, second escape attempt, five years of the same and so it goes. Papillon has no choice but to suffer the rigors, but all the while he is planning his breakout. He is aided by Dega (Dustin Hoffman), a wealthy con artist and prisoner who has placed too much faith in the notion that he can buy his way to freedom. Unfortunately, neither of them can foresee who will exploit and betray them.

Director Franklin Schaffner, a former cameraman for "The March of Time" newsreel, directs Papillon in the lively, authoritative style of his previous screen biographies, Patton (1970) and Nicholas and Alexandra (1971). In particular, Schaffner graphically details the effects of seclusion and spiritual degradation at the hands of the French Penal system. The punishments that Papillon endures in prison are shown in considerable extent: his arm and leg are chained behind his back to a table, he's forced to eat like a dog out of a tin plate and shares his sleeping quarters with a crocodile. More importantly, Papillon never loses hope or his desire for freedom, regardless of his desperate situation. Acts of betrayal and years of solitary confinement - conditions that would break a lesser man - never seem to get to him. In fact, they seem to strengthen his resolve to not give up.

Papillon was shot on location in Spain (doubling for the French locations in the film) and Jamaica; the prison set was constructed in Falmouth, Jamaica, and was the largest in the film, running an expanse of 800 feet. The Devil's Island and Indian village sequences were filmed in Ocho Rios, Jamaica, and the scene featuring the arrival of the prison ship was lensed in Kingston, Jamaica. Unfortunately, the tropical island proved to be a troublesome location due to unpredictable weather, the plentiful abundance of ganji (marijuana) which affected the productivity of several crew members, and numerous thefts, resulting in the loss of costumes, set props, machinery, and other items to the tune of $30,000.

On the plus side, McQueen was an inspired choice for the role of Charriere and even insisted on doing his own stunt work for the film. As Dega, Hoffman is also exceptionally good, especially in the end when his character sadly loses grip on reality and begins talking to pigs. Another standout in the cast is Anthony Zerbe who gives a moving performance as the Leper Colony Chief. Kudos to the makeup department as well for Zerbe's effectively grotesque appearance. However, only the music score by Jerry Goldsmith was recognized by a nomination at Oscar time.

Of special interest is the film's screenwriter, Dalton Trumbo. For many years his fame as one of the 'Hollywood Ten' during Hollywood's communist witch hunts of the mid-forties out shadowed his outstanding screenplays for such Oscar award-winning films as Kitty Foyle (1940) and Thirty Seconds Over Tokyo (1944). Papillon was one of his last scripts and you can actually spot Trumbo in a brief cameo as the prison camp commandant. Dustin Hoffman even modeled his character of Dega on the writer, later telling an interview, "He's a real feisty man and he's got a combination of toughness and sophistication and integrity that I felt were right for Dega....So I said, why didn't he write the character of himself, so to speak?" And that is exactly what Trumbo did.

Producer: Robert Dorfmann, Robert O. Kaplan (assistant producer), Ted Richmond (executive producer), Franklin J. Schaffner
Director: Franklin J. Schaffner
Screenplay: Henri Charriere (novel), Dalton Trumbo, Lorenzo Semple Jr.
Production Design: Anthony Masters
Cinematography: Fred J. Koenekamp
Costume Design: Anthony Powell
Film Editing: Robert Swink
Original Music: Jerry Goldsmith
Principal Cast: Steve McQueen (Henri 'Papillon' Charriere), Dustin Hoffman (Louis Dega), Victor Jory (Indian Chief), Don Gordon (Julot), Anthony Zerbe (Toussaint Leper Colony Chief), Robert Deman (Maturette), Billy Mumy (Lariot), George Coulouris (Dr. Chatal).
C-121m. Letterboxed.

By Michael T. Toole & Jeff Stafford ~6~