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Gene Autry, Buffalo Bill, and Me
 Pixie and I, January, 1955 |
Hudkin Brothers, located on Coldwater Canyon not far from the intersection with Saticoy Street where we lived, supplied movie horses to the studios. They used our ponies on more than one occasion; the latest was Pixie, our black and white pony who starred in the Annie Oakley TV series, produced by Flying A Productions.
The Flying A Productions office was exciting, with a full size wooden Indian seated on one side, a silver saddle on the other. Photos and awards were everywhere. The huge desk was imposing but no more so than the man who sat behind it, the very same man who was billed as the star on the scads of movie posters that lined the walls behind him. Gene Autry was a hero to millions, and his smile was all for me. "Do you think you can handle the job?"
I sure did. I'd been riding since my father sat me on a pony at six months of age. The cowboys teased I'd learned to walk when I fell off. I knew how to cue trick ponies, drive a pony cart, race like the wind, sail over jumps and even survive a good buck or two -- most of the time. If all I had to do was ride, I knew I could do the job, but I could barely get the words out. All I could do was nod my head and stammer out short answers to his questions. It must have been enough because the week after school was out, I was on the set.
The first day of shooting, June 21st, 1954, took place in Newhall, California, just over the hill from the San Fernando Valley that I called home. Gene owned Melody Ranch, a 60 acre movie ranch with an extensive western town. The pilot we were filming was for The Buffalo Bill Jr. series, starring Dick Jones as Buffalo Bill Jr., the Marshall of Wileyville, Texas, in the lawless 1890's. Nancy Gilbert played his kid sister, Calamity, who helped her brother catch the outlaws.
 Nancy Gilbert, our pony and myself in front of a ranch house on the set. |
Shooting each scene is a slow process. The actors wait while the propmen, cameramen and electricians set up the scene. Once everything is in place, the lighting and camera angles are tested. When the shooting finally begins, the assistant directors calls "Quiet on the set." and then "Lights. Camera. Action." The first take is done within minutes but may be repeated several times until the director is satisfied. Our director, George Archainbaud, also directed The Annie Oakley series. My pony, Pixie, did all of the action shots for Tagg Oakley, Annie's little brother, played by Jimmie Hawkins. Pixie was swift, sometimes out running the horses, including the outlaws he was supposed to be chasing. Mr. Archainbaud wanted this white pony to run like the wind too. That was a task he just couldn't do. As I spurred harder trying to get him to run, he'd go to bucking. I was both excited and afraid. Afraid this pony would succeed in tossing me. Afraid he would re-break my arm so recently healed from another bucking pony. Afraid I would do something wrong. I needn't have worried. Movie companies take the time for a lot of retakes.
When we weren't needed on the set, Nancy and I prowled the various movie sets, climbing up the saloon stairs and peeking out the windows at the street below, wandering through the Mexican village, and visiting the livery stable, chock full of old wagons and harnesses. There was a woman assigned to keep track of us and as soon as she heard the call, she'd hustle us back to the set to play the next scene.
 Dick Jones. You can bet my heart was thumping and my wishes were liberally hurled into that well. |
Another scene called for Dick and I to rush up to the train station, where Nancy once again mounted the pony, only to dismount hurriedly and rush inside. The next scene, she rushed out and mounted him from the platform, then they stopped the cameras and I mounted him to gallop away with Dick following. A sequel to this shot was made at Pioneertown in Apple Valley. With Dick now in the lead, we rushed through an opening between two boulders. Stopping on the other side, Nancy took over for the scene where they discussed the outlaws, then I was back on the pony to gallop away, leading Dick's horse while he "returned" to the train station on foot. The outlaws hide-out cabin was on the Walker Ranch, a third movie location in Placerita Canyon, not far from Melody Ranch.
 Rodd Redwing playing the bad guy when the cameras weren't rolling. He seemed to enjoy the make-believe as much as I did. |
I was mortified. I'd ruined the shot. They must have seen my face redden even under the heavy make-up. Next came "Take Two." Hooray, the pony didn't buck, but without the heavy spurring, he stopped before I could do the flying dismount. This time, as I ran up to the duo, straight-faced Rodd asked, "Did you bring my cigars?"
 Main Street at Melody Ranch. The two black horses on the left were for Dick Jones. |
We did ruin the next scene though. I was racing down a road, trying hard to keep up with the horses. No matter how hard I urged him on, that pony just couldn't run fast enough. Exhausted from the effort and the excessive desert heat, he went to bucking. We tried it again, this time with just the pony and I. Sweat was pouring under the wool riding dress I wore. It must have been a hundred in the shade. Feeling faint, I was worried about the pony bucking but game for one more try. When he started to buck again, I grabbed the horn and ruined the scene. They wanted another shot, but I couldn't. My head and stomach were reeling from heat stroke. Dick Jones double was feeling under the weather also. He was in buckskins which must have been even hotter than my outfit. I asked to try again after it cooled off a bit, but they decided against another shot. Most of the scene did not appear in the finished episode, which aired on March 1, 1955, although the end of that long run did, as we caught up to Dick and Rodd. The crooks were already captured. No matter. My heroes will ride beside me forever in beautiful memories.
