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Category Archives: Rey Scott
A blog in support of FINDING KUKAN’s 10K in 10weeks “Keep This Film Alive Campaign”.
How was the pioneering female reporter May Day Lo connected to KUKAN’s co-producer Li Ling-Ai? Leads to that question had dried up for me a long time ago. Then last November Honolulu Star-Advertiser reporter Mike Gordon wrote a big feature article about FINDING KUKAN. I received a number of enthusiastic emails about the article and one strange phone call.
“I’m so mad!” Those were the first words Susan Cummings said to me. “I’m sure he knew her. If only he were still here, he could tell you.” She was referring to her husband who was no longer alive. To tell you the truth, I thought Susan might be a raving lunatic. But as we talked longer I realized that Susan’s late husband was Roy Cummings. He’d been a reporter at the Honolulu Advertiser in 1937, the same year KUKAN’s director Rey Scott started working there. Like Rey Scott, he had roots in Missouri. Roy was also notable for trying to unionize the Advertiser at that time. Susan told me he was fired for doing so, was almost run over in a parking lot, and blackballed by the Honolulu Star-Bulletin too. It would take Roy Cummings another 12 years to establish the Hawaii Newspaper Guild in 1949. He seemed just like the kind of guy that Rey Scott would gravitate to.
Coincidentally Roy’s first wife Margaret Kam had been a “person of interest” to me when I was trying to hunt down the real life inspirations for the detective Lily Wu. Because Margaret was a colorful character too – a Chinese actress and reporter in Hawaii who had the gumption to marry a white guy at a time when traditional Chinese families still frowned upon those things.
Once I made the connection, the conversation with Susan started sparking with names and situations from Roy Cummings’s past. I mentioned that I had been trying to find information on the Star Bulletin reporter May Day Lo, and Susan exclaimed, “May Day Lo was Roy’s first love!” It turns out that Roy and May Day went to journalism school together in Missouri. Roy fell in love with May Day and followed her out to Hawaii.
Now I was the one who was mad that Roy was no longer alive. I felt sure that he’d been acquainted with Li Ling-Ai and Rey Scott in one way or another. He probably could have provided some interesting stories about the two of them and the making of KUKAN. Susan graciously invited me over to her house in Lanikai to look at Roy’s photograph from the time period – the next best thing to meeting the man in person.
Roy’s photos put more flesh and blood on what had previously been merely names on a page. They also gave me some insight into the lifestyle Rey Scott must have experienced when he first arrived here.
But the photos didn’t do much to fill in the gaps of the KUKAN story. In fact they brought up more questions than answers. Susan herself was mystified as to what happened between May Day Lo and Roy. Why had he married Margaret Kam instead of May Day? She’d never thought to ask Roy about it when he was alive. I wanted to know if anyone had saved May Day’s papers and if Ling-Ai’s letters or clues to KUKAN were amongst them.
Egged on by mutual curiosity Susan and I exchanged a flurry of emails and research findings in the next few weeks. Susan proved to be a willing and able sleuth, and together we found out some very interesting things which I’ll share in future posts. For now I want to pay tribute to the “father of the Hawaii Newspaper Guild” and thank the ghost of Roy Cummings for putting Susan and I together. Of course the “power of the press” had a lot to do with it too.
(As of 9/24/13 we have raised $7,165 and have $2,835 more to raise by 10/15/13)
A blog in support of FINDING KUKAN’s 10K in 10weeks “Keep This Film Alive Campaign”.
In the Lily Wu detective novels by Juanita Sheridan one of the colorful sidekicks is a female reporter named Steve (Stephanie Dugan) who funnels information to her two amateur detective friends Lily and Janice. Since many of her fictional characters are based on real life people, I wondered if Sheridan based Steve on some of the ballsy female reporters who were breaking into newsrooms in the 1930s. So my ears pricked when I heard that Li Ling-Ai had a journalist friend in the 30s and 40s named May Day Lo. Yes, that is her real name, and no she was not even born in May.
In the mid 1930s May Day Lo made history by being one of the first Asian American women hired to report for a major daily newspaper. The progressive Honolulu Star-Bulletin hired Lo and Ah Jook Ku after they graduated from the University of Missouri Journalism School. May Day Lo also broke ground at Journalism School by being the first “exchange student” accepted there (remember, Hawaii was still a territory and not officially part of the United States).
Notably, in 2010 when the Asian American Journalists Association put together a list of pioneering Asian journalists, a majority of them were from Hawaii. AAJA historian Chris Chow commented, “Hawaii was more open to multiculturalism. There was recognition that this is an important market and you’d better well serve them (Asian-Americans) if you want to make any money.”
Back in the 30’s, the Star Bulletin seemed to cover stories about local Asians more comprehensively than the rival Honolulu Advertiser. And May Day Lo’s byline was on several early articles written about Li Ling-Ai, including the one that probably prompted Advertiser reporter Rey Scott to call Li Ling-Ai into his office for an interview on that fateful night in 1937 when plans for making KUKAN were first hatched.
I love knowing that a petite Chinese woman who was raised by a reverend in Hilo was the first exchange student at the prestigious University of Missouri School of Journalism and that the power of her pen brought attention to another pioneering Chinese young woman in a way that changed her life forever. I wanted to find out more about May Day Lo, especially when I found an intriguing letter from her to Li Ling-Ai:
July 31, 1941,
Dear Li Ling Ai,
Now that I am home again, it all seems like a dream that I met you and all the others in New York and had such a wonderful time…. Please give my Aloha to Mrs. James Young, Rey Scott and Mr. Ripley when you see them.
May Day Lo had been in New York right around the time when KUKAN premiered at the World Theater just off Broadway! She had met both Rey Scott and Robert Ripley – two key players in Li Ling-Ai’s life at the time. Could May Day hold clues to some of the unsolved mysteries surrounding KUKAN?
Unfortunately May Day had died in a tragic car accident in 1986. May Lee Chung, editor of the ACUW publication that documents so many pioneering Chinese women’s lives (see other posts about this “Orange Bible”), could remember clearly the circumstances of May Day’s death. But she did not know what had become of May Day’s only child David, someone who might be able to tell me more. The trail remained cold until the Power of the Press struck again in 2011. Stay tuned…
(As of 9/6/13 we have raised $5,025 and have $4,975 more to raise by 10/15/13)
It was my husband Paul who convinced me that I should have a fundraising party. So last October I got many volunteers together to throw one. Terry Lehman Olival helped by sending press releases to the local media and got the attention of Star-Advertiser reporter Mike Gordon.
“That might be the coolest story I’ve heard in a long time,” Mike said, and promised to write an article on it. The more Mike found out, the more he wanted to know. His article grew and grew. My fundraising party came and went; my Kickstarter campaign came and went.
Finally the opus turned up – a 3‑page spread on the film, complete with color pictures, showed up in the Sunday newspaper and drew response from people as far away as Kentucky!
DeSoto Brown, curator at the Bishop Museum, also read Mike’s article and something clicked. He remembered a donation of lantern slides made to the museum by Betty Li, Li Ling-Ai’s older physician sister, back in the 80’s. In fact the slides were marked as being related to KUKAN! Early in my research I had read that KUKAN’s director Rey Scott lectured with a group of slides, but no one in his family remembered seeing them or hearing anything about them. I had given up on finding them.
So I was on pins and needles last week when I finally connected with DeSoto at the Bishop Museum and had a chance to examine the slides myself. They didn’t disappoint — 97 images of 1937 Nanking, including some with Rey and Betty Li, brought Rey’s first trip to China to life for me in a thrilling way and helped answer some of the mysteries that had been plaguing me for years.
With an historic Presidential re-election just completed, we wanted to treat you to a little Trivia Quiz (created by our Production Intern Maggie Barrett and featured as part of our recent “Night in Old Shanghai” benefit in Honolulu)
Can you guess at least three things? They were both from Hawaii is a give away. Try to think of three other things. Here’s the second slide to help you.
Regarding Answer B: Questioning President Obama’s American citizenship may be politically motivated, but for Li Ling-Ai and many other Chinese Americans it was a part of daily life during the days of the discriminatory Chinese Exclusion Laws. Read more about it HERE.
Regarding Answer A: Li Ling-Ai and Rey Scott showed a rough cut of KUKAN to Presdeint Roosevelt at a private White House Screening late at night on January 1, 1941 — 5 days before FDR’s famous Four Freedoms Speech, 6 months before KUKAN would open in theaters and almost a year before the Japanese attack on Pearl Harbor. To see proof of the White House visit, make a tax-deductible pledge to FINDING KUKAN on Kickstarter and view “Backers Only” exclusive videos and photos from the documentary.
Many of you know by now that my documentary FINDING KUKAN revolves around my discovery of the “lost” 1941 Oscar-winning color film of war-torn China called KUKAN. Many of you might also be wondering, where in the H… is KUKAN? If it was found, then why can’t we see it? Well when I tracked down the only full copy of the film it had been sitting in a Fort Lauderdale studio for a few decades and then a Georgia basement for a couple more. Heat and humidity had done its work.
When AMPAS’s Ed Carter and Joe Lindner opened the rusty metal can that contained KUKAN they winced. “Vinegar,” they both said, wrinkling their noses. I learned later that that is a sure sign of deterioration. As Joe examined the 2 reels of film that represented 90-minutes of invaluable color footage of China in 1939 and 1940, he detected both shrinkage and brittleness (more bad signs of deterioration). Joe said he’d seen films worse off…but not many. Things looked pretty grim. If we were in the Emergency Room, this would be time for triage.
Fortunately a deteriorating film takes longer to die than a bleeding human. Two years later, KUKAN has been stabilized but is still in pretty bad shape as you can see by the photos I took of it last week at Colorlab in Maryland where AMPAS sent it to have major restoration work done.
Parts of it are so curled that they will never be able to be re-plasticized (a sort of Botox process for film that hydrates it enough to allow it to lay flat in the scanner without breaking).
A partial copy of KUKAN that I located in the National Archives (NARA) will be used to fill in those parts that are unsalvageable. The NARA copy was kept in a temperature controlled environment all these years and is in fairly good shape. But even that has to go through a frame by frame scanning process to pull both image and soundtrack from the 16mm strip.
DP Frank Ayala, 2nd Camera Mia Fernandez and I arrived at Colorlab to film the initial frame by frame scanning of the NARA print and learned a lot about the care and effort needed to bring a film back to life.
A.J. Rohner, head “surgeon” on the KUKAN restoration process, assured me that “my patient” could be saved despite its horrific appearance. He gave us a tour of the monster machine that does the scanning – an invention of Colorlab engineer Tommy Aschenbach.
I was entranced by its gorgeous parts, blinking lights and robotic movements — so much more tangibly satisfying to see at work than watching the little gray line creep across your computer screen as your digital footage downloads.
I also learned how the sound from the film will be lifted from the scan, VISUALLY corrected before turning into sound waves and then cleaned and scrubbed to get all the ticks, and hisses out. I was surprised to learn that those little horizontal lines on the edge of the film are what make the sound come alive through the projector – a magical phenomenon when you think about it.
From the photo below A.J. identified the camera Rey Scott was using in China as a 16mm Bolex.
Colorlab technician Laura Major just happened to have one in the office that she still shoots with.
Holding that camera in my hands, looking through the tiny viewfinder, and learning that the camera could only shoot 100 ft of film at a time (roughly 2 minutes) gave me a much greater appreciation for Rey Scott’s heroic accomplishment in filming the epic scenes contained in KUKAN, especially the 15-minute sequence at the end of the movie that depicts the massive bombing of Chungking and the fiery destruction of the city.
I am more determined than ever to reach our $16,000 Kickstarter goal so that we can keep following the magical resuscitation of KUKAN and track the amazing story behind its creation. Please join me on this journey, it’s going to be an incredible ride!
When I first made contact with Rey Scott’s granddaughter Michelle Scott and filled her in a little about the story behind KUKAN, she felt a need to transfer that story into paint and shared with me a vision she had for creating a whole room of paintings dedicated to her grandfather and KUKAN. It seemed like a far-fetched dream back then. So I was more than a little excited to go to Atlanta to witness the opening of Michelle’s solo show — THE KUKAN SERIES. Michelle hadn’t shared any images of the new work with me, so I wasn’t prepared for the visual sweep and emotional power of the work. It literally brought me to tears. Here are a few choice pieces from the show. WARNING — these photos do not do the pieces justice. The real pieces have an almost three-dimensional quality that allows the viewer to enter into the scene and experience a little of Rey Scott and Li Ling-Ai’s world back in the late 30’s.
The 36“X36” piece that Michelle created exclusively for our Kickstarter fundraising drive is displayed right in the front window of 2Rules Fine Art in Marietta. Casual strollers walking down the sidewalk can’t help but be pulled in to find out with the imagery is all about. For close up details of this painting go to our Kickstarter home page.
The KUKAN Series contains a few gorgeous tributes to Li Ling-Ai the Chinese American author who was the uncredited co-producer of KUKAN with Rey Scott.
The work below contains images of Li Ling-Ai from three different decades and three different locations (the old Honolulu Academy of Art, Beijing China, and New York City)
There are also fabulous pieces that provide a visual montage of the China witnessed through Rey Scott’s camera. He took both stills and 16mm color movies. Some of his old cameras are on display too with the original stills.
Rey Scott traveled all the way to Tibet and filmed some of the first color footage of prayer rituals there.
Michelle’s take on the original KUKAN lobby cards for the United Artists version of the film.
Rey Scott also filmed the famous Burma Road as it was being built.
A reminder of the British influence in Hong Kong which fell to the Japanese in 1941.
A whole movie could be made just about the baby giant panda bear that Rey Scott brought from Chengtu to the Chicago Zoo. Originally christened “Li Ling-Ai” by the foreing journalists in Chungking, it was later named Mei Lan when it was identified as a boy panda bear.
There are many more gems in this show. But the emotional highlight for me was being able to see the first two portraits of Rey Scott and Li Ling-Ai that Michelle did. I first saw them on her website before we even knew each other and before she even knew who Ling-Ai was. This was the first time I was able to see them both in person. Since the pieces had been sold to different collectors several years ago, this was also the first time they were reunited in the same room for quite some time — a symbol of hope for me as I continue to seek funding to finish FINDING KUKAN.
If you are in the Atlanta area make an effort to see this historic show — up only until October 26, 2012