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Oregon Voices

Grace's Visit to the Rogue River Valley

William Alley

The movers and shakers of southern Oregon's Jackson County were eager to showcase their region to the world at the Panama-Pacific International Exposition (PPIE), a world's fair held in San Francisco in 1915 to celebrate the opening of the Panama Canal. Since the beginning of the twentieth century, Jackson County had enjoyed spectacular growth, fueled primarily by a steadily increasing demand for orchard lands. The growing popularity in the eastern United States and Europe for pears and other fruit grown in the Rogue River Valley attracted the attention of investors and speculators. Outside capital flowed into southern Oregon, many new orchards were developed, and a new leisure class of wealthy orchardists launched a genteel social life by throwing parties in their handsome new homes. Between 1900 and 1910, Medford enjoyed a population increase of almost 400 percent. Property values soared, and substantial new commercial buildings sprang up on the streets of Medford and Ashland. In the fall of 1906, the Medford paper could boast, "Probably no where in the United States is there a city of 3000 inhabitants in which three bank buildings are being erected at one time." Medford also laid claim to having more automobiles and cash registers per capita than any other city in the country. Few could deny that southern Oregon was enjoying unprecedented prosperity, and fewer still could envision an end to the growth.1 1

 
Figure 1
    Grace and Conro Fiero strike a graceful pose at the Swem Photo Studio in Medford in about 1914.

    Southern Oregon Historical Society #3456
 
 
      In an era when development and growth were still seen as integral to the region's prosperity, the PPIE offered an ideal opportunity to showcase the region in order to attract new residents and commercial investment. The idea to exhibit films at the exposition to highlight Oregon counties was first floated in late 1912 or early 1913, presumably by the Oregon Commission for the Panama Pacific International Exposition. The Medford Commercial Club, forerunner of the Chamber of Commerce, broached the idea in southern Oregon. At a Commercial Club meeting in January 1913, the directors suggested that a series of moving pictures be taken of the region's ranches and orchards during the harvest season. They also discussed filming Gold Ray Dam, the source of southern Oregon's electrical power, and Crater Lake, the region's best known scenic attraction.2 2
      Robert Ruhl, editor of the Medford Sun, echoed the sentiments of many in southern Oregon when he spoke out against making a motion picture. "If money were no object it would be very nice to have moving pictures of the Rogue River valley at the Panama exposition," Ruhl editorialized in January 1913,
But why spend our money for moving pictures of Rogue River valley pears when we could have an exhibition of the pears themselves.
      Medford and the Rogue River valley should have an exhibit of the products of the district at the exposition in 1915, just as they are, with nothing left to the imagination regarding color, size or quality.3
 		3
      Most people in southern Oregon favored a more traditional agricultural display, similar to the ones prepared for the Louisiana Purchase Exposition in St. Louis in 1904 and Lewis and Clark Centennial Exposition in Portland in 1905. Those exhibits featured static displays of local agricultural products and mineral resources, with mounted photographs by local professional photographers. It was just such an exhibit that Jackson County decided on for the Oregon Building when the PPIE opened on February 20, 1915.4 4
      Initial reactions to the Jackson County exhibits were not encouraging. Local orchardist and philanthropist Leonard Carpenter visited the exposition during its opening weeks and found the exhibit disappointing. "It is pitiful to see how very poor Southern Oregon exhibits are when compared with the exhibits of the other fruit growing sections not only from the Pacific Northwest but from Canada, Missouri, New York, and even foreign countries," Carpenter wrote his friends in the Medford Commercial Club. "A letter is a cold thing," Carpenter continued, "and I may not be able to make you see what I see. It is an absolute fact that in every way the Willamette Valley is showing up to a much better advantage than are we even in our own lines of fruit and high class citizenship."5 5
      Carpenter was not alone in criticizing the southern Oregon exhibit. W.W. Harmon, another Rogue River Valley resident, had little regard for the entire Oregon pavilion. He even discovered that a cider seller's "Oregon" apples were, upon deeper investigation, actually grown in California. Louis Simpson, a lumberman from North Bend, was disenchanted to see that "the state money is all used up and little to show the states resources done."6

 6
Stung by the criticism, the Jackson County Court (predecessor of the Board of Commissioners) met on March 14 to discuss possible improvements to the exhibit. The court formed several committees and assigned them tasks such as scouring the community for suitable photographs of local orchards, homes, street scenes, and views of Medford and Ashland to add to the display and seeking out choice samples of local lumber, "one side dressed and finished," the other with the bark left on. Four of the region's noted sportsmen — George Putnam, manager and editor of the Medford Mail Tribune; William "Toggery Bill" Issacs, Medford haberdasher and a fly fisherman of national repute; attorney Evan Reames; and gun-store owner R.W. Ewing — were selected to create a sporting exhibit. All of the region's farmers and orchardists were encouraged to contribute crop samples for the exhibit.7 7
      The County Court endorsed the idea of a motion picture and appropriated six hundred dollars in county warrants to make a film that would extol the wonders of southern Oregon.8 These funds would augment the one hundred dollars the Medford City Council had authorized on March 2 and support offered by the City of Ashland and the Medford Commercial Club.9 8
      A.C. Allen, a local orchardist and amateur photographer, agreed to act as cameraman for the project, at the urging of Medford dentist Dr. Lewis Bundy. A native of Tennessee, Allen had come to the Rogue River Valley in 1904 and purchased, coincidentally, the Hollywood Orchard. In 1914, Allen sold the orchard and secured an appointment from the governor as regional horticultural commissioner. At about the same time, Allen purchased a hand-operated Ernemann 35mm movie camera and began experimenting with it by photographing "views of familiar scenes and faces" for local exhibition.10 9

 
Figure 2
    From Murray Wade, The Sketch (1907)
    Courtesy Southen Oregon Historical Society
 
 
      Attorney Holbrook Withington — or Judge Withington, as he was known in southern Oregon — was selected to direct the movie. His father, J.H. Withington, had been an organizers of the First National Bank of Portland. After graduating from the state university in Eugene, Withington was admitted to the bar and established himself as an attorney in Portland prior to moving to Medford in 1905. There he served as Medford's city attorney before going into private practice as a corporate lawyer. Withington had a gift for storytelling and a love of the theater. In an era when most communities relied heavily on local amateur productions for their theatrical entertainment, Withington was a regular fixture in southern Oregon theater productions. "He had a natural talent for the stage," the Medford Mail Tribune noted on the judge's untimely death in 1916, "and no amateur performance was complete without him."11

 10
Instead of a dry, one-reel, documentary-style film about the regional economy and scenery, like those already submitted by some Oregon counties and cities, Withington sought to create a motion picture that would be both entertaining and informative. He decided to script a photoplay along the lines of the silent comedies that played regularly in theaters across the country. Collaborating with Allen, Withington prepared a screenplay that highlighted the region's resources, history, and livability. Because the primary goal of the film was to boost the region and encourage migration to the Rogue River Valley, it would emphasize the "bustle and boom of the region's orchard industry" and the "glamour and excitement of the area's social life."12 11
      Withington selected Grace Andrews Fiero to play the lead. Fiero was related to the Andrews Opera Company family, one of the better-known stock opera companies that traveled the country in the decades following the Civil War. Her family had discouraged her from joining the company, so the young actress ventured on her own to New York City, where she caught the attention of a leading Broadway producer, David Belasco. Belasco cast Fiero in a supporting role in his original Broadway production of Rose of the Rancho, which ran for 480 performances during its initial run in 1906 and 1907. 12
      During the run of Rose of the Rancho, the Andrews family shut down their opera company and retired to southern Oregon's Rogue River Valley. Grace Andrews came to Medford to visit her family in 1909, "with a round-trip ticket and a contract to star in [another Broadway production,] 'Beverly of Graustark.' " During her visit, the actress fell in love with a wealthy young Chicagoan named Conro Fiero who had recently invested in orchard lands near Central Point, Oregon. Grace cashed in her ticket to New York and backed out of her Broadway contract. She and Conro were married the following year.13 13
      The simple plot line for Withington's film had a young woman named Grace arriving at the Medford depot in 1914 as an out-of-town visitor who would be "shown the sights" by a friend, played by Susan Dueul. Grace's tour would showcase the rich mineral and agricultural potential of the valley as well as some of the area's finer homes and its social life. Some of southern Oregon's surviving pioneers — including Artineecia Merriman and J.S. Howard, the founder of Medford — recounted events from the region's early years. These flashback scenes would serve as a counterpoint to the region's advanced state of economic and social development. 14

 
Figure 3
    Medford had an active amateur theatrical community. In 1914, the Rose Society, under the direction of Holbrook Withington, produced a large vaudeville show featuring several of the actors who would later appear in Grace's Visit to the Rogue River Valley: Grace Fiero (back row, left, holding up her glass); Conro Fiero (front row, left); Josephine Root (front row, third from left); and Fletcher Fish (middle row, second from left).

    Courtesy of William Alley
 
 
      While touring the region, Grace would be courted by a love interest, conveniently played by Conro Fiero. To provide comic relief, the scenario also called for a rival suitor for Grace's affections, Lord Algey. Fletcher Fish, an orchardist well known in regional theatrical circles, was selected for the role of Lord Algey, which he played in the slapstick fashion being made popular by Sennett Studios.14 15
      All of the principals were familiar with motion pictures. Since 1909, Medford had supported more than a half dozen movie theaters, the most recent being the luxurious twelve-hundred-seat Page Theater, which opened in the spring of 1913. None, however, was experienced in the production of movies.15 16
      With the completed script in hand, Allen set out to begin filming. His first stop was at the bank, where he hoped to cash the county warrant; but because the county would have no cash on hand until local taxes had been collected, the bank refused to honor the warrants. Allen was forced to seek out an individual investor who agreed to purchase the warrant at a 10 percent discount. With $540 in hand, Allen purchased twelve thousand feet of 35mm motion-picture film, six thousand feet of negative stock, and an equal amount for the positive print.16 17
      Although Allen had been experimenting with his motion-picture camera for a year or two, he deemed it wise to seek out professional advice for this ambitious undertaking. He boarded the train for San Francisco and paid a visit to a film studio, where he was promptly dismissed. The professionals told him that with his limited experience the project was impossible. Undeterred, Allen returned to Medford and set out to prove the professional wrong.17

 18
Allen began filming on April 3, 1915. One of the feature's biggest action scenes was filmed in Sam's Valley, where Grace was to pay a visit to valley pioneer William Payne (1828–1916) at his old mining cabin. Payne began to tell Grace a story from the early days about some Indians attacking a miner's wife, alone in her cabin. The scene then dissolved into a flashback of the attack, with local members of the Improved Order of Red Men — a fraternal order for whites, modeled on the League of the Iroquois — cast as the Indians and wearing full regalia. Josephine Root, who would also appear in other scenes in the film, played the miner's wife, Walter Kennedy the Indian chief, and Sprague Reigel portrayed the miner who came to his wife's rescue "in the nick of time" with a group of fellow miners. The informal and unrehearsed nature of the filming resulted in the participants of the scene becoming a bit carried away in their enthusiasm. Withington finally had to rein them all in. "For heaven's sake, Reigel, kill that Indian chief," the director shouted out, "we've only got forty more feet of film."18 19
      May saw the bulk of the film's production. Allen appeared all over the valley, photographing school kids, community parades, and even an outing by the local hiking club, the Grizzlies. During one shot on Medford's Main Street, a Charlie Chaplin look-alike, in an advertising stunt for the Page Theater, made an unscheduled appearance in front of the camera and was hauled off by onlookers. This impromptu scene was retained in the final version. 20
      One scene recalled the days of the great train robberies and featured a fictional hold-up of the train running between Medford and Jacksonville. After showing the precarious nature of train travel in the old days, the scene cut to a view of Medford's modern new depot and the arrival of the Southern Pacific's Shasta Limited.19 Another scene was Grace's visit to the Sterling mine outside Jacksonville, where the modern, state-of-the-art hydraulic operation was contrasted with a flashback to prospectors working their sluice boxes. Fiero and Allen would later admit that the actors portraying those roles had "never used a shovel before or since on such a thing" and were merely improvising for Allen's camera.20 21

 
Figure 4
    The film's concluding scenes were shot at the home of George Carpenter, where there were sweeping views of the surrounding valley. In this photograph, A.C. Allen sets up his camera while young women prepare for their closing dance number.

    Southern Oregon Historical Society #13931
 
 
      Filming Grace's Visit to the Rogue River Valley was not without its hardships for Allen. One scene was included to showcase the Pacific and Eastern Railroad, which connected Medford with Butte Falls on the route to Crater Lake. In order to secure the most dramatic camera angles, Allen set himself and his camera on the cowcatcher on the front of the locomotive. He did not know that the train was going to cross one of the right-of-way's larger trestles. Allen, his son later recounted, was scared to death of heights, but there was little he could do at the time except to keep turning the crank on his camera. That was the scene Allen talked about most when discussing the movie.21 22
      Southern Oregon's cultural and social amenities also played a major part in the movie. The old Medford Golf Club was featured in a scene that included a tee shot by H. Chandler Egan, a two-time U.S. Amateur Champion (1904 and 1905). Egan, already a sports celebrity with a national reputation, had purchased an orchard in southern Oregon in 1911 and had designed the Medford Golf Club's course. Given his reputation as an amateur golfer, Egan would be readily recognized by fairgoers from across the country. This country club scene also served to introduce Fletcher Fish's comic relief character, Lord Algey, who is shown trying to impress Grace with his prowess on the links.22 23
      Lord Algey's biggest scene came while Grace and her entourage were camping on Little Butte Creek, near Eagle Point. Lord Algey went missing, and the group began signaling for him with their guns. When Algey turned up, he provided his skeptical audience with a story about a "deuced long tramp" hunting in the woods. He told of sighting a bear but being unable to shoot it because he lost his ammunition. The film, meanwhile, shows the true version of Algey's adventures as he wandered lost and frightened through the woods. As he sat forlornly on a stump he did confront a beast when a scraggly old steer wandered out of the nearby bushes. The steer was an unexpected participant, but its timely arrival clearly enhanced the comedic effect. 24
      The concluding scenes of Grace's Visit were shot at the orchard home of George Carpenter, which provided a panoramic view of the Rogue River Valley and its orchards. Katherine Swem and several other schoolgirls, clad in butterfly costumes, performed an interpretive dance, shot entirely without music or rehearsal. The elaborate and surreal dance, with the backdrop of the valley, faded out to the movie's final image, a picturesque panorama of the valley with the slogan, "Come to the Rogue River Valley," stretching across the sky. 25
      In addition to filming all of the scenes, Allen also had to devise a way to process his exposed film. To handle the longer strips of motion-picture film, he had to design and build large racks and tanks and a large rotating drum on which to dry the developed film. He then reloaded the 35mm negative into the camera along with new film stock and made a positive print inside the camera, exposing the film frame by frame. This print, the only copy made, was then edited and the title cards added.23 26
      Regular newspaper coverage of the Rogue River Valley's first film production ensured interest in the movie, and many wanted to view the project before it was sent to San Francisco. The completed print was shown at the Vining Theater in Ashland from June 30 through July 1; played continuously for two days in the Page Theater in Medford, and was shown at the smaller Star Theater on July 9. The local showings of Grace's Visit were enormously popular, and many went to see it a number of times. Even Robert Ruhl, the Medford Sun editor who had initially opposed the idea of making a film for the PPIE, was captivated. In an editorial titled "Hail to the Movies!" Ruhl wrote, "Messrs. Allen and Withington have done $10,000 worth of work for the people of the county, have done it marvelously well, and everyone in southern Oregon owes them a debt of gratitude."24 27

 
Figure 5
    Several dance students performed a butterfly dance with a backdrop of the orchards in the valley below. Grace sits with the dancers on the lawn of the George Carpenter house.

    Southern Oregon Historical Society #18560
 
 
      Grace's Visit to the Rogue River Valley was deemed an enormous success at the Panama-Pacific International Exposition. A report from the Oregon Building staff confirmed that "the film is a hit, a real hit, just a little long, but a beauty, detailing Rogue river as it is — and that is sufficient to make everyone want to make a visit, and cause very many to actually do that very thing. This is a great addition to the Oregon building's publicity equipment and will be productive of great good."25 There was general agreement that the film was too long. "For a general use, to give an evening's entertainment, they are fine," wrote Ben Shelton, a visiting Jackson County resident, to a friend, "but to run with five other sets of pictures [presumably those from other Oregon counties], the longest of which does not take more than 30 minutes, our pictures get tiresome and do not hold the crowds." In order to keep visitors' interest, projector operators began leaving out some of the film's five reels.26 28
      Shelton's comments stirred Allen to action. He cut some of the movie's scenes but added scenes of Crater Lake he had shot in 1914, so the film remained about the same length. Allen, and later Shelton, gave "explanatory talks" during the showings, which were so popular that the committee responsible for the film programs in the Oregon Building persuaded Shelton to continue them on a daily basis. Allen also prevailed upon those responsible for running the Oregon Building's films to schedule Grace's Visit for exhibition on a daily basis at 3:30 in the afternoon.27

 29
With the closing of the exposition on December 4, 1915, the reels of volatile nitrate film were returned to Allen. The film was shown at the Page Theater in February 1916, under the title In Southern Oregon. Then it was apparently set aside in Allen's home, where it languished, forgotten by most, for nearly fifty years.28 In the early 1960s, a group of Jacksonville residents remembered the film and thought it might play a role in efforts they had initiated to preserve the historic mining town. Robertson Collins formed a committee to raise funds for the film's restoration. Allen was able to locate the film at his home, and he allowed the group to restore it. 30
      The rough handling and constant showings at the PPIE, combined with the passage of time, had taken a toll on the film. The five, one-thousand-foot reels of nitrate film stock had shrunk to the point where the sprocket holes no longer fit the projector sprockets, and sections of the film had faded and deteriorated over the years. The entire film required cleaning, and some of the more badly damaged frames had to be edited out. Reproduction of the cleaned 35mm original required that each individual frame be re-photographed one at a time. Collins selected Cinema Research, a conservation lab in Hollywood, California, to handle the work. The restored original and a copy were given to Allen and a print and a 16mm safety negative were given to the Southern Oregon Historical Society.29 31
      In March 1965, the restored movie premiered at a benefit at the Rogue River Valley Country Club. On hand as the guests of honor were Grace Fiero and A.C. Allen, the last surviving principals in the project. (Holbrook Withington died in 1916; Grace's husband, Conro, died in 1939; and Fletcher Fish died in 1963.) Throughout the exhibition, Fiero and Allen provided commentary and reminisced about the people and places depicted in the film.30 That May, the film was broadcast on local TV station KMED. Fiero and Allen again provided commentary, which was recorded and filmed.31 In the early 1970s, the film was also shown at community events in southern Oregon and at the first Northwest Film Festival sponsored by the Portland Art Museum.32 32
      Grace's Visit continues to be available for exhibition. A videotape copy of the television broadcast, including commentary by Fiero and Allen, can be viewed at the Southern Oregon Historical Society's Research Library in downtown Medford. 33

 
Figure 6
    During the Second World War, Grace Fiero, now a widow, managed the Wing In Canteen at the Medford airport. In this 1942 image, Grace (center) poses with four of the Red Cross Grey Ladies who served donuts, coffee, and hamburgers to soldiers.

    Courtesy of William Alley
 
 
It is difficult to determine exactly what impact Grace's Visit to the Rogue River Valley had on visitors to the Panama-Pacific International Exposition. No statistics survive on how many of the exposition's 20 million visitors actually viewed the film, and by the time of the exposition, the prosperity occasioned by southern Oregon's orchard boom was already coming to an end. War in Europe had disrupted the lucrative foreign markets for southern Oregon's fruit, and a couple of seasons of poor crops ultimately caused the bubble to burst. Land values plummeted, and many of the orchardists, including the Fieros, were forced to part with their lands. Medford experienced a precipitous decline in population, and it would take a decade before it recovered. The world depicted in Grace's Visit to the Rogue River Valley would, like the reels of film, pass into obscurity.33 34
      For viewers today, the film serves essentially the same function for which it was created — to entertain and inform viewers about the cultural, social, and economic life of southern Oregon during the waning years of the orchard boom. It also offers the stories of a few of the area's surviving pioneers. Usually remembered in stiff poses in old photographs, these pioneers are vividly alive in the film. For Grace Fiero, the preservation of Grace's Visit to the Rogue River Valley ensured that viewers could see "people as they were when 'atoms and space travel weren't even in the funny papers.'"34 35


Notes

1. William Alley, "No Substitute for Safety: The 1st National Bank of Medford," Southern Oregon Heritage Today 1:3 (March 1999): 10; William Alley, "Complete in Every Detail: Sacred Heart Hospital," Southern Oregon Heritage Today 33:11 (November 2001): 11; William Alley, "Boomtown Cameramen," Pacific Northwest Quarterly 92:4 (Fall 2001): 216.

2. Medford Sun, January 22, 1913. While a few documents from the Oregon Commission for the Panama Pacific International Exposition are preserved in the Oregon State Archives, none mention the county films.

3. Medford Sun, January 24, 1913.

4. William Alley, "Jackson County Goes to the Fair," Southern Oregon Heritage Today 4:9 (September 2002): 8–13.

5. Medford Sun, March 7, 1915.

6. Ibid. In all fairness, it should be remembered that the exhibit opened in February, too early in the season to showcase much in the way of the state's agricultural bounty.

7. Medford Mail Tribune, March 15, 17, 1915; quote in March 17.

8. Grace's Visit to the Rogue River Valley was the first feature film made in Oregon. A list compiled by Jim Labosier of the Oregon Historical Society contains fifteen films either commissioned by the Oregon Commission for the PPIE or exhibited at the PPIE; Richard Engeman e-mail message to author, June 22, 2000.

9. Medford Sun, March 3, 1915.

10. Ashland Tidings, May 14, 1914 (quote); Medford Mail Tribune, November 29, 1972; A.C. Allen, Jr., interview by Marjorie Edens, November 19, 1979, tape no. 124, p. 3 {hereafter Allen interview], Research Library, Southern Oregon Historical Society, Medford [hereafter SOHS Research Library].

11. Medford Mail Tribune, October 1, 1916.

12. Grace Fiero, interview in "The Golden Era," SOHS Research Library.

13. Transcript of Grace Fiero's remarks at the Rogue Valley Country Club, March 5, 1965, "Grace's Visit to the Rogue River Valley" vertical file, SOHS Research Library.

14. Medford Sun, September 10, 1915.

15. William Alley, "Shrine of the Silent Arts," Southern Oregon Heritage Today 2:8 (August 2000): 8.

16. Allen interview, 5.

17. Allen interview, 6.

18. Medford Sun, April 20, 1915.

19. Grizzlies' Scrapbook, May 30, 1915, accession. no. 64.209.1, SOHS Research Library; Ashland Tidings, May 24, 31, June 8, 1915; Fiero interview.

20. Allen interview.

21. Allen interview, 7.

22. Bill Miller, "Chan: Yonder Goes a Gentleman," Southern Oregon Heritage Today 4:4 (April 2002): 10–11. Egan would remain a dominant force in amateur golf circles for many years and would earn a national reputation as one of the country's premiere course designers. He designed over a dozen Oregon courses and contributed to such famous courses as Pebble Beach and Augusta.

23. Allen interview, 5.

24. Medford Sun, July 3, 1915. Initially the film was scheduled for exhibition in the Oregon Building every other day, sharing time with documentary films from other Oregon counties.

25. Ashland Tidings, July 22, 1915; Medford Sun, July 28, 1915; Medford Mail Tribune, August 9, 1915.

26. Medford Mail Tribune, August 7, 9, 1915. Part of the problem was that it took the projector operators three to five minutes to change each of the film reels. It was often during these interruptions that the crowds would walk out.

27. Medford Sun, August 14, 1915.

28. Medford Mail Tribune, September 19, 1916; Allen interview, 7–8. Allen would go on to make motion pictures for several newsreel companies, including Gaumont and Pathe.

29. Robertson Collins, remarks delivered at film benefit, March 15, 1965, "Grace's Visit to the Rogue River Valley" vertical file, SOHS Research Library.

30. Medford Mail Tribune, February 21, 1965; undated newspaper clipping, "Grace's Visit to the Rogue River Valley" vertical file, SOHS Research Library.

31. Medford Mail Tribune, May 9, 1965.

32. Corvallis Gazette Times, February 26, 1972; Medford Mail Tribune, March 14, 30, 1973; Oregon Journal, August 9, 1973.

33. Catherine Clinton, "Architect," American Heritage 54:5 (October 2003): 40.

34. Medford Mail Tribune, February 21, 1965.

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