By David Penhallow

John Kerr plays cards with Kaua'i's David Penhallow, his double, during the location filming of South Pacific. (İDavid Penhallow)

İDeSoto Brown and MGM

Howard Keel, co-star of Pagan Love Song, and Kaua'i resident Maureen West Morrison on Kaua'i, 1950.

İMaureen West Morrison

Mitzi Gaynor and Rossano Brazzi, in evening dress, with an authentic World War ll Jeep, at the old Birkmyre Estate at Princeville.

İThe Samuel Goldwyn Co.

     Whatever the theory, whatever the call that brings film people to this island, Kaua'i is found to be magical. Kaua'i is magical because of its' outrageous beauty. God compacted this magical island into a 550-square-mile, almost perfectly round island. Kaua'i is magical because of its' mythical nature spirits that reside by 1,000 waterfalls streaming down purple mountainsides. Kaua'i is magical because the people of this island, bronzed by the sun, have smiles that radiate like a wave hitting a Na Pali cliff that breaks into a cascade of sparkling diamonds. Kaua'i is magical because, within a 40-minute driving radius, it seems as though you are in Africa, Australia, England, Tahiti, Vietnam, Arizona and Bali.

     My first recollection of a film being made on Kaua'i was Pagan Love Song. I grew up on Kaua'i, learning about life from the films that I saw at the Lihue, Roxy, Kealia, Kilauea, Koloa, Star, Hanapepe, Kaua'i, Aloha, Pono, Waimea and Kekaha theaters. I could barely believe it when the cast and crew from MGM, the premier film factory of Hollywood, landed on Kaua'i to make a movie. The reality of it hit me the day I was trying to catch a glimpse of MGM filmmaking on the Coco Palms property. I ran smack into Esther Williams. In my mind, and in the minds of millions of people in 1950, Esther Williams was a true film goddess. She was the reigning queen of MGM's musicals, which were often set in a mammoth swimming pool.  Watching her stride toward me that day with her long tapered athletic legs, I couldn't recall having seen a human creature more perfect or more beautiful. To my young mind, she was more dazzling in person than any Technicolor camera had ever captured her. I stood absolutely still and was dumbfounded. When she passed by and said hello to this mooning, slack-jawed adolescent, I knew the stars had come down from heaven and blessed this young acne-faced mortal. My fantasies of the movies suddenly turned into reality that day.

     Kaua'i was made for Technicolor film because the beauty and lushness of this island  is so unbelievable. I don't think there is a sound stage or an art director in the film industry that could create or duplicate the "magic" found on Kaua'i. The obsidian-blue ocean found in Hanalei, green and purple mountain ridges of Wai'ale'ale,  Makaweli red-dirt cane fields, the slippery-slide falls above Anahola, or the upper wet cave at Ha'ena that boasts of a turquoise water cavern that rivals Capri--all are awesome originals.

     This book documents those dreams that Kaua'i made come true by such filmmakers, actors and technicians as Steven Spielberg, Josh Logan, Lyle Wheeler, Rita Hayworth, John Wayne, Richard Chamberlain, Frank Sinatra and Howard W. Koch. Within the pages of this book, the reader will discover the known and many more unknown films made here. This book is a legacy to the many local people who were part of Kaua'i's film history. Kaua'i stands crowned as the island that has had more films shot on it than any other neighbor island.

     My most memorable experience with films on Kau'i was when I was a stand-in for John Kerr in South Pacific. I don't believe there was a group of filmmakers as well liked or as well known by local residents. They lived with us for almost five months. Mitzi Gaynor and Jack Bean, Rossano and Lydia Brazzi, John Kerr, France Nuyen, Josh and Nedda Logan, Ray Walston, Lyle and Donna Wheeler were among those that became 'ohana (family) and friends to many of us. South Pacific, based on the book by James A. Michener and produced by 20th Century Fox, gave to the world a romantic musical film that had serious overtones of racial prejudice. This was a first. The film was also doubly blessed with the memorable music of Rogers and Hammerstein. It is still seen and loved by millions of people throughout the world.

     The song "Bali Hai" can still haunt a movie dreamer when Bloody Mary (Juanita Hall), looking out to the cliffs of Ha'ena, sings:

             "Bali Hai may call you, Any night, any day, in your heart you'll hear it call you..come away,                  come away..."

     As movie dreamers sit in darkened theaters and hear the calling of Bali Hai, their own dreams begin:

FADE IN:

     Two lovers holding hands as the sun sets behind a darkened cloud, a wave crashes on a white sandy beach, the sky turns crimson, lovers and coconut trees are silhouetted black against the red panorama....the music swells...

FADE OUT:

     Kaua'i

     This book is about dreams. This book is dedicated to all those who love movies and who love Kaua'i.

-David Penhallow

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