Maya (MGM) (1966)

ADVENTURES WITH A SACRED ELEPHANT Jay North (standing) and his Indian friend, (Sajid Kahn), pole a raft carrying a sacred white elephant across a crocodileinfested jungle stream in one of the exciting sequences of ‘‘Maya.”’? Clint Walker also stars in the King Bros. adventure drama for Metro-Goldwyn-Mayer, photographed in Panavision and Technicolor entirely on locations in southern India. Still VT-26 Maya Mat 2-A JAY NORTH'S NARROW ESCAPE IN SCENE AT CAUVERY FALLS IN INDIAN JUNGLE One of the most exciting sequences of the new King Brothers adventuredrama, “MAYA,” filmed for MGM release entirely in India, was photographed at Cauvery Falls, thirty-five miles outside of Mysore, deep within the treacherous jungles. Clint Walker, Jay North and the noted young Indian actor, Sajid Kahn, play the leading roles in “MAYA,” but when this sequence was filmed, Jay North found himself playing a real-life role that was even more breathtaking and dangerous than that of the screen play. The scene called for him to try to navigate the swift currents of Cauvery Falls in a basket-shaped boat known as a coracle. In the script, the coracle, caught in the turbulent rapids, is supposed to capsize, after which young North is forced to swim for his life against the strong current carrying him toward the deadly falls. However, his cries for help are heard by Sajid, who dives into the water and saves him. The scene was shot twice but director SHE'S KNOWN AS “KISSING SONIA” The only featured female role in MGM’s King Brothers adventuredrama, “MAYA,” filmed entirely on locations in India, is played by the Indian actress Sonia Sahni, better known as “Kissing Sonia.” Born in Kashmir, Sonia attracted national attention at the age of fifteen when she was prosecuted for kissing her boy friend in a public garden. Subsequently she won the Miss Kashmir Beauty Contest and then was starred in the Indian film, “Goa.” ws “Goa” showed Sonia ina kissing scene and marked the first time that such a scene had appeared on Indian screens, setting off a storm of protests from social and religious organizations throughout India. Incidentally, in “MAYA,” which stars Clint Walker and Jay North, “Kissing Sonia’ goes throughout the entire film — kissless. THE ADDITIONAL SCENE AND PLAYER MATS, SHOWN IN THE COMPLETE CAMPAIGN MAT ON ANOTHER PAGE, MAY BE ORDERED SINGLY. John Berry was dissatisfied with both “takes.” Once again the call for “action” was heard. North manned thie coracle which capsized on schedule, but the young actor made his cry for help too soon. The “MAYA” crew were surprised since North had impressed them with his sense of timing and professionalism before the cameras, Berry shouted, “Cut,” and turned toward his errant star, still swimming against the current, only to hear the youth call out, “Help! I mean for real!” Berry, assistant director Bluey Hill and cameraman Gunther Sentfleben dived into the rapids, clothes and all, but it was Sajid who reached North first and pulled the exhausted star to safety. It happened just the way it was called for in the screen play of “MAYA,” but unfortunately, they had to stage the sequence over again the next day. This time, however, it was filmed successfully in just one “take.” A worried Sonia Sahni looks on as Clint Walker kills his son’s pet cheeta, which he believes to be dangerous, in this scene from “Maya.” Jay North portrays the son in the thrillpacked King Bros. adventure drama for Metro-GoldwynMayer, filmed in Panavision and Technicolor entirely on locations in southern India. Still VT-70 Maya Mat 1-B “MAYA” SPELLBINDING ADVENTURE FILMED BY KING BROS. ON LOCATION IN INDIA, STARRING CLINT WALKER AND JAY NORTH One of the most unique and fascinating motion pictures ever brought to the screen, “MAYA,” new King Bros. production for Metro-Goldwyn-Mayer, is at one and the same time a thrill-packed, pulsating adventure-drama, the warm story of the friendship between an American and Hindu boy who set out together on a perilous quest, and, finally, a breathtaking experience in the jungles, mountains and exotic cities of India in settings never before photographed for a feature film. “MAYA,” which stars Clint Walker and Jay North and introduces the talented twelve-year-old Indian actor, Sajid Kahn, was filmed in Technicolor and Panavision entirely on locations in southern India, Here is unfolded the moving story of Terry (Jay North) who comes from Wyoming to visit the white hunter father, Hugh (Clint Walker), whom he has always envisioned as a hero, only to find him a coward terrified of wild animals after having been clawed by a man-eating tiger. When Terry runs away into the jungle and comes close to drowning when he is swept over a falls, he is saved by the Hindu boy, Raji, a meeting which leads to remarkable adventures when he subsequently joins Raji on a journey, On this journey, Raji is charged with the responsibility of taking Maya, a mammoth female elephant, and Primo, her unique and_ priceless white calf, toa temple at faraway Thali Kal, where the small white elephant will be a sacred symbol. The adventures that befall the boys when they are tracked down by OneEye (I. S. Johar), who plans to steal the elephant and sell him for a fortune, are among the most hair-raising ever depicted on the screen, involving the burning of a village, the flight of the youngsters from a pursuing mob of enraged natives, the astounding battle between Maya and two ferocious tigers in an effort to protect her offspring, and an equally thrilling climax in which Hugh, who has been seeking Terry, redeems his honor. The fascinating locales for the action of “MAYA” include the colorful city of Mysore, Chamarajanagar Station, where 5,000 natives participated in scenes, the Bazaar at Nanjangud, the Festival of Holi, magnificent Cauvery Falls, the Masangudi jungles and such other exotically named places as Mudunulai, Ootay, Ootacamond and Mahabali Puram. It is doubtful that any motion picture previously has offered such unusual and arresting backgrounds. Together with Sajid Kahn and I. S. Johar, the cast features such noted Indian players as Sonia Sahni, one of her country’s most popular actresses, and Jairaj, who scored in “Nine Hours to Rama.” Produced by Frank and Maurice King, “MAYA” was directed by John Berry from a screen play by John Fante. Enriching the film is a brilliant musical score by Riz Ortolani in which the noted composer utilized authentic Indian instruments. The most ambitious of the successful productions made by the King Bros., “MAYA” is a picture which will hold tremendous appeal and excitement for every member of the family. It is filmmaking at its most wondrous, WHITE HUNTER FIGHTS MAN-EATING TIGERS IN “MAYA” THRILL Watched by his son (Jay North) and the latter’s Indian pal (Sajid Kahn), Clint Walker faces a pair of ferocious tigers in one of the thrilling scenes of ‘‘Maya.’’ The King Bros. production for Metro-Goldwyn-Mayer, filmed in Panavision and Technicolor entirely on locations in southern India, unfolds a fascinating story of adventure and heroism amid jungles, mountain passes, raging rivers and exotic Indian cities and temples—never before seen in a feature motion picture. Still VT-95 HoghsBowenp. = see CLINT WALKER WEREY ABOWOM) 222-522-ces soccer wees JAY NORTH ‘One. Byes ae a I. S. Johar RGU tig eee tare ee ee nee Sajid Kahn GammusGhatien 6 eee ees Jairaj =o) 1/2) [0 Pamir cette tlie Mice e eR toner ea Sonia Sahni Raji ssirathen 2-2. ae ee Nana Palshikar One-Eye’s Daughter -..........-......--Uma Rao Station Master -....-.-..... Madhusdan Pathak Produced by Frank King and Maurice King. Directed by John Berry. Screen Play by John Fante. Adaptation by Gilbert Wright. Based on the story “The Wild Elephant’’ by Jalal Din and Lois Roth. Music Composed and Conducted by Riz Ortolani. Director of Photography: Gunter Senftleben, C.d.k. Photographed in the Jungles of India. Color by Technicolor. Filmed in Panavision. Art Directors: Edward S. Haworth, Ram Yedakar. Unit Production Manager: Clarence Eurist. Assistants: Baba Shaikh, Chimankant Gandhi. Assistant Director: Bluey Hill. Special Effects: Milt Rice. Continuity: Trudy Von Trotha. Film Editor: Richard V. Heermance, A.C.E. Assistant Film Editor: Don Guidice. Recording Supervisor: Franklin Milton. Recordist: Pandurang Boloor. Make-Up by Reudiger Von Sperl. Associate Producers: Mary P. Murray, Herman King. A King Bros. ProMetro-Goldwyn duction. Presented by Mayer. Maya Mat 3-A “FESTIVAL OF HOLI” IS ONE OF UNIQUE AND EXOTIC BACKGROUNDS IN “MAYA” One of the emotion-charged sequences of MGM’s new King Brothers production, “MAYA,” called for the wild, kalaeidoscopic revelry that accompanies the annual celebration of the Festival of Holi. This is observed in every village, in every town, city and state throughout the whole of India. The festivities, commemorating a four-thousand-year-old myth, manifests itself by the gathering of entire villages, with a release of the year’s pent up privations let loose in carefree When Clint Walker was shopping on the streets of Mysore, during a free moment from his starring role in Metro-GoldwynMayer’s “MAYA,” filmed entirely on locations in India, he was amazed to see a beggar, his arms and legs twisted into knots, crawling toward him. He was moaning and holding out his hand. After Walker had given the man some money, he told the merchant to tell him that, as one actor to another, he applauded his superb performance. After the beggar heard the translation, he pulled himself erect, gave Walker a furtive smile, and strolled off with dignity. abandon during which there is an excess of dancing, singing and tossing of colored waters and colored powders. During the location shooting in India of the exciting adventure-drama, starring Clint Walker and Jay North, nothing was “staged.” Sequences were snatched from the raw elements offered by the gigantic natural locales, from perilous virgin jungles, treacherous crocodile-infested rivers, heretofore inaccessible canyons and mountain tops. The producers of “MAYA” therefore wanted not a staged copy of the Festival of Holi, but the real thing. But at first, all their efforts to film the traditional sacrilegious holiday with Panavision and Metrocolor cameras met with firm refusal. Then a last-minute reprieve arrived. The tribal heads of several villages surrounding Mysore were called together and told the plot of the motion picture. After long consultation they decided that “MAYA’s” _ three-dimensional theme of compassion, understanding and friendship between a young American lad and an Indian boy would greatly ameliorate the relationship between India and the United States. Thus, for the first time in the history of Indian culture, permission was granted to film the Festival of Holi in all its natural magnificence. It is one of the many “firsts” the spectacular King Brothers production is bringing to movie audiences all over the world with the release of “MAYA.”