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from a stream, a standing freight train visi- ble in the background. He then sneaks aboard the locomotive and nestles down into a space at the base of the smokebox, a strat- egy this film’s commentator Todd DePasti- no, author of Citizen Hobo, speculates was employed to facilitate filming scenes from the hobo’s perspective (other hobo vantage points include from inside of and atop a box- car, and from the ground as he is booted off several trains). The route of the train takes it over the nearly mile-long swing-span Celilo Bridge across the Columbia River, through seven tunnels, and across several trestles. A one point the camera catches a Deschutes Railroad passenger train racing along the opposite bank of the river. Else- where, a striking but unidentified steel bridge towers above the track, brakemen hurry across the top of the moving train to nab the hobo, and a handcar crew hustles to get out of the way of the approaching train. In the background, section gang housing, various lineside sheds, water tanks, and similar railroad atmosphere. DePastino also narrates The “Promised

Land” Barred to “Hoboes” (1936), a two- minute Hearst Metrotone sound newsreel detailing California’s attempt to block entry to migrants from other states who are seek- ing work. Rail footage includes police and railroad employees searching for hoboes on a moving mixed freight, seen opening hatch- es on refrigerator cars in a scene reminis- cent of the movie Emperor of the North. And then there’s The Harvey-detour

(1926). This Atchison, Topeka & Santa Fe Railway Company/Fred Harvey Company 16-minute film was released to promote a new travel program by that name, created to boost sales in their decades-old Southwest- ern tourism venture that was being eroded by the emergence of automobiles. The Indi- an-detour program offered Santa Fe passen- gers traveling between Chicago and Los An- gles an optional three-day motor tour

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through central New Mexico. Detraining in Las Vegas or Albuquerque, following a fixed schedule, and accompanied by Indian-detour “Couriers,” young women we today call tour managers, guests would spend two nights in the Harvey La Fonda hotel in Santa Fe, with optional side trips to other locations. The film captures travel in a Harveycoach, buses nicknamed “Road Pull- mans,” or smaller Harveycar, and passengers visiting ancient ruins and inhabited pueb- los, and interacting with Native Americans. The set’s Program Notes point out that

while The Indian-detour at its peak operat- ed every day year-around and averaged 40,000 tourists a year, it was never prof- itable and ceased operation within five years. Other railroad-related films include We

Can Take It (1935), a 21-minute U. S. De- partment of Agriculture film documenting the experiences of Civilian Conservation Corp workers in the national forests of northern California. Here, however, rail- road footage is limited to showing inductees arriving at training camp aboard a string of trolleys, and departing by a long train hauled by cab forward No. 4121. Lake Tahoe, Land of the Sky (1916), a six-minute film, opens with a passenger train headed by an oil-burning steam locomotive arriving at Truckee under heavy snow fall. And Mex- ican Filibusters (1916), a 16-minute film, portrays smuggling guns into Mexico to sup- port the 1910-’20 Mexican Revolution. Much of the story focuses on a train that’s hauling illegal arms. The production company, Kalem Film, one learns, specialized in rail- road action films, including the long-run- ning railroad series The Hazards of Helen (1914-1917). Episode 26 of the series, “The Wild Engine,” and episode 13, “The Escape on the Fast Freight” (both 1915), can be found in NFPF’s More Treasures from Amer- ican Film Archives and Treasures III, re- spectively. And so as to not disappoint those who

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