Would you like to come and have a drink with us this evening at eight o’clock?
Your friend,
Gerald Durrell
My good friend,
Expect me at 7.30 p.m. Thanks.
Your good friend,
Fon of Bafut
Chapter Five. Film Star Beef
There are several different ways of making an animal film, and probably one of the best methods is to employ a team of cameramen who spend about two years in some tropical part of the world filming the animals in their natural state. Unfortunately this method is expensive, and unless you have the time and the resources of Hollywood behind you it is out of the question.
For someone like myself, with only a limited amount of time and money to spend in a country, the only way to film animals is under controlled conditions. The difficulties of trying to film wild animals in a tropical forest are enough to make even the most ardent photographer grow pale. To begin with you hardly ever see a wild animal and, when you do, it is generally only a momentary glimpse as it scuttles off into the undergrowth. To be in the right spot at the right time with your camera set up, your exposure correct and an animal in front of you in a suitable setting, engaged in some interesting and filmable action, would be almost a miracle. So, the only way round this is to catch your animal first and establish it in captivity. Once it has lost some of its fear of human beings you can begin work. Inside a huge netting ‘room’ you create a scene which is as much like the animal’s natural habitat as possible, and yet which is – photographically speaking – suitable. That is to say, it must not have too many holes in which a shy creature can hide, your undergrowth must not be so thick that you get awkward patches of shade, and so on. Then you introduce your animal to the set, and allow it time to settle down, which may be anything from an hour to a couple of days.
It is essential, of course, to have a good knowledge of the animal’s habits, and to know how it will react under certain circumstances. For example, a hungry pouched rat, if released in an appropriate setting and finding a lavish selection of forest fruits on the ground, will promptly proceed to stuff as many of them into his immense cheek pouches as they will hold, so that in the end he looks as though he is suffering from a particularly virulent attack of mumps. If you don’t want to end up with nothing more exciting than a series of pictures of some creature wandering aimlessly to and fro amid bushes and grass, you must provide the circumstances which will allow it to display some interesting habit or action. However, even when you have reached this stage you still require two other things: patience and luck. An animal – even a tame one – cannot be told what to do like a human actor. Sometimes a creature which has performed a certain action day after day for weeks will, when faced with a camera, develop an acute attack of stage fright, and refuse to perform. When you have spent hours in the hot sun getting everything ready, to be treated to this sort of display of temperament makes you feel positively homicidal.
A prize example of the difficulties of animal photography was, I think, the day we attempted to photograph the water chevrotain. These delightful little antelopes are about the size of a fox-terrier, with a rich chestnut coat handsomely marked with streaks and spots of white. Small and dainty, the water chevrotain is extremely photogenic. There are several interesting points about the chevrotain, one of which is its adaptation to a semi-aquatic life in the wild state. It spends most of its time wading and swimming in streams in the forest and can even swim for considerable distances under water. The second curious thing is that it has a passion for snails and beetles, and such carnivorous habits in an antelope are most unusual. The third notable characteristic is its extraordinary placidity and tameness: I have known a chevrotain, an hour after capture, take food from my hand and allow me to tickle its ears, for all the world as if it had been born in captivity.
Our water chevrotain was no exception; she was ridiculously tame, adored having her head and tummy scratched and would engulf, with every sign of satisfaction, any quantity of snails and beetles you cared to provide. Apart from this she spent her spare time trying to bathe in her water bowl, into which she could just jam – with considerable effort – the extreme rear end of her body.
So, to display her carnivorous and aquatic habits, I designed a set embracing a section of river bank. The undergrowth was carefully placed so that it would show off her perfect adaptive coloration to the best advantage. One morning, when the sky was free from cloud and the sun was in the right place, we carried the chevrotain cage out to the set and prepared to release her.
‘The only thing I’m afraid of,’ I said to Jacquie, ‘is that I’m not going to get sufficient movement out of her. You know how quiet she is … she’ll probably walk into the middle of the set and refuse to move.’
‘Well, if we offer her a snail or something from the other side I should think she’ll walk across,’ said Jacquie.
‘As long as she doesn’t just stand there, like a cow in a field. I want to get some movement out of her,’ I said.
I got considerably more movement out of her than I anticipated. The moment the slide of her cage was lifted she stepped out daintily and paused with one slender hoof raised. I started the camera and awaited her next move. Her next move was somewhat unexpected. She shot across my carefully prepared set like a rocket, went right through the netting wall as if it had not been there and disappeared into the undergrowth in the middle distance before any of us could make a move to stop her. Our reactions were slow, because this was the last thing we had expected, but as I saw my precious chevrotain disappearing from view I uttered such a wail of anguish that everyone, including Phillip the cook, dropped whatever they were doing and assembled on the scene like magic.
‘Water beef done run,’ I yelled. ‘I go give ten shillings to the man who go catch um.’
The effect of this lavish offer was immediate. A wedge of Africans descended on to the patch of undergrowth into which the antelope had disappeared, like a swarm of hungry locusts. Within five minutes Phillip, uttering a roar of triumph like a sergeant-major, emerged from the bushes clutching to his bosom the kicking, struggling antelope. When we replaced her in her cage she stood quite quietly, gazing at us with limpid eyes as if astonished at all the fuss. She licked my hand in a friendly fashion, and when tickled behind the ears went off into her usual trance-like state, with half-closed eyes. We spent the rest of the day trying to film the wretched creature. She behaved beautifully in her box, splashing in a bowl of water to show how aquatic she was, eating beetles and snails to show how carnivorous she was, but the moment she was released into the film set she fled towards the horizon as if she had a brace of leopards on her tail. At the end of the day, hot and exhausted, I had exposed fifty feet of film, all of which showed her standing stock still outside her box, preparatory to dashing away. Sadly we carried her cage back to the Rest House, while she lay placidly on her banana-leaf bed and munched beetles. It was the last time we tried to photograph the water chevrotain.