Aside from the trailblazing footage of wildlife which is at the core of this film there is also the jaunty Mrs Johnson herself, a button-faced flapper of the veldt in jodhpurs and wide-brimmed safari hat as adept at whipping up an apple pie as with a rifle or a camera. Her husband Martin is usually glimpsed only fleetingly, stooped over his camera (which in those days still had to be manually operated by a crank); and while he's filming Osa is the one holding the gun, which we see her using to decisive effect on any wildlife who notice their presence and show their disapproval by charging. Considering the pioneering use of photographic technology this film represents, it's bizarrely appropriate that their Kenyan trek is at one point briefly gatecrashed by none other than the septuagenarian photographic pioneer George Eastman himself brandishing his own Kodak camera before going on his way to leave the Johnsons to continue stalking their lion.
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