While working on an ethnological project that sent him across Asia in 1930, Leon Shamroy claimed the voyage aboard the liner Empress of Canada became a waking horror. Two days out of Yokohama a ‘‘fourth‑class’’ passenger allegedly ran amok and, according to the account repeated in studio biographies, stabbed some thirty people to death. Shamroy and the rest of the film crew later told a vivid story about crawling among the chaos to salvage a battered camera and roughly 100,000 feet of footage. The material Shamroy shot during that period — contraband takes from Japan, China, the Dutch East Indies, Bali, Samarai and Batavia — later found an unlikely second life when, during World War II, he gave portions to the U.S. War Department, which used the imagery for target assessment. The tale has cemented itself in Shamroy lore as an almost cinematic brush with death on an otherwise routine research trip and became a staple anecdote in profiles of the cinematographer for decades.
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