Early in his career Shamroy took a position with documentary pioneer Robert Flaherty on a Mexican project titled Acoma, the Sky City — an ambitious ethnological film about an ancient Indian tribe. The fragile economy of independent filmmaking combined with the era’s precarious film storage practices produced a cruel reversal: the footage Shamroy had shot was later destroyed when the warehouse storing it went up in flames. For a young cameraman eking out a living, that loss was not merely financial but existential — entire sequences of work, potential calling cards and a stake in a new documentary company were incinerated. Flaherty had wanted to form a new company and invited Shamroy into the venture, but Shamroy’s own cash crunch (he later admitted to squandering money on “poor starving girls and on whiskey”) left him unable to fully commit. The burned reels left him with nothing to show and helped push him back toward studio opportunities; within a few years he would be signed by B. P. Schulberg at Paramount in 1932. The destroyed Acoma footage remains one of those Hollywood-source tragedies where careers and cultural records were erased in an instant.
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