CAST AWAYS: Part XII

Cary Grant and Audrey Hepburn during Charade.

If there were two stars who seemed destined to be co-stars-- celebrity soul mates-- it was Cary Grant and Audrey Hepburn. No other actors or actresses were as synonymous with "style," nor was anyone a better representative of "class" for their sex. Quickly after Audrey's appearance in Hollywood, studios were already scrambling for a project that would contain the killer combo of Grant and Hepburn, yet it would take awhile before that cinematic dream would come true.

Cary was first offered the role of "Linus Larrabee" in Billy Wilder's Sabrina, but he turned the role down, perhaps because he didn't want to go toe to toe with William Holden, who would be playing the "better looking," younger brother, "David." Instead, the plum part went to Humphrey Bogart. The film probably wouldn't have been as unpredictable had Audrey wandered off into Cary's arms at the end. Everyone would have seen that one coming. Bogie's macho attitude and antipathy toward love actually created the proper amount of surprise and transformation needed to add a little depth to the role. Yet, audiences were still longing for the Cary-Audrey pairing, which is why Cary was next offered the role of "Frank Flannagan" in Love in the Afternoon, again to be directed by Billy Wilder. Nay! He turned it down again! He believed himself too old to play Audrey's romantic leading man. So, this time, Gary Cooper would fill the shoes of Audrey's befuddled, elder romancer, which of course, he did quite nicely. Still, Cary's uncanny business sense was correct. Gary, though still handsome and alluring, was a wee bit too old for the part, which resulted in Billy's strategic, shadowed lighting. Also, I don't know if Coop chose to play this role as chronically drunk, or if he really was, but to me it kind of works. He is a hoot in it, and it is unlike any other role he played. It is also nice to see the girl leading the guy in romantic circles for a change, which is why this is one of my favorite Hepburn roles. (The duo do their famous goodbye/hello at the film's end, left).

Finally, 6 years after the last offer, Cary and Audrey would come together at long last in Charade. Yet, even this gem was almost missed! Cary was still reticent about playing a creepy old man-- ironic, considering that he is the only man in the universe would could pull off that courtship and still seem so very Cary. So, while he kicked the idea around, the film was considered as a vehicle for Warren Beatty and Natalie Wood. Eek. I love both of the latter performers, but the film needed a classic vibe to work, and the fresh faces of Warren and Natalie would've been the wrong ingredients. Paul Newman was also considered for the lead, but his rate was too high. So, Cary came up with a compromise. He would take on the part, if the script were changed so that Audrey would be chasing him, and not the other way around. Agreed! Despite an unfortunate first meeting, in which a humiliated Audrey spilled wine all over Cary's perfectly tailored suit-- no worries, he sent her flowers the next day-- the two got on swimmingly. Thus, we are left with one of the funniest crime-spoof-capers in film history. (Audrey administers some TLC to Cary's Peter Joshua/Carson Dyle/Whatever his name is).

The chemistry between Audrey and Cary was just as wonderful as anyone could have dreamed. Clearly, Cary was kicking himself for not working with Audrey sooner, because as soon as production ended, and he was asked what his next goal was, he answered that he wanted to "make another movie with Audrey Hepburn!" He tried to get her for Father Goose, in fact, but Audrey was more interested in obtaining the lead in My Fair Lady. The role of "Catherine," therefore, went to Audrey's equally stunning pal, Leslie Caron (left). "Grantburn," as we'll call them, was sadly never to work together again, although there was one last chance: Cary was offered the role of "Henry Higgins" in My Fair Lady!!! However, Cary refused the role, saying that it belonged to Rex Harrison, who had brought it to life on stage. So certain was he that Rex deserved the part, that he told George Cukor that he would not even go to see the movie if he cast anyone else! Still, Rock Hudson, Peter O'Toole, and Laurence Olivier were all considered before Rex won that argument! Rock Hudson as Henry Higgins?!?!?! 

Back to Audrey: The Children's Hour remains a fascinating piece of filmmaking. Risque in its day, William Wyler explored themes of homosexuality in ways that few directors had yet been bold enough to attempt. Indeed, he had made the film before in 1936 with Merle Oberon in the role of "Karen," Miriam Hopkins in the role of "Martha," and Joel McCrea as "Joseph," (the role that would later belong to James Garner). Titled These Three, the film was unfortunately subjected to censorship restraints, meaning that all hints of lesbianism were erased from the plot, unceremoniously turning it into the typical, love triangle film. Nonetheless, perhaps hoping to give the former actresses a glorious piece of the later 1961 version, Wyler asked them to take on the roles of "Mrs. Lily Mortar" and "Mrs. Amelia Tilford." Only Miriam agreed  to sign on as Aunt Lily, performing at her usual, hysterical best. (It was perhaps fortuitous that Merle didn't sign on, since she and Audrey would, in time, share the love of their lives in Robert Wolders).

Shirley MacLaine rocks your world!

Audrey almost didn't get a chance to be in The Children's Hour, since one of the original pitches was to have Doris Day and Katharine Hepburn in the two leads. Now, I love me some Doris and Kate, but imagining the film without the deeply tortured and heartbreaking performance of Shirley MacLaine is unthinkable (see left)! Audrey too proved to be the perfect counterpoint to Shirley's highly nervous Martha, giving her own portrayal of Karen a believable blend of cool intelligence and wounded naivete. Both are lost souls in their own way whose lives are torn assunder by an outrageous lie that proves to be half true. A good movie makes you feel, a great one makes you think, a perfect one does both. As with most Audrey films, this one safely falls into the perfect category.

HALLOWEEN SPOOKTACULAR III

Mary prepares for the Holidays...

This year's batch of devilish dollops to whet your seasonal appetite fall into the category of "Psychic Stress." More than one illustrious celebrity has rubbed elbows with a preternatural force, tangled with a daunting premonition, or had a profound supernatural revelation that left him or her a little worse for the wear. These moments of human and spiritual meeting do not consistently end in profound terror, but a brush with the dark side of existence is never easy to shake off. Curiosity may not always kill the cat, but it definitely leaves a scratch or two. Here are a few members of the Hollywood Haunted:

Mary Pickford left a lasting impression on Hollywood. In fact, so strong was her presence, that more than one witness claims that she continued to hang around her former abode-- Pickfair-- after her death. The fact that she had lengthy conversations with her deceased ex-husband, Douglas Fairbanks, while she was bedridden late in her own life makes one wonder whether she was simply losing her mind or talking to the actual ghost of her beloved. She was definitely a woman who had trouble letting go. Interested in the supernatural realm during her own life, Mary would have more than one spooky encounter with the other side. One would give her the chills. Another... had a different effect.

As a woman who always liked being "in the know," Mary (left) liked to have a plan. She always had her bases covered. Unfortunately, not all in life is spelled out for the living. You have to make it up as you go. A type-A kind of gal like Mary had problems with this. Patience was one thing; being ignorant of the unknown was far too daunting and left her vulnerable. As such, she decided to confer with fortune tellers from time to time, just to keep her abreast of what was to come, not to mention quell her loneliness. She often had her tea-leaves read. This way, she knew when something "wicked" was coming along, and she was also able to take peace in the fact that something joyous was approaching. One particular day-- June 11, 1939 to be exact-- Mary's Irish maid was asked by her miniature employer to  scrutinize the remnants of her tea cup. The maid complied and made the following revelation from the dilapidated leaves: "I see someone stretched out lifeless... He is close to you, and he is not close to you. He is either dying or dead, but I don't see you crying." The next day, the body of Owen Moore, Mary's first and ex-husband, was found lying dead as a doornail on his kitchen floor. He had been there undiscovered for two days. (Pause for Mary's gulp).

Mary may not have been too upset over Owen's demise, as the two had long since parted-- and not on glowing terms-- but she was deeply grieved by the death of her good friend Marshall Neilan (right) when he passed away in 1958 due to throat cancer. (Coincidentally, he had been staying at the Motion Picture Country House, an establishment for former stars that Mary had helped establish-- one of her many charities). Losing her long-time friends in droves, Mary seemed to be outlasting everyone. The world she had once known was quickly disappearing, and the life she currently had seemed empty without her once trusted companions to reminisce with. That's why it meant so much to her when Mickey popped up from beyond the grave to give her a reassuring "wink" of sorts. She was part of a very small pack who had been invited to attend Mickey's wake at the Knickerbocker Hotel, where an open beer waited at the end of the bar bearing the tag: "Reserved for Mickey Neilan." He was a humorist to the end... and after. See, Mary was deeply grieved and found this last wise-crack in poor taste, so she opted not to attend the wake. But, when she tried to leave the funeral and head for the cemetery instead, her car died. Mary had the sneaking suspicion that Mickey was playing one last prank and begging her to have one last drink with him. She smiled to herself, caught a cab, and hit the Knickerbocker at his request.

Bebe Daniels (left) was another silent film beauty who was directly responsible for the advancement of cinema as a reliable art form. Co-starring with such luminaries as Rudolph Valentino and Gloria Swanson, Bebe's reputation as a professional actress and generous woman made her universally adored. To fans, she was like a gift from the heavens: a star. Bebe too would receive a "gift," and it would leave her simultaneously shaken and grateful. See, Bebe had a bit of what is known as a "lead foot." In fact, she once had to serve a jail term when she was caught speeding (yet again) in Orange County. A spirited girl, somewhat reckless, it was clear that despite her jovial, good-natured demeanor, she was headed for trouble if she didn't start paying attention. Aside from her automobile inclinations, there didn't seem to be anything wrong with the girl, who was able to make everyone from Harold Lloyd to Jack Dempsey fall for her. She didn't stress; she didn't fret. Until... she had a dream. Adela Rogers St. Johns would recall the story: Bebe confided that one night, she had a strange but peaceful dream about a deceased couple that she had known. She came upon them at an unfamiliar white house, and they invited her inside. It was a good dream-- like seeing old friends. An eternal optimist, Bebe probably felt her good pals were just popping in to say "hello" from the other side. They had a different agenda. A few days later, she was racing around in her roadster, yet again, when her scarf blew into her face before a nasty curve and blocked her vision. She nearly crashed! Thankfully, she was as sharp as she was speedy, and she was able to avoid the collision. However, when she looked up, she saw the same white house that had been in her dream. Her mouth most probably hit the floor. She got the message. As she told Adela, that was the last day she sped. She spent the rest of her life focusing on more important, less dangerous things (save for her involvement in WWII, in which she became one of the most decorated women in history for her heroic efforts overseas).

Linda Darnell (right) and Natalie Wood probably never met. Their careers in Hollywood did overlap, but Linda's 15 year seniority meant that they would never have run in the same social circles. Linda too worked primarily at Fox; Natalie was less exclusive, but did a large majority of her early and most successful work at Warner Brothers. The two women had a lot in common, however. Both were incredibly young when they began their acting careers: Linda 15, Natalie 5. Both were dark-featured beauties with angelic faces, yet they were equally capable of giving meaty and gutsy performances. Both were family breadwinners even in their tender years, and both had tempestuous relationships with their mothers. More eerily, both had an astonishing sixth sense about their own deaths. Linda had held a deep fear of fire since her early youth, and had a nervous presentiment about burning to death. This did not make her scene in Anna and the King of Siam, in which she was burned at the stake, all that pleasant. She too had a close call during the big fire sequence of Forever Amber, in which she actually was physically burned, albeit not badly. Cinematographer Leon Shamroy stated that she barely escaped death when the set's roof caved in, all aflame. The fear never left her. In 1965, she would be severely burned all over her body at the home of her friend Jeanne Curtis when it caught fire and she failed to get out in time. She passed away less than 2 days later.

For her part, Natalie (left) had a pathological fear of drowning. In fact, her sister Lana once stated that Natalie's mother, Maria, had foretold her daughter that she would die in dark water. The root of Natalie's supposed phobia is often traced back to the experience she had while filming The Green Promise. During one particular sequence, she was to rush across a bridge to rescue her pet lambs. Unfortunately, she was knocked off the bridge by the raging water and nearly swept under, had she not been able to grab a hold of the collapsing bridge. To make matters worse, the director William D. Russell, urged the crew to keep filming, while Natalie clung for dear life and her mother tried to quell her own desperate hysterics. Aside from being nearly drowned, Natalie also suffered a broken wrist. The terrified look on the 10-year-old's face in the final cut is no act. Her fear continued into her adult life where she would avoid her own swimming pool for fear of being eternally submerged. Her on-again-off again husband, Robert Wagner, managed to coax her into a trip aboard his boat with pal Christopher Walken in 1981, despite her fears. Natalie would never return to shore. It is claimed that she drunkenly fell overboard while trying to reach the yacht's dinghy (after a lover's spat). To this day, mystery clouds her death, for many assert that she was far too terrified of water to ever make such a brazen attempt as rowing herself ashore alone. Foul play or cruel fate? It appears death by fire and water were in the cards for these two tragic ladies.

Montgomery Clift (right) has been known to do a little creeping around. His trumpet continues to put on a concert at the Hollywood Roosevelt Hotel where his restless spirit eternally continues to pace the hallway in preparation for his role as "Pvt. Prewitt" in From Here to Eternity. Craig Chester, a modern actor and writer who authored Why the Long Face?: The Adventures of a Truly Independent Actor about his battle with a congenital disorder, had a lengthy and otherworldly connection to Monty, whose ghost seemed to maintain close contact with him in order to foster his own acting career and acceptance of his homosexuality. Craig's painful ordeal and metamorphosis from a child suffering from Long Face Syndrome to a surgically salvaged, handsome man, when contrasted with Monty's converse demise from a man of beauty to facial mutilation, also seems to strengthen the bond between them. Monty was always a fascinated and fascinating man in his life, but if he had any interest in the supernatural he kept it to himself. However, the "forces that be" seemed to have a deep need to communicate with him while he walked this earthly plane. In fact, he received an early warning that his years would be abruptly cut short. When stopping at a bar at the Camden Airport with his one time secretary Arlene Cunningham and friend Ned Smith, the trio encountered a handwriting expert, who must have recognized the movie star and offered his services. Monty scrawled out a little something or other, perhaps his autograph, and the graphologist diagnosed it: "You're the most disturbed man I've ever met-- you'll die young." True to form, Monty passed away at 45 years of age.

Mae West (left) is perhaps the last person that anyone would connect to the occult. However, Mae was a much more curious and open-minded person than many realize. By 1941, she had already made her major Hollywood films, including My Little Chickadee and She Done Him Wrong, which had made her a sexual icon, early feminist, and all-around business dynamo. After all the hustle and bustle of Tinsel Town, Mae was tired and looking forward to more time spent on the stage. First and foremost, she wanted a vacation. Always close with her mother, Mae was devastated when "Tillie" passed away over a decade earlier. Sitting on top of the world, Mae couldn't help but wonder if there were more "out there" to be reckoned with and more for her to learn. Always an eager student, Mae decided to dip her toe into the tepid pool of the afterlife. Wanting to be as legit as possible (she was as skeptical as she was curious), Mae sought the guidance of Rev. Thomas Jack Kelly, a psychic who was so well-trusted that he was often used as a consultant by the police during investigations. He became a spiritual coach to Mae, teaching her how to meditate, to block out the noise and light, make her mind a blank canvas, and commune with the other side. For days, weeks, Mae tried and tried, but a busy dame like herself had trouble sitting still and opening her mind. She finally decided to give up.

Then, one morning, she was awakened by a little girl's voice. "Good morning, dear," it said. Mae was a little surprised of course, but she was not easily rattled. The voice was pleasant, and Mae wondered if perhaps it came from some sort of guardian angel. She and the Reverend referred to it from then on as Juliet. Soon, more voices came... and presences. Apparently, Mae had "the gift," and her boudoir was often crowded with noisy visitors: spirits who seemed to just want a place to come together and gab. Not to Mae, mind you. In fact, she found it quite rude that these presences were only speaking to each other and not noticing her at all. Then, things turned dark. She woke one morning to find herself surrounded by dark, cloaked figures chanting in a foreign tongue. She tried to speak to them, but they ignored her. This was too much. Mae sat up and told them "Scram!!!" She would recall a look of sadness on the faces of some of the ghosts who were told to finally leave, as if they were hurt that they could no longer share in her earthly aura, but enough was enough. It wasn't that she was scared, mind you. She was irritated! It was one thing to ignore her; it was another to make a lot of gosh-darned noise and wake her up at the break of dawn! That's just bad manners. She never saw any of the entities again, though she had often though that she would revisit the spiritual realm eventually. At the end of the day, the experience made her feel better. She knew her Mama was out there somewhere... She just wasn't going to lose her mind trying to find her! (Mae defies intimidation, right).

When recollecting the masculine idols of the Golden Studio Era, it is easy to forget the short-stacked Mickey Rooney (left). However, when you weigh the evidence, Mickey is one of the most successful actors who ever lived, boasting a career that has spanned nearly 90 years. Over 90-years-old himself, the man is still working, most lately having a cameo in The Muppets. He won America over at a young age, using his unstoppable energy to propel himself up the cinematic ladder: from "Puck" in A Midsummer Night's Dream, to Love Finds Andy Hardy, to National Velvet. He was a bona fide box-office sensation who wed and bed some of the most beautiful women of the silver screen. There's no telling what a little fortitude and charisma can do for you, and Mickey never let his short stature short-change him out of any of life's blessings. However, when his career hit the skids after his notoriety as the energetic boy-next-door wore off, Mickey found himself lost in a sea of self-doubt. He would recall this harrowing time on an episode of "Celebrity Ghost Stories": He had always been close with his mother, Nellie, particularly after his actor father, Joseph, abandoned them. Mickey had, in essence, become the family breadwinner when he and Nellie hit Hollywood. Growing up without a father is rough, and during his later bout with depression, one can only imagine the conflicted thoughts going through Mickey's head. Never having a good man stand in as a father figure, Mickey had no idea what a good man was, or if he was even close to being one. He felt like a failure-- as if the best years of his life were over...

And then, lying in bed one night, Mickey woke to the feeling of someone tugging on his toes. Half asleep, he ignored the sensation at first, but as the peskiness continued, and his consciousness became more alert, Mickey suddenly realised that something weird was going on. He opened his eyes, and there, standing at the foot of his bed, was his father. "Keep going," Joe said. "Don't stop." A series of similar phrases followed, Joe smiled, and then his image disappeared into thin air. Mickey couldn't totally wrap mind around what had happened, and he tried in vain to rationalize what had occurred. Perhaps it had all been an illusion, "an undigested bit of beef, a blot of mustard, a crumb of cheese..." A dream!?!? Mickey pinched himself. He new that what he had just witnessed had been real. His father had come to him, finally, from beyond the grave, to do the best thing that he ever could for his son: offer the encouragement he had not given in life. MIckey did indeed pull himself together and 'go on.' He's still going. He hasn't seen his Pops again, but then, one visit was enough! (Mickey is back up to snuff, right).

Shirley ain't scared 'a no ghost.

That being said, don't let the boogey-man get you down this All Hallow's Eve. Enjoy the merriment and mirth, stick to the road, and try your best not to go down a dark hall alone! Happy Halloween!!!

STAR OF THE MONTH: Tony Curtis

Tony Curtis was told by a number of people, including the legendary Billy Wilder, that he was the "best looking kid in show business." A good 60 years or so after his hey-day, the title may still apply. Tony's beauty and charisma made him stick out like a sore thumb in Hollywood. While he isn't normally revered as one of the top actors in cinematic history, his career, the people he has worked with, and the classic movies that he has made, keep him forever cemented in our memory. You can't look anywhere in the final days of the studio era without bumping into him! This kid loved to work, and he took every opportunity he could to chase his dreams and expand on them. Starting out in silly B-movies, he crawled his way up the ladder to more established and respected roles, rubbing elbows with some of the most famous and lauded talents of his generation, thus making himself one of them. Despite the prejudice he sometimes felt due to his Jewish background, (and the jealousy over his good looks), Tony lived the high life, partied with the best of them, and starred in film after film, determined to prove himself as a good actor. He is a true testament to what a little grit and determination will do! And he did it with style.

 

 Tony with first wife, Janet Leigh

As per usual, it wasn't always wine and roses. The man that Tony would become grew from the insecure and isolated boy he was in his youth. After witnessing the constant fights of his parents and suffering the physical beatings of his schizophrenic mother, Tony would learn to take care of himself. Victimized in his home life, he swore that he would never play the patsy again. When picked on by neighborhood kids, Tony learned to throw a punch; in love, he would search for the perfect nurturer, while refusing to be pinned down himself or forced to play the subservient male he saw in his own father. He spent his youth swinging his fists, hellbent on finding his freedom and getting the heck out of the Bronx-- but he always carried its mettle with him. An early means of escape and detachment came from the movies. Despite whatever pains he was dealing with, including the shocking death of his younger brother Julie, Tony could always disappear in cinema. After joining the Navy at the age of 16, Tony served his time, grew into a man, and pursued his dreams as a Hollywood superstar. Despite all the cards stacked against him, he succeeded far beyond his expectations.

With Sidney Poitier in The Defiant Ones

Tony became the symbol of the American dream: a boy from humble upbringings living a fairy tale life at the top. Married to beautiful actress, Janet Leigh, his career grew and grew, and he lavished in the fame. His boyish quality, the little scalawag he could never quite outrun, followed him to Hollywood, and his audiences loved him for it. The guys copied his duck-tail haircut, and the girls swooned at his cocky pout. But one can only outrun his demons for so long. Tony wanted too much out of life. He overcompensated for the privileges and love he had been denied in his youth until he found himself sinking under the weight of his own desires. One minute he was hanging with Frank Sinatra, starring in films like Some Like It Hot, and living the high life; the next, he was divorced (several times), struggling to find work, addicted to cocaine, and drowning in the sea of depression he had tried for so long to avoid.

Luckily, the fighter came out swinging again. At the ripe old age of 85, Tony has triumphed. Embracing and overcoming all of the obstacles and faults within himself, he has beaten his addictions, found solace in his love of painting, and lives to tell the tales of his crazy life in the movies. He regrets none of it. Filling people in on his romances with Marilyn Monroe and Natalie Wood, he has become our touchstone to the past; a living link to the glamour of the studio days, which have long since passed. The guy simply won't quit, and we don't really want him to! A lifetime of struggles and an unstoppable passion have given him a life full of accomplishments and us a list of classic, American films: The Defiant Ones, The Sweet Smell of Success, Operation Petticoat, Spartacus, and of course, Some Like It Hot. In the long list of roles he's played, the only character more fascinating is the man himself. This month, let's tip our hats to the Manhattan boy with the deep, blue eyes. Sit back, salivate, enjoy!


* We lost Tony a mere two months after this article was written. He died of cardiac arrest on Sept. 30, 2010. Rest in Peace, sweet Prince. We'll miss you.

HOT SPOTS in CA: Sunset & Crescent Heights

This is an odd location to pinpoint as a place of interest, not just because it is an intersection, but because the things that once made it a "happening place" are sadly no longer there. However, its history makes it more than worth mentioning, since at one point in time it was an area of intense energy and notoriety.

If I could give this corner of Hollywood a name, I would call it "Celebrity Haven," but back in the old days, it was simply called "The Corner." On the southeast side of the street sat Schwab's Pharmacy and Googies Diner. Across the street on the southwest, was the grand, the infamous, the scandalous Garden of Allah. This area was like a buffet of movie star "hookups" and sexcapades... or so the story goes.

Let's take these one at a time!

Schwab's Pharmacy: Located at 8024 Sunset Blvd, Schwab's was the go-to place for Hollywood residents looking for medicine, cigarettes, or a light meal. Oh, and stars galore! Its central location made this spot a great meeting place for industry professionals. It was even featured in a scene from Sunset Boulevard when Joe Gillis runs inside to buy Norma Desmond some cigarettes and bumps into his pals. Clearly, it wasn't just any store; stopping in was a way of life.

Inside its doors, customers grabbed a bite while the wheelers and dealers of the business sat chatting up new ingenues or closing deals on the latest pictures. Writers frequently went there as well, scribbling incessantly between sips of coffee. Marilyn Monroe was a frequent customer, F. Scott Fitzgerald had a heart attack there, and Harold Arlen said he got his idea to write the song "Over the Rainbow" while looking at the neon sign. Though it was rumored that it was here that Lana Turner was "discovered" sipping a chocolate milkshake, she was really spotted at the Top Hat malt shop across from Hollywood High drinking a coke. (You'd think that it would be impressive enough for a young girl to find stardom merely by taking a swig of her drink, but the studios, as always, decided to embellish, making her seem more youthful and innocent.)

Good ol' Schwab's closed its doors on October 22, 1983. Five years later, on October 6, 1988 it was destroyed. Laemmle's Sunset 5 Theater stands in its place, along with a Trader Joe's and a Crate and Barrel store.

Googies Cafe: "Googie" is a name that references a type of architecture specific to America, occurring most particularly in the '50s and '60s. The funky, contemporary style was coined after the construction of the Hollywood coffee shop, Googies, which seemed to exemplify perfectly the heretofore unnamed artistic trend of "up-swept roofs, large concrete domes, exposed steel beams and starburst, amoebae or boomerang shapes." Many commented that the restaurant looked almost haphazard, as if it had been thrown together from random scraps. Googies (no apostrophe) sat at 8100 Sunset Blvd. attached to the western wall of Schwab's. It was designed by architect John Lautner in 1949 and became famous for its odd, futuristic sign. For a time, Steven Hayes (real name Ivan) was the night manager of the cafe, where as an aspiring actor he rubbed elbows with many a celebrity. He wrote a two volume book, recording his encounters with, and memories of, those famous faces he knew only as friends.

On an average night, lines ran out the door as hungry youths clamored for a taste of french fries or a glimpse of their favorite stars. James Dean (above) was a constant customer, coming in with his thick glasses, which he was very insecure about. He was always picking gravel out of his hair from his latest car race. Natalie Wood was often in his company, or trying to be, and Errol Flynn popped in from time to time, (Hayes was such a good friend of Errol's that he even stayed with him at his Mulholland Drive home for awhile). Another famous racer, Steve McQueen, was a customer, as was James Garner, Marilyn Monroe (who came incognito in black wig and glasses), and Zsa Zsa Gabor, who raised quite a stink one night when she failed to get a table. 

Googies watched as the times changed and the stars faded, until finally Googies itself was living in a world absent of its former glamour and prestige. The restaurant was demolished in the '80s, adding itself to a list of landmark restaurant tragedies, such as The Brown Derby.

Garden of Allah: If you stared out the western window of Googies, you could see this establishment across the street. 8080 Sunset Boulevard used to be the location of one sprawling mansion belonging to Alla Nazimova (above), an actress famous for her roles in films like Camille opposite the sultry Rudolph Valentino. After building her home in 1919, the exotic starlet hosted many parties, which became notorious for their hedonistic and downright sinful results. Some of the rumors are certainly exaggerated, but much of the fodder was based upon the fact that Nazimoza herself was a homosexual, so her home became an alleged meeting place for the "lavender set" of Hollywood. The Spanish-style palace became a center for the drunken antics and sexual goings-on of the who's-who of Los Angeles.

The mansion was converted to an apartment village in 1927 as the era of the Silent Film, and Alla's career, came to a dwindling end. Now addressed at 8152 Sunset, an -H was added to the name, against Alla's objections, and 25 villas became available for the creme de la creme. Alla sold the property after the depression left her bankrupt, and she took up residence in one of the flats. At various times, illustrious glitterati such as Greta Garbo, Humphrey Bogart, and the Marx Brothers stayed at the new Garden, and supposedly the former antics continued. John Barrymore used to ride his bicycle between rooms so as not to waste any partying/drinking time with labored walking!

The Garden met its end in 1959. Francis X. Bushman, who was in attendance at the Hotel's opening celebration, was present at its closing. It was truly the end of an era. Today the space houses a standard, bland strip mall. The party is definitely over.

Of course, as time has passed, all of these classic establishments have disappeared, replaced by strip malls, McDonald's, and cement. I once heard that Joni Mitchell's "Big Yellow Taxi" was at least partially based upon the destruction of the Garden of Allah: "They paved paradise and put up a parking lot." Since that's exactly what happened to the illustrious den of sin, I don't doubt it. I guess we all have to resign ourselves to the fact that nothing lasts forever... except memories. These three structures represented film at different periods: Allah representing more fully the Silent Era, Schwab's the beginning of the Golden Era, and Googies the rebellious refuge of the wholesome '50s.

So while you can't go to Schwab's today and sip on a milkshake or go to Googies and order a 12am burger, you can still stand on the site where these landmarks once were. If you close your eyes and take yourself back 40, 50, 60 years, you may be able to imagine life as it was then. Listen to the traffic pass and slow it down-- fewer cars, a more relaxed tempo. Feel the distant electricity of the past-- young kids wandering around, hoping to catch a glimpse of Marilyn or Rudy. Breathe in a younger Hollywood, one that was far from innocent, but still deeply naive; one existing in the moment, and daring to live life unbottled, unapologetic, unfiltered. Life straight: no chaser. Bittersweet... and far too short.