Here’s a link to my latest Examiner article: http://www.examiner.com/article/tcm-film-festival-2016-updates-slate-of-films-and-guests
I am thrilled that “All The Presudent’s Men” has been added!
Here’s a link to my latest Examiner article: http://www.examiner.com/article/tcm-film-festival-2016-updates-slate-of-films-and-guests
I am thrilled that “All The Presudent’s Men” has been added!
A first kiss is always memorable. It always intimates something more, of a moment of passion that has yet to be realized. But there is always a hint and a spark the first moment that lovers meet.
The tints and shades of the vibrant images in The Quiet Man also promise deep passion, and the ethereal blues and fleshly reds of Mary Kate Danaher’s shepherdess ensemble evoke images of Madonnas reposing in cathedrals and churches, but Mary Kate evokes the promise of the flesh with the dedication of fealty to her heritage, her church, and her own convictions. When Sean Thornton is stricken by the vision of Mary Kate in the meadow tending to the sheep, her gaze promises that her “Walls of Jericho” eventually will crumble in dedication and in response equal to the flood of Sean Thornton’s emotions.
The first kiss: https://m.youtube.com/watch?v=MkQyRE0byBI
Sean is searching in the dark, confused and unsure of his feelings. He knows something has changed in the cottage. He realizes something is different. The undulating rhythm of the wind ignites passion like the fire burning in the center of the frame at the beginning of the scene, like the fire burning in the hearts of the lovers. They both recognize the passion. It initiates, approaches, retreats, and finally resolves into the physical manifestation of Mary Kate’s slap, revealing how she still struggles with the strength of her desires for Sean Thornton.
In The Quiet Man, the first kiss between Mary Kate Danaher and Sean Thornton, does just that. It reveals a tempestuousness, a desire, and an incomparable yet incomplete passion, and viewers recognize that unrequited passion, either from their own lives, or in the lives of others. The yearning and desire from the first kiss in The Quiet Man between Mary Kate and Sean reveals expectation, but once the initial kiss is rebuffed by Mary Kate’s slap, viewers are strapped in for the desperate buggy ride to the final moment of The Quiet Man‘s fully-realized passion later in the film.
In the cemetery, Mary Kate and Sean both reveal they don’t want to wait for the “walking out together” or the “thrashing parties.” Their first embrace, however, elicits a bolt of lightening and a clap of thunder, and Mary Kate immediately makes the sign of the cross over her heart, revealing her fear that her love for a man has superseded the desires of her loyalty to her God and her church. She seeks a divine protection from the unbridled passion in her soul.
Mary Kate then looks at Sean with a fear in her eyes, and retreats to the safety of the arch of a long-disintegrated church or chapel, bringing Sean into her imagined comfort zone. Sean follows her, and they release the desire they have felt since Sean first saw the vision of the shepherdess in the verdant meadow. Mary Kate doesn’t retreat from Sean’s attentions anymore.
The second kiss: https://m.youtube.com/watch?v=hHWdzUvXecQ
Surrounded by a storm and weathering the drops of rain anointing their love, they commit to each other’s desires and passions under the arch that represents an accepting embrace of their fleshly plea for each other.
Maureen O’Hara, in her 2004 autobiography with John Nicoletti, ‘Tis Herself, revealed her explanation for the lasting nature of the popularity of those scenes: “Why is the scene so erotic? Why were Duke and I so electric in our love scenes together? I was the only leading lady big enough and tough enough for John Wayne. Duke’s presence was so strong that when audiences saw him finally meet a woman of equal hell and fire, it was exciting and thrilling” and during “those moments of tenderness, when the lovemaking was about to begin, audiences saw for a half-second that he had finally tamed me–but only for that half-second.”
In light of the Pope’s visit to this hemisphere this week, it is fitting that such a film be discussed on such a historic day and in conjunction with St. Valentine’s Day. The struggles allowed to voice themselves in John Ford’s The Quiet Man reveal how closely, in some respects, the film adheres to Catholic precepts of proper behavior in the 1950s. Mary Kate Danaher exemplifies chastity before marriage, acquiescing to her religious beliefs, but the worldly Sean Thornton brings all the disregard of tradition expected of a worldly-wise pugilist. His resolve to win the heart of the woman he loves forces him to reevaluate his attitude toward local Irish traditions, Catholic religious beliefs, and the village that raises his inner child, as well as the woman who ignites his soul.
Do real life experiences ever approach the passion in this film? They obviously do, or at least viewers of this film hope they do. To find such a passion, experience it, and accept it is what makes our existence thrive and resonate with our own desires.
Here’s hoping all visitors to the Kissathon have such a kiss in your future!
Read more about what people have said about The Quiet Man…
Link to article and official trailer for “Discovering The Quiet Man” Documentary:
Leonard Maltin discusses the “Discovering The Quiet Man” Documentary: http://blogs.indiewire.com/leonardmaltin/re-examining-john-wayne-and-the-quiet-man-20150309
Malachy McCourt and his disdain for The Quiet Man: http://www.irishcentral.com/culture/entertainment/Quiet-Man-an-idiotic-stupid-anti-Irish-film-Malachy-McCourt.html
Aurora roars about The Quiet Man: http://aurorasginjoint.com/2012/07/31/the-quiet-man/
The official TCM comments: http://www.tcm.com/tcmdb/title/24069/The-Quiet-Man/articles.html
I would be remiss in my duties to fans of Miss O’Hara if I did not reiterate Miss O’Hara’s urging to audiences at the TCM Film Festival in 2014 that her religious beliefs played a very important part in her life and the decisions she made during her introduction to How Green Was My Valley with Robert Osborne.
“It is wonderful to be the age I am, and still have God unable to put up with me”: https://m.youtube.com/watch?v=e3IhZu6Fb6w
Scorsese on the smooch: http://www.irishexaminer.com/ireland/scorsese-quiet-man-kiss-is-one-of-cinemas-best-217816.html
This post was created in conjunction with Second Sight Cinema for “A Kiss is Just a Kiss Blogathon” here: http://secondsightcinema.com/happy-valentines-day-weekend-weldome-to-the-you-must-remember-this-a-kiss-is-just-a-kiss-blogathon/
Check out all the fabulous blog posts about kisses! http://secondsightcinema.com/happy-valentines-day-weekend-weldome-to-the-you-must-remember-this-a-kiss-is-just-a-kiss-blogathon/
As I was unsure of what “symbiotic” meant in the context of actors and directors, I began to travel to the land of the “lexicons,” a green, fertile place found only in the imagination. Sometimes there’s a pot of gold, and sometimes there is a cold, hard fact that cannot be ignored.
Biologically speaking, symbiotic refers to any diverse organisms that live together, but in some cases, the relationship is not necessarily beneficial to both. Symbiosis, the living together of two dissimilar organisms in more or less intimate association or close union, and often in a mutually beneficial relationship, is obviously a more positive description. Cinematically speaking, a successful collaboration in a more or less intimate association or close union might apply to Gena* Rowlands and John Cassavetes because an “intimate association” can’t become much closer than a married couple. Their “symbiotic” professional relationship involved the creation of 10 movies together; their personal union, three children.
“When I started making films, I wanted to make Frank Capra pictures. But I’ve never been able to make anything but these crazy, tough pictures. You are what you are.”
“I always, always wanted to be an actress. It came from reading so much.” Gena Rowlands
As for classic symbiotic relationships, the fine line between the classic era, classic films, and just plain classy collaborations is often a subject for debate among professional cinema critics, social media aficionados and gainfully employed members of the entertainment profession. For me, though, interpretation of film is more personal. I always evaluate movies on the basis of how they resonate with me personally, and how they relate to my experiences and relationships with people and events that I have experienced. When I first knew of Gena Rowlands, the movie actress, she immediately reminded me of my mother, who loved watching Rowlands’ appearances on televsision’s Peyton Place. The actress’s strength and vulnerability in Lonely Are The Brave (1962) with Kirk Douglas made that connection for me when I first saw it on the afternoon movie. I also found that one of her lesser known performances in Charms for the Easy Life (2002), a television film from HBO, was also another dimension to her range as an actress, and another personal favorite of mine. Her conventional and unconventional characterizations with and without the influence of her husband, director, and collaborator always intrigued me.
But before the classic symbiotic collaboration occurred, Rowlands landed initial steady employment. According to her comments to Andy Warhol in his Interview magazine in December of 1992: “My first-ever job was in New York ushering in a little art theater. I was 21, maybe. I can’t remember. I saw Marlene Dietrich 38 times in Der blaue Engel (1930)—The Blue Angel—and I just sat there and held my flashlight, or stood there and held my flashlight. But she was wonderful.”
Rowlands’ parents had been supportive. Warhol asked Rowlands if she had any regrets, but she reponded that she didn’t. “I’ve been awfully lucky. I really have. My parents were the greatest parents in the world about encouraging me to do whatever I wanted. After school and three years at university, I went home and said, ‘I would like to quit and go to New York and be an actress.’ My mother said, ‘That sounds like something very interesting.’ And I said, ‘What about Daddy?’ And she said, ‘Ask him.’ I went [to my father]: ‘Dad, would you be okay if I left school and went to New York and became an actress?’ He said, ‘I don’t care if you want to be an elephant trainer if you really want to.’ So I said, ‘Well, I don’t want to be an elephant trainer…’ I grabbed them while they were all smiling and got on an airplane and went to New York and auditioned for the American Academy of Dramatic Arts. I went there and then I was auditioning for things.”
Of Greek heritage, Cassavetes was “educated at the American Academy of Dramatic Arts in New York City, and auditioned for The Actors Studio when he was beginning his career, but was initially rejected.” In Ray Carney’s Cassavetes on Cassavetes book, Cassavetes confessed to his parents that he wanted to be an actor. His father wasn’t initially thrilled at the idea of his son being an actor, but told him that he had to work hard because he would be portraying human emotions truthfully. Cassavetes’ friend and actor Peter Falk once stated that “Every Cassavetes film is always about the same thing. Somebody said ‘Man is God in ruins,’ and John saw the ruins with a clarity that you and I could not tolerate.”
In 1954, Rowlands and Cassavetes married, and the personal and continuing professional union lasted 35 years until Cassavetes’ death in 1989. The pair had three children, Nick, Xan, and Zoe, all of whom have sought careers in the entertainment field.
Cinematically speaking, as the “successful collaboration in a more or less intimate association or close union” evolved between Rowlands and Cassavetes, they engaged in creating 10 movies together: A Child Is Waiting (1963), Faces (1968), Gloria (1980), Love Streams (1984), Minnie and Moskowitz (1971), Opening Night (1977), A Woman Under the Influence (1974), Machine Gun McCain (1969), Two-Minute Warning (1976) and Tempest (1982). Cassavetes, hailed as one of the innovators and pioneers of the independent film movement beginning in the late1950s, and Rowlands, an actress whose credits include such notable performances asThe Notebook(2004), directed by her son Nick Cassavetes, and her Oscar-nominated portrayals in Gloria (1980) and Woman Under the Influence (1984) directed by her husband, John Cassavetes.
For writer Alex Simon, Cassavetes was “primarily known to most of the public as a veteran character actor,” but he “left behind his greatest artistic legacy as an independent filmmaker with a unique voice and vision.” in 2004, Simon interviewed Peter Falk, Ben Gazzara and Gena Rowlands, whom Simon calls Cassavetes’ “widow/muse,” for Venice Magazine.
Peter Falk, Ben Gazzara, and Cassavetes
Actor Ben Gazzara’s first colloboration with Cassavetes as his director began in 1970 on the pre-production to Husbands, also starring Peter Falk, and Rowland’s brother, David.
“John and I became dear, dear friends.” According to Simon’s discussion with Gazzara, Cassavetes had a specific approach to preparing a film. “A lot of people had the misconception that John improvised his films, which wasn’t true. We rehearsed for two or three weeks before we shot. Occasionally a scene would be completely improvised, but only occasionally. The rehearsal was in order to give the impression of it happening for the first time, and also for the purpose of rewriting. John loved to rewrite on his feet. He’d just tear things apart, and try six, seven different ways of doing things. So by the time you got on the floor, with the camera present, you were pretty secure with where you were. John’s films were made through his actors. He loved being surprised during rehearsals and wanted you find things within yourself that would even surprise you.”
Gazzara wasn’t intiimidated on his first professional collaboration with Cassavetes in Husbands as Cassavetes “wasn’t afraid of taking any trip you wanted to take. The only thing John hated was if you didn’t try, if you didn’t ‘put it up,’ as he used to say. ‘Put it up!’ So I felt right at home, because that way of working was my idea of joy: where everything is open and everything is possible and nobody can do wrong. There is no wrong. It might not be right, but it ain’t wrong.”
Falk, Gazzara, Cassavetes, and Rowland’s brother David in a scene from Husbands…
Peter Falk, best known as television’s Columbo, wearing a beleagured trenchcoast and an attitude of perseverance, also collaboraed with Cassavetes first, in Husbands, and then in A Woman Under the Influence, playing Gena Rowlands’ beleaguered spouse. Falk and Cassavetes remained close friends after Husbands (along with Ben Gazzara). In the interview, Simon stated that he felt Cassavetes’ films were like “jazz,” and Falk responded candidly:
“That’s very interesting, because Elaine May once said that the difference between ad-libbing and improvisation is that when jazz musicians improvise, they do so off a pre-existing theme. So if you are ad-libbing, and you’re just throwing out words that aren’t in the script, you’re not improvising off any kind of theme. So true improvisation has to do with improvising off something that exists. And that’s the difference between boring, realistic ad-libbing, which is spontaneous, but it has no shape. It has no form. But real improvisation, the kind you see in Cassavetes films, is related to a pre-existing theme.”
“There’s a difference between ad-libbing and improvising. And there’s a difference between not knowing what to do and just saying something. Or making choices as an actor. As a writer also, as a person who’s making a film, as a cameraman, everything is a choice. And it seems to me I don’t really have to direct anyone or write down that somebody’s getting drunk; all I have to do is say that there’s a bottle there and put a bottle there and then they’re going to get drunk. I don’t want to tell them how they’re going to get drunk. I don’t want to tell them how they’re going to get drunk, or what they would do, and I don’t want to restrict them in being able to carry out a beat, to fulfill an action. You can’t say somebody’s drunk, or in love.” John Cassavetes
During Rowlands’ discussion with Simon, the writer revealed that Gazzara felt he’d been “set free” when he began to work with Cassavetes, and Rowlands agreed. “I think that’s very true for all of us. There was such freedom. The way other pictures are set up, there isn’t quite that freedom. They’re set up in a much more businesslike way.”
Rowlands went on to explain how Cassavetes process was different. “For example, most films are shot out of sequence, usually scheduled according to cost. John would always shoot his films in sequence with the script, and that made such a big difference for the actors. You never felt as though someone was about to come down on you when you were working with John. He would never let you stop yourself during a scene.” For me, all of Rowlands on screen performances have meaning, but her collaborations with her husband elicited a depth that didn’t seem apparent in some of her other characerizations, and perhaps the freedom she felt with his guidance settled into her soulful appearances in her later work after Cassavetes passing in 1989. Her give and take with James Garner in The Notebook and her women who march to the beat of a different drummer in her films and her made-for-television movies unabashadely force the viewer to experience her point of view. The freedom Cassavetes gave her, like the freedom he gave Falk and Gazzara, filtered through her interpretations like snowdrops on a touchstone, crystallizing moments in time.
Simon’s article also revealed how Cassavetes’ intense focus would affect a production.. “Oftentimes,” Rowlands claimed, ” a plane will go overhead during a shot, and the actor will just stop, because he or she knows that they’re going to cut. John insisted that you keep going always, until he said “cut.” What happened was that you kept your concentration and pretty soon, you didn’t hear the plane, or the fire engine, or whatever it was. It was a very valuable way of working. He did so many things that were unique. His use of body mikes for sound were great because you didn’t have to hit any marks, you could just go more or less where you wanted. And the lighting was such also that you could move quite freely. He lit in a very flat way that was more natural. You didn’t get to have a good light or a bad light, and most actors know what that means. We all had to work in the same light.”
In trying to elicit a more definitive comment from Rowlands, Simon found he couldn’t budge her from a committed perspective on her husband’s process when she revealed that “John always said ‘Don’t give interviews about what I was thinking, or what I was doing. If anybody wants to know me, let them look at my work. That’s it.'”
The most effective method of experiencing the Rowlands/Cassavetes symbiosis is to “look at” the work, like Cassavetes cautioned Rowlands. Viewers won’t be disappointed at the smooth, organic connection between actress and director, or husband and wife.
LINKS And RESOURCES….
Reuben Guevara’s article for Thompson on Hollywood: http://blogs.indiewire.com/thompsononhollywood/watch-set-to-receive-honorary-oscar-gena-rowlands-reflects-on-literature-and-film-20151109
“What Movies Mean to Me,” Gena Rowlands for Academy Originals: https://m.youtube.com/watch?v=3ih9G2GnKRs
IMDb-Gena Rowlands: http://www.imdb.com/name/nm0001687/?ref_=nmbio_sp_1
IMDb-John Cassavetes: http://www.imdb.com/name/nm0001023/bio?ref_=nm_ov_bio_sm
Q & Andy: Andy Warhol interviews Gena Rowlands in 1992 for Interview Magazine: http://www.interviewmagazine.com/film/andy-warhols-interview-interview-savannah-film-festival-2014-gena-rowlands
John Cassavetes–An Appreciation by Alex Simon: http://www.huffingtonpost.com/alex-simon/john-cassavetes-an-apprec_b_7058880.html
John Cassavetes and Gena Rowland Make Movies the Hard Way–With Their Own Money!; http://www.people.com/people/archive/article/0,,20088841,00.html
A thirteen-year-old girl from Argentina has also been inspired by the symbiotic relationship between John Cassavetes and Gena Rowlands. Here’s a link to her blog, Silver Velvet Sky: https://silvervelvetsky.wordpress.com/2011/10/11/constant-forge/
This article has been prepared specifically to celebrate Classic Symbiotic Collaborations: The Star-Director Blogathon. Go to CineMaven’s Essays From The Couch to read more fabulous entries!
Follow me on Twitter: @suesueapplegate
My contribution to CineMaven’s star-studded CLASSIC SYMBIOTIC COLLABORATIONS will feature Honorary Oscar Recipient Gena Rowlands and John Cassavetes. Stay tuned!
I had a few moments to update an earlier article concerning the TCM Film Festival, pass history, and updates for annoucnements, special guests, and films.
This is not a comprehensive list, and there may be errors, but it’s definitely a loose guideline timeline, and accompanying photos are not necessarily linked by the years in which they were initially created.
2010 2010 2010 2010 2010 2010 2010 2010
The First TCM Film Festival was originally announced on September 9, 2009.
With Mrs. Peter Fonda, the man himself, Shirlee Fonda, and Robert Wolders on April 27, 2013….
Pass sales began 11-18, early incentive of $100 discount if passed purchased before 12-18 -2010
Films announced March 9, 2010.
Panel topics and panel guests March 18, 2010.
Christopher Plummer in 2015….
Spotlight Pass Contest began in March ….
Spotlight Passes sold out on February 18
Behind the scenes with Robert Osborne at the Hand and Footprint ceremony for Jerry Lewis in 2014….
2011 2011 2011 2011 2011 2011 2011 2011 2011
Tippi Hedren and The Birds, selected films announcement on 12-11-2010
Film updates on 12-20-2010
Film festival update on 1-31-11
Social media fans with TCM Host Ben Mankiewicz at the Hollywood Roosevelt Hotel in 2014….
2012 2012 2012 2012 2012 2012 2012 2012 2012 2012
Film update on 1-31
Kim Novak announcement 3-6
Film and Special Guest updates on 3-8
Panel updates 3-19
Richard Lewis, Jerry Lewis, Illeana Douglas and celebrity fan crack smiles in 2014…
2013 2013 2013 2013 2013 2013 2013 2013 2013 2013
Dates announced 10-10-2012
Spotlight Passes sold out on November 16
(Earliest on record and one day after sales began.)
Films and panels update on 1-17-14 Special Guests announcement on 4-17-13
Social media fans with TCM Host Ben Mankiewicz in 2012,,,,,
2014 2014 2014 2014 2014 2014 2014 2014 2014 2014 2014 The 20TH Anniversary Party!
Dates announced on October 2, 2013.
Festival promo video released on 10-2-2013
Quincy Jones announcement on 12-5-2013
Oklahoma! and Special Guests announced on 2-13-2013
Maureen O’Hara and other special guests announced on 2-5-13 Classic passes sold out before the festival. Gone With The Wind, Why Worry? and The Wizard of Oz announced as screenings on 10-29
Essential passes sold out on 11-4-2013
Panel updates on Thursday, 3-13-2014
Popular Bay Area fan Paula, Mr. Osborne’s first cousin Susan, and Senior TCM researcher Alexa Foreman prior to Robert Osborne’s surprise tribute in 2014…
2015 2015 2015 2015 2015 2015 2015 2015 2015
TCM’s Scott McGee visits the Hollywood Time Machine on 9-27-14 and announces that a festival update is coming “soon.”
Hollywood Roosevelt sold out on 10-2-14
Announcement of festival theme and 4 Restorations coming to the festival on 11-4-14
Pass sales begin on 11-11-14
Upates on 3-13-15
Kim Novak and TCM Host Robert Osborne at the closing night party in Club TCM 2012…
2016? 2016? 2016? 2016?
Dates announced for TCMFF 2016 on Wednesday, August 28 for April 28-May 1
(The earliest announcement date of record.)
And we are all anxiously awaiting updates for the coming year’s celebrations. Update: ESSENTIAL AND SPOTLIGHT PASSES SOLD OUT AT THE CITIBANK PRESALE ON 11-17-2015.
See you in 2016!
This post may see me in hot water; however, I hope it’s sprinkled with shrimp boil and fresh lemon juice following an afternoon of busy deveining and chopping okra to prepare the gumbo and jambalaya of my memory.
I often understood Anne Rice’s choice of New Orleans as the setting for her vampire novels, and the Southern Gothic tradition still lingers in film, books, novels, and music. But since I lived in and around New Orleans for a few of my formative years, the allure of the sights, sounds, and smells of the French Quarter are continually lingering somewhere in my soul. One of the films so evocative of the languid but volatile nature of the people grabbed my fear by it’s hinges and shook it around in my core.
The opening scenes of Saratoga Trunk, even though they were filmed on the back lot of Warner Brothers’ Studios, coalesced and complimented my memories of walking along the brick-lined streets with gas lamp replicas and wrought iron balustrades as merchants hawked their wares to tourists with phrases like “Fresh pralines, fresh as New Orleans.” The forbidden lairs of the voodoo queen, Marie Laveaux, still beckon and tempt, and the stories of the ghosts of tortured slaves and murdered innocents perpetuate my nightmarish memories of childhood anxiety.
The varied characters and events equalled my experiences of the actual people and places I’d seen and heard. I’d walked on Rampart Street, just like Clio Dulaine did in the film. I’d seen the traffic up and down the Mississippi as it flowed out to the Gulf, and a visit to the Madame Tussaud’s in the Quarter is still white-hot in my memory with the beating heart of Abraham Lincoln on his deathbed and the torture chambers created by madmen who imprisoned their slaves for imagined slights. Jazz music floated everywhere and a funeral cortege with a marching band of somber players made me stop dead in my own tracks, mesmerized by the notes and the spectacle.
As I walked through the uneven streets and looked in the shops, I was given a small sack of herbs to ward off the evil eye so others wouldn’t be tempted to send evil thoughts my way, and as I found myself drinking a cup of chickory coffee and delighting in three beignets dusted with a lightening streak of confectioner’s sugar, I looked skyward and saw the Cabildo guarding the plaza like a fortress.
For all it’s character-driven dialogue, Saratoga Trunk still might be considered the bastard sister of Gone With The Wind (Max Steiner also did the music for Saratoga Trunk), but for me, it’s characters seem more real because of the part of my life lived in New Orleans. Ferber’s book arrived in 1941, but Margaret Mitchell’s had preceded it by several years. When Saratoga Trunk was filmed in 1943 (but not released until 1945), war-rationing made the fresh vegetables unavailable, so most of the produce viewers see in the market are fakes. What isn’t fake is the singing voice of Ingrid Bergman, which enchants us as well as Gary Cooper in his role as gambler Clint Maroon. Bergman’s vocals in this film are also one of its rarities. And every dimestore cowboy as well as Governor Goodhair, or former Texas politician Rick Perry, has done some form of imitation of the Texas cowboy Cooper portrayed in Saratoga Trunk, but none can compare.
Flora Robson, who was honored with an Oscar nomination for her role as Angelique Pluton, had also played Queen Elizabeth I in The Sea Hawk, and was adept at many kinds or roles, but she was one of many actors through the ages who have portrayed characters of other races. Her language and phrasing reminded me of the language I’d heard spoken as a child. French phrases and inflections peppered with a verbal sauce spicy as a bottle of Evangeline perpetually floated like curious clouds of conversations all through the French Quarter of my childhood. (In Saratoga Trunk, it was the first time I’d ever heard the word “zumba!” on the silver screen.) The French phrases and Cajun intonations made Robson’s interpretation easier to believe, even though her eyebrows were some of the severest ones Max Factor, or in this case, Perc Westmore, ever created. Bergman’s eyebrows were also darker than in most of her other roles, and if scrutinied closely, a continuity issue exits from scene to scene. (Westmore touched up Bette Davis in Elizabeth and Essex, created the makeup for Quasimodo portrayed by Charles Laughton in The Hunchback of Notre Dame, and Robson’s own look as Queen Elizabeth I in The Sea Hawk.) Angelique, a creation of Ferber’s and screenwriter’s Casey Petersen’s design, was ultimately an exotic persona crafted by the talents of Flora Robson, who evinced a complicated soul of a former slave, and mother of a son who was afflicted with dwarfism, but was nonetheless beloved.
“Tell them there is someone on Rampart Street now who is not afraid of them. Clio Dulaine, that’s me! I’m as good as they are.”
Jerry Austin, who plays Angelque’s son, Cupidon, was born in Russia, and had an uncredited part in Todd Browning’s Freaks, but his part in Saratoga Trunk was probably his most famous role.
Cupidon’s friendship with and admiration of Clint Maroon makes him endearing, and this film fascinated me because of his energetic performance and his ability to tweak the heart strings of viewers. His injuries in the film make it the peak of emotional turmoil as his death seems imminent. But there is a happy ending, and Austin is an integral part of the drama, which is unusual for character actors of his stature at the time. As one of the “little people” of classic cinema, Austin packs a powerful emotinal punch, and his moments on screen will charm you.
So for all it’s political correctness of its times, it is most probably incorrect for ours, but the unusual characters and the animal magnetism of Gary Cooper as a Texas gambler make this film one of Cooper’s most memorable because of the unique group of stock characters who defy the usual roles.
Lena Horne was seriously considered for the part of Clio Dulaine, but was ultimately unavailable as her studio would not lend her out for this part. I have no doubt she would have made Clio Dulaine as memorable a role as Ingrid Bergman did.
The 1941 novel, Saratoga Trunk, by Edna Ferber, is highly praised by Pablito Tortuguita on Amazon, and since it’s been decades since I’ve read it, I though I would share an in-depth review:
‘Saratoga Trunk’ tells a love story while evoking all the richness of three eras–Paris and New Orleans of the 1850s-1870s, the Gilded Age (or the Robber Baron period), and the early 20th century. It’s the story of Clio Dulaine and Clint Maroon, who begin an unconventional relationship in an unforgettable scene bursting with detail.
That detail–immediate and sensory as well as historical and nuanced–makes the novel as effective as the best period romances, because it supports the excellent characterization to create a believable story from improbable characters , they travel to Saratoga Springs in upstate New York and meet the movers and shakers of the Gilded Age.
Masterful prose–sparely elegant at times and incomparably lush at others–combined with sharply-drawn detail and fully rounded characters leads to a truly pleasurable experience. I completely recommend this book to anyone who wants to read a writer from the Golden Age of 20th-century American literature at the top of her form. Even So Big, for which the same author won a Pulitzer in 1924, is merely the equal of this novel.
And the film, produced in 1943 and screened for servicemen overseas, was not officially released until 1945 because the glut of WWII films had overwhelmed the cinematic marketplaces. Currently, however, the cllimate for this film may be tenuous at best because of its subject matter and how it was developed in the 1940s.
Ingrid Bergman, ever the actress seeking diverse roles to expand her repertoire and advance her career, played Clio Dulaine, an illegitimate half-black daughter of a Southern aristrocrat, and Flora Robson played Angelique, a mulatto servant, in blackface with eyebrows that would rival Margaret Hamilton’s in The Wizard of Oz. But for her valiant and effective efforts, Robson received the only Oscar nomination bestowed upon this film. The pairing of Bergman and Cooper, whose last pairing ran the Oscar nominations up to 9 in For Whom The Bell Tolls, repeated the same sort of electric chemistry that was, evidently, warmed over from their off-screen liasions.”
According to the TCM article on its website, ” In her autobiography co-authored with Alan Burgess, Ingrid Bergman: My Story, Bergman recalled being amazed at how close Cooper’s acting persona was to his real personality, though on-screen his true star potential was revealed. ‘The personality of this man was so enormous, so overpowering-and that expression in his eyes and his face, it was so delicate and so underplayed. You didn’t notice it until you saw it on the screen. I thought he was marvelous: the most underplaying and most natural actor I ever worked with.” And according to one comment Cooper made somewhere in my recollection, but as yet unverified for this article, after Cooper finished a film with Ingrid, he couldn’t get her on the phone. She just wouldn’t talk to him if they weren’t working together.
Considering the number Cooper did on Patricia Neal’s sanity, and the costumer Irene*, who committed suicide a year and a half after Cooper had died, that was a pretty savvy Swedish move.
I can still remember the sighs my mother made when I saw this film for the first time as an unsure, wobbly teenager. The camera takes a long, slow, languid persual of Gary Cooper as Clint Maroon from tip of his boots to the top of his white hat. And women of a certain age and perusasion in the 40s, right up until now, still swoon. All the major female characters in the film are in awe of his stature and handsome features, and Bergman’s manic-depressive Clio was obviously bewitched by the Maroon/Cooper electricity. Don’t believe me? Check it out. If you don’t swoon, you just ain’t human. Watch the initial meeting between Clio and Clint, and when Clint says to Clio,”Trying to teach me the English language? I’ll learn anything you say” and if your blood pressure doesn’t change, switch the channel or move on to the next entry in your DVR queue. How much of this is acting?
Even perennial battle-axe Florence Bates as Mrs. Bellhop charms us as she is affected by his charmisma as well. “And those hips!”:
The lush costumes, period jewelry and millinery designs are credited to Leah Rhodes, and are fraught with detailed notions, lace, and ribbons. One of Bergman’s ensembles also includes one of the cutest pleated aprons I’ve ever seen on the screen.
The sexually-charged, dramatic chemistry between Bergman and Cooper was part of the impetus for their second collaboration considering the fireworks they generated on For Whom the Bell Tolls, and you can’t take your eyes off of them while they adore each other in either film.
The “New Yawk” liberals and the politically correct may fry me in a hot vat of peanut oil because I still enjoy this film and these characters. I just hope they make sure I’m crisp.
*According to the IMDb entry for classic-era costume designer Irene, “Doris Day wrote in her 1975 autobiography that she got to know Irene quite well. One night after Irene had a few drinks, Irene told Day that the “love of her life” was Gary Cooper. On several other occasions Irene spoke about the intensity of her love for Cooper, and Day got the feeling that Irene had never mentioned this to anyone before her. Day wrote that today she honestly could not tell if they actually had or were having an affair, or if it was a one-sided love. Irene took her own life about a year and a half after Cooper’s death from cancer.”
Saratoga Trunk was not shown during Gary Cooper’s Summer Under The Stars Celebration 2015 on August 30, but was screened during Ingrid Bergman’s on August 28.
This post was created for Kristen Lopez’s Summer Under The Stars Blogathon on Journeys in Classic Film: http://journeysinclassicfilm.com
Turner Classic Film Database
Ingrid Bergman, My Story
Buzzfeed ignored Flora Robson in this article: http://www.buzzfeed.com/arianelange/10-times-white-actors-played-people-of-color#.pvbEVBvXR
Scott Rollins Film and TV Trivia Blog: http://cscottrollins.blogspot.com/2015/03/flora-robson-queen-of-character-acting.html
Flora Robson, This Is Your Life, and her championing of Paul Robeson: http://www.bigredbook.info/flora_robson.html
Christy’s Inkwells: Florence Bates-“It’s A Grand Feeling” : https://suesueapplegate.wordpress.com/2013/11/10/florence-bates-its-a-grand-feeling/
From September 9, 2014, to January 4, 2015, The Making of Gone With The Wind exhibit graced the Harry Ransom Center in Austin Texas, and included pieces from the 500 boxes of the David O. Selznick archives.
Hattie McDaniel receiving her Oscar…
Margaret Mitchell at the premiere…
Letter to Harry B. Warner from David O. Selznick concerning Jezebel….
Letter to George Cukor from David O. Selznick…
Original costumes restored by Cara Varnell, who also conserved the Cowardly Lion costume from The Wizard of Oz auctioned last fall…
Bill Geist and his crew lunching and chatting with Gone With the Wind superfans…
The fabulous Bill Geist, from CBS Sunday Morning, and his assistant, Sara, came to Austin to chronicle the Gone With The Wind Superfans, and the segment aired December 21, 2014.
I met with all of the Gone With the Wind Superfans in October, and many attendees from all over the world at the exhibit from many different races, creeds, and nationalities, and I have attended other GWTW events in Georgia and Texas. In light of some of the negative press created concerning Margaret Mitchell’s book and the film of Gone With The Wind itself, I didn’t encounter any disgruntled exhibition visitors or anyone in favor of censorhip, nor did I find anyone wistful about the American institution of slavery or the lack of its continual celebration. The fans I spoke with, and there were many, stated that the enduring quality of the characters, the beauty and talent of Vivien Leigh, the inspiration of Olivia De Havilland and Hattie McDaniel, and the sex appeal of Clark Gable accounted for continued interest in the book and film.
Leonard Maltin’s preview: http://blogs.indiewire.com/leonardmaltin/gwtw-fever-in-austin-texas-20140930
TCM Host Robert Osborne’s introduction to The Making of Gone With the Wind exhibition catalog: http://blog.hrc.utexas.edu/2014/09/11/osborneintro/
Christy Putnam’s article concerning popular items at the exhibit: http://www.examiner.com/list/ten-popular-exhibit-item-at-harry-ransom-center-s-making-of-gone-with-the-wind
Further archived articles concerning the exhibit: http://www.hrc.utexas.edu/search/?cx=014783873757132787519%3A6fhrznrfork&cof=FORID%3A10&q=making+of+gone+with+the+wind
Many documents can be viewed in detail at the above website. The exhibition catalog is available online at the HRH Center web.
Robert Mitchum’s Summer Under The Stars Celebration–The One and Only Noir Cowboy
Tomorrow, Robert Mitchum is honored with a Summer Under The Stars Celebration, and in light of the Summer of Darkness highlighting film noir and the popular online film noir course taught by Professor Richard Edwards of Ball State University, I am happy that TCM is airing 1948’s Blood on the Moon.
Shot outside of Sedona, Arizona, and directed by Robert Wise (1914-2005), a director most well-known for his nurturing of the Von Trapp Family Singers in The Sound of Music in 1965, Blood on the Moon would be part of the Western genre that Wise was completely unfamiliar with in his directorial career. Based on Luke Short’s 1941 novel, Gunman’s Chance, Blood on the Moon tested Wise’s unfamiliarity with the Western genre, and his lack of passion for it, but it may have proven an asset to the film’s success. Since this was Wise’s first A-budget film, he was obviously concerned that all would go well, and the weather proved to create some problems in Sedona, but Wise claimed that “we tracked the weather like we were at NASA at a rocket launching” receiving three different weather reports each day, and the crew would often follow the good weather through the valley. Wise’s dedication would pay off.
According to author David Meuel in The Noir Western: Darkness on the Range, 1943-1962, “While Wise was respectful of the genre’s traditions and conventions, he wasn’t married to them. He felt obliged to be true to the spirit of the western, but he also felt free enough to infuse this film with some of the elements of the norror and noir films he had recently done for RDO and which the studio (later nicknamed the “House of Noir) specialized in.”
A minor Out of the Past regrouping would see Mitchum and cinematographer Nicholas Musaraca using their creativity to infuse the Western with Robert Wise’s “craftsman’s soul,” according to Mitchum biographer Lee Server. “Synthesizing techniques he had gleaned from his two creative mentors, Val Lewton and Orson Welles, Wise set out to make Blood on the Moon a studied, uniquely atmospheric Western.”
Meuel credits some of Blood on the Moon‘s success to “Robert Mitchum, an actor whose ability fo convey emotional complexity ad moral ambiguity made hin a noir icon and whose work her is as intriguing as his work in any of his oir crime films.”
The character of Jim Garry was just one more of Mitchum’s “outsider roles” by Server’s accounts, and “a solitary gunfighter-for-hire with a conscience, a script’s mysterious stranger about to be made even more msterious by the actor’s enigmatic style.” The other cast members rounded up for the location shoot included “architect Norman Bel Geddes’ refined young daughter, Barbara” (eventually ‘Miss Ellie’ on the primetime saga, Dallas), who had been “recently signed to a long-term contract; Robert Preston, playing his patented role of the corrupt best friend,” and “Walter Brennan as a grizzled homesteader.”
The film’s costumer, selected by Wise, was Joe De Young, a man who worked for Howard Hawks in Red River, and was a “specialist in Western attire.” According to Server, “De Young came up with the authentic but idiosyncratic, sometimes bizarre outfits (bearskin and gaudy plaid cots, derby hats) that would give the film another of its distinctive qualities.”
When Mitchum strolled and strutted on the set ” in beard, greasy hair, high-domed Steson, and chaps” appeared to be “anything but the conventional well-groomed, respectable Western hero.” Server’s biography revealed that director Wise claimed “the first scene we shot after Mitch got outfitted was in the barroom. Walter Brennan was sitting at a table with a couple of pals, and Brennand was very intrested in the Old West, it was a hobby of his. And I’ll never forget when Bob came on the set, just standing there, wth the costume and the whle attitude that he gave to it, and Brennan got a look at him and was terribly impressed. He pointed at Mitchum and said, ‘That is the goddamndest realest cowboy I’ve ever seen!”
Meuel claims that the term “the noir western” is very “oxymoronic. On one hand, we have the bright, expansive, colorful landscapes; upright heroes; and nation-building exuberance we associate with most film westerns. On the other, we have the dark, claustrophobic, black-and-white (mostly black) cityscapes; flawed, compromised heroes; and bitter disillusionment of the classic noir crime dramas of the 1940s and 1950s.” It may be called a “sub-genre” but it also might be a “budding film form” in its own right. But Meuel also reveals that “the ‘Wild West’ of the movies was a darker, moodier, more complicated place” after World War II.
Nicholas Chennault’s synopsis, sums up the action concerning Blood on the Moon:
“Jim Garry (Robert Mitchum) is drifting from Texas, when he’s invited by old friend Tate Riling (Robert Preston, in his sleazy friend mode) to join him in a get-rich-quick scheme with corrupt Indian agent Jake Pindalest (Frank Faylen).
John Lufton (Tom Tully) is the local cattle baron, who has long provided beef for the reservation while grazing his herds on reservation land. Pindalest, on Riling’s urging, has given Lufton notice that he’ll no longer be buying Lufton’s beef, and Lufton has to find new grazing land. He’s trying to move his cattle back to the basin where he used to graze, but now there are homesteaders there to resist, led by Riling. Kris Barden (Walter Brennan), who used to work for Lufton, is prominent among them.
Lufton has two daughters, one of whom, Carol (Phyllis Thaxter), is romantically interested in Riling and the other, Amy (Barbara Bel Geddes), takes a few shots at Garry. After being fully informed of the set-up and participating in stampeding Lufton’s herd, Garry decides the scheme isn’t for him and saves Lufton from two of Riling’s gunmen. He’s hurt in a fight with Riling but gets Pindalest to tell the army to back off on the deadline for removing Lufton’s herd.
Riling, Pindalest and a couple of gunmen come after Garry, who’s wounded and holed up at Barden’s place. Amy Lufton shows up to give medical care and to help fight off the bad guys. (You can tell Riling’s sleazy because of the loud, plaid jacket he wears.) In the end Garry kills one of the gunmen, shoots it out with Riling, and gets Amy.”
The fistfights were real. Server revealed that director Wise wanted both Mitchum and Preston to do their own stunts and the principal actors both agreed. They had both become fast friends on the set and spent a lot of time “getting under the skin of the girls, played by Bel Geddes and Phyllis Thaxter.
“I wanted this to look like a real fight,” Wise said. He wanted it to have that “awkward, brutal look of a real fight, and when it was done for the winner to look as exhausted as the loser. And Mitch was excited about this. He knew exactly what I was going for. I think he probably knew more than I did about barroom fights like this one.” So the actors crashed around on the set for three days to orchestrate the film’s most realistic sequence. ” As for his work with Mitchum, Wise added that “Bob was just fine to work with” and that “he liked this part and he contributed a number of ideas… He never wanted to do too much. Just enough and then hold back a little, leave something a little unspecified. He was very bright, very facile, quick with language. But he likes to give the impression that he somehow wasn’t articulate.”
If you want to enjoy Mitchum as one of the first noir cowboys directed by the genius of Robert Wise and photographed by the talented Nicholas Musaraca, your opportunity starts Wednesday at 12:30 central on TCM.
This post was created as part of the Summer Under The Stars Blogathon sponsored by Kristen Lopez and Journeys in Classic Film.
David Meuel, The Noir Western: Darkness on the Range, 1943-1962, McFarland & Company, Inc., Jefferson, North Carolina, 2015.
Lee Server, Robert Mitchum, “Baby, I Don’t Care.” St. Martin’s Press, New York. 2001.
Nicholas Chennault, http://thegreatwesternmovies.com/2014/01/18/blood-moon/
Dateline: HOLLYWOOD, Tuesday, March 24
Meeting my dear friend, the Countess De Lave, on my first day back in LA since 2014 afforded us a joyous reunion. I met her at the very first TCM Film Festival in 2010. She has a rental car, and a very comfortable ride it is. As she zooms away from our good friend Mark at the Hollywood Roosevelt Hotel Valet Portico, she has a devilish smile, and I realize she has been up to something. What that something is definitely constitutes a lovely surprise.
As she tools down Orange St., away from the hubbub of arriving TCM Film Festival 2015 passholders, I am experiencing the excitement of a new adventure.
“I’ve made reservations,” she coyly reveals as we wait at the first of several stoplights.
“You have made reservations. Hmnn. That means we are going somewhere special!” I delighted.
“Yes, we are,” she said.
“And will you tell me where we are going before we get there, or will you keep me in suspense like a Hitchcock mystery? Where will we find our maguffin?”
“I have made reservations for us to lunch at….Chateau Marmont!”
I squeal in delight. I know not how she wrangled such special treatment for two gadabout gals who love to laugh, dine, and discuss the events of the day with a wink and a cocktail or two.
As we drive, I wonder who will be there. The Chateau Marmont is the Bide-a-Wee hideaway for some of the actual movers and shakers of the film industry currently and during it’s heyday, and a serious stop on the way up or down from the peculiar pecking order established by A-listers and B-wannabes. Will Michelle Grammer be there plotting her next reality show? As well-dressed tourists, we don’t have to worry about where we fit in. We just need to have enough cash to tip and cover the bill.
As we drive through the traffic, the Countess and I discuss how much fun the first festival had been. That’s when we met, the very first night. As we chatted about the first festival, I looked up the list of all the celebs that graced the stages, attended the parties, and chatted during panels at Club TCM:
* Actor Jean-Paul Belmondo
* Editor and author Peter Biskind
* Film director and historian Peter Bogdanovich
* Film historian and author Donald Bogle
* Academy Award-winning actor Ernest Borgnine
* Actor, producer, director and writer Mel Brooks
* Producer and director Frank Capra III
* Noted filmmaker John Carpenter
* Author Cheryl Crane
* Actor Tony Curtis
* Producer and Director Stanley Donen
* Emmy-nominated actress Illeana Douglas
* Photographer, writer and editor Curtis Hanson
* Screenwriter and actor Buck Henry
* Actor, writer, director and producer Darryl Hickman
* Award-winning actress and director Anjelica Huston
* Award-winning actor Danny Huston
* Writer and editor David Kamp
* Editor and writer Sam Kashner
* Actor Martin Landau
* Actor, director and producer, Jerry Lewis
(Due to unforeseen circumstances, we regretfully announce Jerry Lewis has cancelled his appearance.)
* Actor, producer and director Norman Lloyd
* Film historian and author Leonard Maltin
* Actress Nancy Olson
* Actress Luise Rainer
* Director, producer and writer Richard Rush
* Academy Award-winning actress Eva Marie Saint
* Academy-Award winning visual effects artist Douglas Trumbull
* Academy Award-winning actor Jon Voight
* Actor Eli Wallach
My first Thursday in LA found me atop the Hollywood Roosevelt Hotel anxiously awaiting my Fan Perspective Interview conducted by TCM’s Tim Reilly and photographed by FX’s premiere cinematographer currently working on the Syfy network’s Face Off, Bruce Dorfman. I was nervous. I told stories. I sang a song. I couldn’t hardly see a thing as the sun was in my eyes. The handsome assistant attaching my mike got awfully frisky, and I asked him if he needed a medical degree for what he was doing.
My friend, Lynn Zook, kept giving me the “thumbs up.” I stopped chatting and asked director Tim Reilly what to do, and he laughed and smiled, and said, “just keep talking.” For some reason, when I’m nervous in LA, it just doesn’t feel the same as when I’m nervous in Texas.
Here’s the youtube link to my interview that is still periodically screened on TCM: https://m.youtube.com/watch?v=yddHfhbr4J4
Lynn and I had met previously in Las Vegas in 2007 when I was presenting a seminar at the National AP Conference at the Venetian. We had known each other online for quite some time because of our association on the TCM Message Boards, and her enthusiasm for classic film and her encyclopedic knowledge is so inspiring. The first festival ensured that we connected with all our TCM Message Board crew like Kingrat, Filmlover, and Kyle in Hollywood. What a joyous, well-versed group of friends to be met! And I’m happy to say we all still connect online and in person.
The only member of our group who no longer can celebrate with us is the late Kyle Kersten, who unfortunately has passed away. But all of his threads created on the TCM Message Boards are archived on the site here:
The very first Gala Premiere at the TCM Film Festival in 2010, saw Judy Garland on the screen at Grauman’s Chinese Theatre tantalizing the audience with her songs, dances, and genius. Robert Osborne introduced the film, and Joey and Lorna Luft, who were in the audience. Afterward, Alec Baldwin joined Robert Osborne on stage for some cute banter and schtick.
Afterwards, I quietly slipped out of the screening to head to the Hollywood Roosevelt Pool.
Then I went to the Esther Williams and Betty Garrett pooside bash. Ben Mankiewicz introduced them and had a short discussion with those lovely ladies before the film began. Unfortunately, Esther Williams was in a wheelchair but seemed in good health and quite perky. She was wearing a cranberry red sequined jacket, and sparkled when she spoke. Still a feisty gal, and still has her bathing suit business because the Aqualillies were sporting her little red swimsuits. They had a great show, doing some of the same Esther Aquatics we’ve known and loved.
Betty Garrett was having a little trouble speaking due to a cold or something, but she was so cute, too, and seemed quite energetic. Esther left shortly thereafter, and so did Betty. But after the movie started, and the double duets of “Baby, It’s Cold Outside” with Esther and Ricardo Montalban, and Betty and Red Skelton came on, Betty stepped back out on her patio from her private cabana at The Hollywood Roosevelt, and Garrett wistfully watched this sequence. As many of the viewers around the area saw her standing there, they turned and gave her a round of applause, and it looked like she teared up, and disappeared again into her suite. Besides meeting many new friends at the 2010 festival, the moment when Betty Garrett received applause during one of her greatest screen scenes while she stood on her cabana patio was my favorite moment during the first festival in 2010.
In 2015, I was chosen to be one of the premiere TCM Film Festival Social Producers, and had to miss the wonderful premiere of the 50th Anniversary edition of The Sound of Music with Julie Andrews and Christopher Plummer introducing the film, but I was finally able to see The Man Who Shot LIberty Valance with my good friend Lynn, and her husband Jon. Keith Carradine sported a quick but enthusiastic introduction, and I cried at all the same places that I always do, especially when Vera Miles, as Hallie, reflects on her first love. The flowering cactus resting atop Tom Donafan’s casket still reaches deep into my soul, and elicits those liquid reflections of my appreciative emotions. It was a film I had longed to see on the huge silver screen of my dreams.
The first Vanity Fair party I attended in 2010 was held in Kress & Co., and I was the date of a very sweet man from D.C. whose wife was ill with cancer, and couldn’t accompany her husband. As we were walking in, I ran into Eva Marie Saint and her husband as they were exiting the festivities. Cher had come and gone in a white leather ensemble, and Hugh Hefner had made an appearance with a blond beauty. (Isn’t that the same newsflash from 40 years ago? )
Diane Baker had been escorted to the Vanity Fair party by her good friend, Robert Osborne, and I had a few moments to chat with her, as well as Jaqueline Bisset. There was even an Alec Baldwin moment when he told me “Hi, how’s it going?”
As I sat with Countess DeLave in the lovely Chauteau Marmont restaurant enjoying the canned music, and the “lightning-fast service” reminiscent of Harmonia Gardens in Hello, Dolly, I laughed and laughed. I couldn’t believe we were actually enjoying these delicious salads, and flavorful entrees in such an emotionally-charged atmosphere of the Hollywood pecking order. The moment when we walked inside the restaurant area, about 65% of all the diners turned toward us, looked to see if we were “anybody,” and then slowly resumed their conversations and appetizers.
We even were allowed to see one of the suites just in case we decided to stay there in the future. Riding up in the elevator is even a transparent adventure in the “Who is that?” culture of the “in crowd.” Both elevators have windows in them so passengers can see who is riding up to their rooms or down to the lobby. If I ever stay here, I think I’d be afraid to walk down the hall in my bathrobe without makeup to find the ice machine in the middle of the night.
Best Advice: Always keep a lipstick in the pocket of your jammies when you stay at Chateau Marmont. A girl always needs to perk up her look, and she might want to leave a message on the mirror. 😀