It appeared in a movie magazine (Modern Screen) in 1931.
The woman is Mercedes Mc Cambridge and they're shown in "Giant."
Marilyn attended this school in 1934 (third grade).
In the Toluca Lake section of North Hollywood.
The apartment building is on De Longpre Avenue in West Hollywood, and she
lived here in 1954-1955.
No, it was beige before being painted pink and was white for many years.
He was the baby in the Popeye cartoons--Popeye's adopted son. In the Popeye
comics, he was found on Popeye's doorstep (in 1933).
It suggests the immature behavior of the character who is being referred to in the dialog.
Banana Republic put out catalogs circa 1990 with hand-drawn illustrations of
their clothing.
In 1932, when she was six years old.
Jim Backus--probably best known for playing James Dean's father in Rebel Without a Cause (the photo is from Don't Bother to Knock, 1952).
Since there are references to Simone de Beauvoir, Sartre, and Camus in the trilogy, yes, but there was also a nightclub in Hollywood in the 1990s (on Hollywood Blvd. near the Roosevelt Hotel) that was called "La Cave." This club
had a cavelike interior and an unusual menu, like the Cave in the Hollywood Mouth trilogy. The writer was also thinking of a music video from the 1980s--
"Save It for Later" by the English Beat--which depicts a French "cave."
At the corner of Santa Monica Blvd. and Highland Ave. in Hollywood. The
sign that appears in the film is affixed to a metal pole on the west side of
the intersection.
He's looking at "The Castle" (referred to later in the film); at the time the
picture was taken in 1963 he was the new owner of the Mediterranean-style
stone mansion located in the Brentwood area of Los Angeles.
Berlyn probably thinks her uncle (who's visiting L.A.) would like to see it; the house is in North Hollywood near several of the other homes she's going by;
and it looks just like it did in 1937 when Earhart lived there. Also, Earhart's
disappearance is a classic mystery, somewhat analogous to Berlyn's trying to
find out what happened to some of the people in her story.
It's authentic and most was based on what was available at several import/
international markets and Russian and European delis/bakeries that were in
the East Hollywood area (c. 1990s-early 2000s).
Joel McCrea, one of the few Golden Age stars actually born and raised in the L.A. area (he graduated from Hollywood High School). Some of his best-known movies are "Dead End," Hitchcock's "Foreign Correspondent," "Sullivan's Travels," and "The Palm Beach Story"; he also starred in many Westerns.
At Santa's Village in Lake Arrowhead, CA, in the San Bernardino Mountains. It was one of Southern California's biggest tourist attractions, 1955-1998. A new version of the amusement park, SkyPark at Santa's Village, opened in December 2016, using some of the original Santa's Village buildings.
At Griffith Park in Hollywood.
In Venice, California.
Yes.
Crawford had started out as a dancer in nightclubs and was discovered in a show on Broadway in the 1920s when everyone appearing onstage used greasepaint. She must have felt it worked for her (she was covering up freckles) and wanted to continue using it.
Note that this segment begins with Garbo's name, as one of the patrons of Musso & Frank, the oldest restaurant in Hollywood, founded in 1919. The segment concludes with one of Garbo's houses (they were always rentals and this one is in the flats of Beverly Hills) and the director was thinking of film historian David Shipman's statement about Garbo: "She stands apart from every other star." The music ending is a way of showing that and of indicating the end of the era Garbo represented.
"Today We Live," from 1933.
If you look closely, he mentions (in writing to a fan) that he's working on the movie "The Pied Piper" (1942)..."a war story." Roddy McDowall was a busboy at the Hollywood Canteen, which was affiliated with the USO.
A Russian restaurant in the Hollywood area (Diaghilev, in the 1990s) followed this practice, and the writer recalls hearing this was done in other Russian restaurants.
It's a mild version (since it's a subplot) of events that occurred during and
following the play "Two Simones: de Beauvoir and Signoret in Hollywood"
at the Stella Adler Theatre in Hollywood.
The following characteristics are serious impediments for dealing with the public (and lead to confusion about why the manager is working at the theater): patronizing attitude, arrogant behavior, contemptuous of others, complete lack of empathy toward others, taking advantage of others, fabricating facts to suit himself, underestimation and devaluation of others, believing his needs are special, insisting on being affiliated with the "best" institutions, need for constant attention, appropriating special privileges that he believes he deserves, conscious exploitation of others, an emotional coldness and lack of reciprocal interest, cannot let things go. Also, intense abandonment fears, impulsive behavior, difficulty controlling anger, ultra sensitive to things happening around him, an avenger, problems with substance abuse, easily bored, verbal outbursts. The theater's mission statement referring to their dedication to "humanity" was simply not on view there, and this was one of the reasons the incident was incorporated into the plot.
The following characteristics are serious impediments for dealing with the public (and lead to confusion about why the manager is working at the theater): patronizing attitude, arrogant behavior, contemptuous of others, complete lack of empathy toward others, taking advantage of others, fabricating facts to suit himself, underestimation and devaluation of others, believing his needs are special, insisting on being affiliated with the "best" institutions, need for constant attention, appropriating special privileges that he believes he deserves, conscious exploitation of others, an emotional coldness and lack of reciprocal interest, cannot let things go. Also, intense abandonment fears, impulsive behavior, difficulty controlling anger, ultra sensitive to things happening around him, an avenger, problems with substance abuse, easily bored, verbal outbursts. The theater's mission statement referring to their dedication to "humanity" was simply not on view there, and this was one of the reasons the incident was incorporated into the plot.
This is an indication of his opportunistic, entitled behavior, in addition to attachment problems. The theater/school where the real incident occurred stated in their brochure that they did not provide housing facilities (also "alcohol abuse will not be tolerated"). The manager's living in the theater (which was unknown to the writer at the time) makes the situation an uneven playing field--he has 24-hour access to and control of computers, phone, and foot traffic, plus the opportunity to remove posters/flyers (the wrong phone number to contact the producer of the play was on their website and never corrected). Also, it's unlikely that this business is zoned for residential use.
After a while, most of the people with this condition found that their narcissistic fantasies collided with the reality of Hollywood. They are willing to do "whatever it takes" to preserve their illusion of superiority, including sabotaging other people to triumph over them. The reality of Hollywood makes them clingy Peter Pans who develop opportunistic, parasitic relationships where every connection depends on its usefulness to them.
Bullying, harassment, intense anger, identity disturbances (having a false sense of themselves) are typical behavior patterns. They are looking for outside validation--in this case using a school situation where students have no choice about acknowledging or kowtowing to him.
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