Sept. 4, 1926:The Times publishes a map showing the streets of the day, noting the changes made since Ord’s survey.
Sept. 4, 1981: Mayor Tom Bradley and actress Bernadette Peters cut the cake for Los Angeles’ 200th birthday
Jan. 1, 1892: To retell the founding of Los Angeles, The Times reprints an account from Juan Jose Warner’s “Historical Sketch of Los Angeles County” (1876). This account also appears in the Thompson and West’s “History of Los Angeles County, California” (1880).
In case you just tuned in, I was given a box of material that was cleaned out of the old press room after Parker Center closed. The items consist of photos, press releases and random bits of ephemera. There is very little information about the photos – many of them are unidentified – so the material has taken quite a bit of time to organize and then research.
The U.S. Secretary of State, who is offstage director for the Dumbarton Oaks conference on postwar security is shown in this excellent portrait by Karsh. Secretary Hull welcomed the delegates to Washington. Last week, Mr. Hull talked with John Foster Dulles, Dewey’s foreign affairs adviser. The two agreed on many points but Mr. Dulles came away insisting that a “nonpartisan discussion” of foreign policy was a proper part of the coming campaign.
Sept. 4, 1944
Cordell Hull is the cover feature of this week’s Life magazine.
Alfred Eisenstaedt celebrates 15 years as a photojournalist.
In a feature on which city has the most pretty girls, a photographer snaps photos at Hollywood and Vine.
This week’s Hollywood feature is Jeanne Crain, 19, a graduate of Inglewood High School.
Sept. 4, 1944
Danton Walter says: Brazil and Colombia plan to cut coffee exports to the U.S. if the OPA price ceiling isn’t lifted … FDR has requested James Byrnes to hold up his resignation until after election day … Major radio stations have already made up their V-Day programs.
Louella Parsons says: “Kiss and Tell” is certainly launched in fine style with Shirley Temple as the star. Yes, that’s the news today. David O. Selznick has loaned her to the new independent production company headed by George Abbott, Sol C. Siegel and F. Hugh Herbert for their first picture. The release is through Columbia.
The controversial “Mildred Pearce” is again the center of controversy. Jack Warner is refusing to bring it to the screen until he is satisfied with the script, so it has been temporarily shelved. It’s so censorable it takes a bit of doing to adopt. Well this means Joan Crawford is again out of a picture, so she is taking a trip to New York until such time as there is a play ready. Jack has said he wants Joan to have a screenplay that is right for her and apparently he thinks “Mildred Pearce” isn’t.
Laura Hunt (Gene Tierney) and Shelby Carpenter (Vincent Price) in “Laura.”
In case you just tuned in, I’m using Louella Parsons’ May 15, 1944, item on Rouben Mamoulian being replaced as the director of “Laura” to take a meandering look at the making of the film, which was released in Los Angeles in November 1944. Previous posts have examined the writing career of “Laura” novelist Vera Caspary and the state of the detective story in 1941, when she was writing the novel. We also explored some of the locations Caspary used in the book.
In the next few posts I’m going to look at the characters as portrayed in the novel, starting with the smaller roles and working up to Waldo Lydecker (played by Clifton Webb in the film). Although the book and film are titled “Laura,” Waldo is the most important character and the one who required the most work, as Caspary noted in her autobiography, “The Secrets of Grown-Ups.”
The Making of “Laura” Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Part 9 | Part 10 | Part 11 | | Part 12 | Part 13 | Part 14 | Part 15 | Part 16 | Part 17 | Part 18 | Part 19 | Part 20 | Part 21 | Part 22 | Part 23 | Part 24 | Part 25 | Part 26
James Ellroy to script remake of ‘Laura’
Spoilers ahead
“Green Dolphin Street” wins MGM’s annual novel award. The movie was released in 1947, starring Lana Turner and Van Heflin, directed by Victor Saville with a script by Samson Raphaelson.
Sept. 3, 1944
Louella Parsons is pushed off Page 1 of the Entertainment section by a review of Eugene Ormandy on a three-month conducting tour of Australia. Ormandy is the longtime conductor in Philadelphia, so it makes perfect sense.
Parsons says: Phil Terry, the tall bespectacled young man whose career took a terrific nose dive just before and after his marriage to Joan Crawford, is on the beam again. For no good reason, after Phil made “The Parson of Panamint” a success, he was never able again to get on his starring feet. He was put in “Sweater Girl,” a B picture and almost crowded out of “Wake Island,” an “AA.” In fact, you couldn’t see him unless you looked quickly.
An unidentified actress appears as Diane Redfern in “Laura.”
In case you just tuned in, I’m using Louella Parsons’ May 15, 1944, item on Rouben Mamoulian being replaced as the director of “Laura” to take a meandering look at the making of the film, which was released in Los Angeles in November 1944. Previous posts have examined the writing career of “Laura” novelist Vera Caspary and the state of the detective story in 1941, when she was writing the novel. We also explored some of the locations Caspary used in the book.
In the next few posts I’m going to look at the characters as portrayed in the novel, starting with the smaller roles and working up to Waldo Lydecker (played by Clifton Webb in the film). Although the book and film are titled “Laura,” Waldo is the most important character and the one who required the most work, as Caspary noted in her autobiography, “The Secrets of Grown-Ups.”
The Making of “Laura” Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Part 9 | Part 10 | Part 11 | | Part 12 | Part 13 | Part 14 | Part 15 | Part 16 | Part 17 | Part 18 | Part 19 | Part 20 | Part 21 | Part 22 | Part 23 | Part 24 | Part 25 | Part 26
James Ellroy to script remake of ‘Laura’
Spoilers ahead
September 2, 1944
Danton Walker (who turns out to have been Alexander Woollcott’s secretary for a couple of years), says: Several magazines are racing to put out German editions which would be the first published works to give occupied Germany the truth in the news …
Louella Parsons says: The dynamic and resourceful Mike Todd unearthed an unpublished score by Victor Herbert and kept it under wraps for over a year. He refused $350,000 for it because he believed he had something special. And this is what happens. He has signed Jeannette MacDonald to star in the operetta, which he says will be his greatest producing venture.
She reports for rehearsals in New York Jan. 1, and opens in Boston early in February. That gives Jeanette a very full schedule, with her three grand opera programs in Chicago and her 10 concert and solo appearances with the Cincinnati Symphony.
[I am unable to find any trace of this production being staged — lrh].
The fraternal organization, the Masquers Club, founded in Hollywood in 1925 by eight actors, prided itself on love, loyalty, and support. They lived by the motto: “We Laugh to Win,” a rallying cry whenever a brother was in need. They made two-reel films in the 1930s featuring dozens of members to raise money for paying off the mortgage on their new clubhouse as well as helping those in financial difficulties. During World War II, they organized the Servicemen Morale Corps, providing service people free meals and entertainment, along with recognition of their military service through presentation of certificates and war decorations. As time went on, however, the club would eventually require the financial help and support of others.
Allowing actors to learn their craft was an important part of the Masquers. Besides putting on skits at the club for members, the group offered performances around town as well as holding acting workshops. In December 1949, the group held classes and then graduation for Hollywood’s School for Santa Clauses, teaching men how to portray the lovable St. Nicholas when appearing in stores, parades, and the like. Walter Catlett, Ralph Murphy, Wallace Ford, James Kirkwood, and Percy Helton took part in the ceremony.
Mary Mallory’s “Hollywoodland: Tales Lost and Found” is available for the Kindle.
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This week’s movie has been the 1935 RKO film “Roberta,” with Irene Dunne, Fred Astaire, Ginger Rogers and Randolph Scott. It was directed by William A. Seiter. “ Roberta” was based on Alice Duer Miller’s novel “Gowns by Roberta,” which was adapted for the stage by Jerome Kern and Otto Harbach with a screenplay by Jane Murfin, Sam Mintz and Allan Scott. Musical direction was by Max Steiner.
Sad to read that Chuck Bowden died Saturday in Las Cruces, N.M. We overlapped at the local newspapers in Tucson in the early 1980s and for a few years he lived around the corner from me, between Broadway and Sixth Street just west of Tucson Boulevard. He had only one or two books to his credit at that point and I knew him as Chuck rather than Charles.
We weren’t close but because we were neighbors, we sometimes ran into one another at the supermarket or at one of the local restaurants. We usually traded stories about trying to write on the primitive personal computers of the day.
I remember one time particularly when I ran into him at Austin’s, a Tucson landmark on Broadway, where he was having lunch after dropping out of sight for a couple of weeks.
He explained that to research a story on immigrants, he had made the desert trek across the border from Mexico — on foot — and as it was summertime in Arizona, he had nearly died and had to take some time off work to recover. I’m fairly certain he wrote a story about it, but I savor having heard him tell it to me personally with all the details that were left out of the newspaper version. I remember him talking about crawling under a truck at one point to get some shade because it was so hot.
At least I’m pretty sure he wrote about it.
Following on its exclusive that James Ellroy was scripting a remake of “Laura,” The Hollywood Reporter posted an excerpt of Chapter 2 from Ellroy’s upcoming novel “Perfidia.” It’s a brief selection, and it may not reflect the entire book, but I suspect it’s enough to show once again that that Ellroy long ago crossed over from writer into self-parody.
I can’t claim to be intimately familiar with all of Ellroy’s works. I thought “My Dark Places” was probably the best of what I have read because his notorious excesses were mostly restrained. My friend Miles Corwin is a big fan of “The Hilliker Curse,” but having been friends with Ellroy during some of that period in his life, I have no desire to read about it.
Aug. 29, 1944
You can never tell what our unpredictable movie heads are going to do when they decide they want a play. Jack Warner, for instance, has purchased the film rights to “The Visitor” before it even opened on Broadway or had a rehearsal. But he had a reason and, I think, a good one.
There’s really no news in Jean Arthur’s announcement she is not making any more pictures.
The beautiful home of Maurice Chevalier at Cannes has been destroyed by bombs.
Marlene Dietrich has informed her agent she won’t be able to fulfill picture commitments until 1945.
I wonder if you remember Robert Morley … while London was being bombed by robots [Robert] was undergoing an operation in a hospital when the building was hit. The operation was completed under great difficulties and he was taken to a safe place in the country to recuperate.
VIRGO: Excellent planetary influences for matters pertaining to investments, determining profits and carrying out responsible tasks, orders. Be optimistic in romance, home affairs.
At a fashion show of fall college styles held about a fortnight ago at B. Altman & Co., New York, most startling among the novelties shown were the “pedal pushers,” in which Anne Scott appears on Life’s cover. These are made of red wool plaid, come to just below the knee and are one of many versions of the new long shorts which are being promoted to replace rolled-up slacks and dungarees for college wear. (Note to millennials: “dungarees” are the old name for blue jeans).
Aug. 28, 1944
Life’s cover story is about the new fashion craze: pedal pushers.
Life says: Preston Sturges is a man of vast and varied talents. He is the author of a Broadway stage hit, the inventor of a kissproof lipstick, a superlative cook, a multilinguist, the owner of a war production plant and probably the most exciting movie director to emerge in the past decade. (The Daily Mirror’s library recently acquired a copy of James Curtis’ “Between Flops: A Biography of Preston Sturges,” which we highly recommend. You can hunt down an old copy or get the Kindle version).
The Big Four powers begin peace talks. Meeting at Dumbarton Oaks are U.S. Undersecretary of State Edward R. Stettinius, Britain’s Sir Alexander Cadogan, China’s Wei Tao-ming and “an able but inexperienced young diplomat” from the Soviet Union named Andrei Gromyko.
Ann Treadwell (played by Judith Anderson) is questioned by Detective Mark McPherson (Dana Andrews) in “Laura.”
In case you just tuned in, I’m using Louella Parsons’ May 15, 1944, item on Rouben Mamoulian being replaced as the director of “Laura” to take a meandering look at the making of the film, which was released in Los Angeles in November 1944. Previous posts have examined the writing career of “Laura” novelist Vera Caspary and the state of the detective story in 1941, when she was writing the novel. We also explored some of the locations Caspary used in the book.
In the next few posts I’m going to look at the characters as portrayed in the novel, starting with the smaller roles and working up to Waldo Lydecker (played by Clifton Webb in the film). Although the book and film are titled “Laura,” Waldo is the most important character and the one who required the most work, as Caspary noted in her autobiography, “The Secrets of Grown-Ups.”
In this post we will look at the role of Susan Treadwell (renamed Ann Treadwell and played by Judith Anderson in the film), who is the aunt of Laura Hunt (played by Gene Tierney).
The Making of “Laura” Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Part 9 | Part 10 | Part 11 | | Part 12 | Part 13 | Part 14 | Part 15 | Part 16 | Part 17 | Part 18 | Part 19 | Part 20 | Part 21 | Part 22 | Part 23 | Part 24
James Ellroy to script remake of ‘Laura’
Spoilers ahead.
Aug. 28, 1944
I had just put down “The History of Rome Hanks and Kindred Matters” when — flash! — came the word that MGM had bought the Lt. Joseph Stanley Pennell novel for $60,000. Here, my friends, is a powerful story of the Civil War, so powerful, in fact, it takes a good strong stomach to get past some of the passages. But not since Ernest Hemingway and Thomas Wolfe has an American written a first book with the beauty and force of Pennell, and the reading public is responding at the rate of 13,000 a week.
Two nights running, David Wark Griffith ran “Intolerance” and Birth of a Nation” for Preston Sturges, which inclines me to believe his deal with Sturges will be closed any day.
Director Mike Curtiz starts his 18th year at Warners … Certainly Dalton Trumbo won’t have to worry where his next meal comes from for the next few years … I remember so well Carole Lombard’s interest in Helen Deutsch’s story “But Is It Love,” the comedy she thought was so right for her. She took an option on it before she died and expected to interest one of the studios in making it. After Carole’s death, Helen Deutsch lost interest in the picture because she had set her heart on having Carole play in it. Now the story is being rewritten and will again be offered for sale.
VIRGO: You are in same planetary boat with Leoites today, therefore benefit by advice to them. Enjoy wholesome pleasures in free time. Avoid extremes.
Imagine my surprise yesterday when the Hollywood Reporter announced that my onetime friend James Ellroy would be doing a remake of “Laura,” the subject of a meandering series of posts over the last few weeks. Perhaps my little project has taken on a bit of relevance.
Let me say first of all: I don’t harbor any ill will against James. He’s a nice fellow (though rather egotistical and eccentric to say the least) who eventually tires of all his friends and silently moves on without an explanation. And to anyone who currently considers themselves one of James’ friends I can only say “prepare yourself for him to vanish someday without a word. That’s how he is with everybody.”
As for the remake of “Laura,” in all honesty I can’t imagine how James can pull it off, for several reasons:
The Making of “Laura” Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Part 9 | Part 10 | Part 11 | | Part 12 | Part 13 | Part 14 | Part 15 | Part 16 | Part 17 | Part 18 | Part 19 | Part 20 | Part 21 | Part 22 | Part 23 | Part 24
Spoilers ahead.
Dorothy Adams as Bessie Clary, Laura Hunt’s maid, in “Laura.”
In case you just tuned in, I’m using Louella Parsons’ May 15, 1944, item on Rouben Mamoulian being replaced as the director of “Laura” to take a meandering look at the making of the film, which was released in Los Angeles in November 1944. Previous posts have examined the writing career of “Laura” novelist Vera Caspary and the state of the detective story in 1941, when she was writing the novel. We also explored some of the locations Caspary used in the book.
In the next few posts I’m going to look at the characters as portrayed in the novel, starting with the smaller roles and working up to Waldo Lydecker (played by Clifton Webb in the film). Although the book and film are titled “Laura,” Waldo is the most important character and the one who required the most work, as Caspary noted in her autobiography, “The Secrets of Grown-Ups.”
In this post we will look at the role of Bessie Clary (played by Dorothy Adams in the film), who has worked as a maid for Laura Hunt (played by Gene Tierney) for several years.
Spoilers ahead
Aug. 27, 1944
Hollywood’s divorces and nightclub battles always manage to get on the front pages. It’s just too bad the public doesn’t get an equal chance to learn about the topic of conversation that really interests the stars. Go to any Hollywood party and you will hear very little discussion about the newest marital rift or the latest cafe battle. But on every side you hear stories about babies, babies babies — by proud parents.
On the bestseller list, fiction “History of Rome Hanks,” “Razor’s Edge,” “Leave Her to Heaven,” “Strange Fruit” and “Ride With Me.”
Nonfiction: “The Time for Decision,” “I Never Left Home,” “Anna and the King of Siam,” “Yankee From Olympus” and “Basic History of the United States.”
Lee Tung Foo, left, and Clifton Webb as Waldo Lydecker in a scene from “Laura.”
In case you just tuned in, I’m using Louella Parsons’ May 15, 1944, item on Rouben Mamoulian being replaced as the director of “Laura” to take a meandering look at the making of the film, which was released in Los Angeles in November 1944. Previous posts have examined the writing career of “Laura” novelist Vera Caspary and the state of the detective story in 1941, when she was writing the novel. We also explored some of the locations Caspary used in the book.
In the next few posts I’m going to look at the characters as portrayed in the novel, starting with the smaller roles and working up to Waldo Lydecker (played by Clifton Webb in the film). Although the book and film are titled “Laura,” Waldo is the most important character and the one who required the most work, as Caspary noted in her autobiography, “The Secrets of Grown-Ups.”
Although Waldo’s butler (played by Lee Tung Foo) is never identified in the movie and has a non-speaking role, the novel describes him as a “Filipino manservant” named Roberto, whom we meet on the first page as he announces the arrival of Detective Mark McPherson (played by Dana Andrews in the film).
The Making of “Laura” Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Part 9 | Part 10 | Part 11 | | Part 12 | Part 13 | Part 14 | Part 15 | Part 16 | Part 17 | Part 18 | Part 19 | Part 20 | Part 21 | Part 22
Spoilers ahead
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