September 13, 2016 § 3 Comments
When I visited the Alto Nido, hummingbirds were flying in and out of the windows, the only charming touch in a dwelling that seemed to be both an abandoned DIY renovation and the lair of a mid-level hoarder. The place was on the Franklin side and thus not Gillis’s Ivar side apartment; still, I enjoyed its proximity to hallowed cinematic ground. That is, until the man said, “Guess who died here?–the guy who wrote The Great Gatsby.”
“You’re kidding,” I said, but he was serious.
“Yeah, right here,” he insisted, pointing to an alcove.
I knew this couldn’t be true: if F. Scott Fitzgerald had keeled over at the Alto Nido, someone would have written about it, and no one had. Also, I was pretty sure the location was off the Sunset Strip. As far as the Alto Nido man’s delusions were concerned, this turned out to be the tip of the iceberg. I got out fast.
The following year I met a normal-seeming man who lived in an old building on Hayworth Avenue in West Hollywood. Much to my relief, his apartment showed no signs of chaos or hoarding; in fact, it was clean and neat. My first visit went well until he said, “You want to see where F. Scott Fitzgerald died?”
Please don’t say “in my apartment,” I thought fervently.
He pointed to a building up the street. “It’s that one.”
And people say Los Angeles isn’t literary.
He was right about the location, of course. He’d even read Fitzgerald, though not much as I had. But that’s beside the point, which is: what are the chances of my meeting two completely different men in consecutive years whose hook was Fitzgerald’s death spot?
Both men are long gone from my life, mercifully, but I still wonder about it.
September 9, 2016 § 3 Comments
Today the Fitzgerald House is on the National Register of Historic Places. (It’s also for sale: $625,000 for 4 bedrooms, 2 baths and 2 half-baths.) As I gazed at it, I was struck by the contrast between the place where Fitzgerald’s career began and the nondescript West Hollywood apartment house where it ended only two decades later. Between those residences were a great many other Fitzgerald residences, including the estate on Long Island where he wroteThe Great Gatsby, apartments in Paris and Rome, a villa in the South of France, and a grand hotel in Asheville, North Carolina, near the sanitorium where his wife Zelda was institutionalized.
As he moved from house to house, Fitzgerald’s career soared and foundered. At the start the Depression in 1929, Fitzgerald’s short story rate at the Saturday Evening Post was $4,000–$40,000 in today’s dollars. He spent as fast as he earned, however, and by 1937 he was laboring in Hollywood as an unsuccessful, albeit highly paid, screenwriter. In 1940, while writing his comeback novel, The Last Tycoon, Fitzgerald was felled by his third heart attack in the ground floor apartment of the gossip columnist Sheilah Graham, his last companion. He was only forty-four but had lived in more houses than most centenarians.
Next time: F. Scott Fitzgerald Died Here
Sources: Matthew J. Bruccoli: “A Brief Life of Fitzgerald,” 1994.
“F. Scott Fitzgerald Walking Tour of St. Paul, MN” http://wcaudle.com/fscotwlk.htm
June 29, 2016 § Leave a comment
If you’d like learn about this fascinating American in English, both “Jim Thompson, Silk King” and “The Jim Thompson House and Art Collection” are available on DVD on my website http://www.hopeandersonproductions.com/dvds/
“Jim Thompson, Silk King” is also available as a digital download http://www.hopeandersonproductions.com/downloads/
March 24, 2016 § 2 Comments
Since the early 20th century, Los Angeles has been the city that outsiders have loved to hate, usually based on fleeting touristic impressions. But no matter what the haters say, indignant reactions from the home crowd are few and far between. There are two reasons for this: 1) Angelenos don’t care what outsiders think of Los Angeles. 2) The last thing Angelenos want for people to move here, so all deterrents are welcome.
In L.A.-bashing, as in most matters, context is crucial. When Woody Allen wrote that L.A.’s “only cultural advantage is being able to make a right turn on a red light,” he was a non-driving visitor to Beverly Hills and the Sunset Strip. How could he know about either local culture or driving? And when David Bowie said, “The fucking place should be wiped off the face of the Earth,” he was referring to his near-fatal cocaine abuse in Los Angeles. (Never mind that his addiction began years earlier, in London.) Ironically, Bowie spent a fair amount of time in Los Angeles over the course of his long career, making movies, collecting awards, appearing on talk shows and recording one of his best albums, “Station to Station,” in Hollywood. Yet he clung to the opinions he formed while high in the back of limos and darkened hotel rooms.
I was thinking about all of this as I watched the new Terrence Malick film, “Knight of Cups.” The plot, such as it is, concerns Rick (Christian Bale), an improbably attractive screenwriter who meanders around Los Angeles (with side trips to Death Valley and Las Vegas), his mind veering back and forth in time. Rick covers a lot of miles, yet he never writes a word. In fact, the closest he comes to working is meeting up with his agents, twice at CAA (Century City) and once at (I think) the Warner Bros. back lot (Burbank). But who has time for writing when there are so many women to recall? Apart from Cate Blanchett and Natalie Portman, most of Rick’s paramours are young models who wear filmy dresses (or less) and extremely high heels. (FYI, Terrence Malick: real L.A. women favor pants and shoes they can walk in.)
Fortunately, the places in the movie are decidedly real. Even the most over-the-top party (hosted by Antonio Banderas, though for me the highlight was the appearance of Joe Lo Truglio) takes place in well-known location: a massive Versailles-like mansion in Beverly Hills. Rick goes downtown (Broadway, the Bonaventure, etc), to the beach (constantly), to LACMA (Mid-Wilshire) and the Huntington Gardens (San Marino). He lives in a well-known industrial-looking apartment (the Gallery Lofts in Marina Del Rey), although I’m pretty sure that no one has seen a naked woman in six-inch heels talking on the phone on the balcony. Among the many visual highs are a twilight photo shoot at the Stahl House (Pierre Koenig’s Case Study House #22), gorgeous shots of Venice and PCH, and footage of the L.A. River and the tracks at Union Station. In short, it’s a film is by Emanuel Lubeski, with tiny amounts of dialogue and large amounts of voiceover written by Malick.
As the film washed over me, I was surprised at how many of the locations I had visited, not only architectural gems like the Broadway Theaters, the Stahl House and the Annenberg Beach House but a street in Hancock Park three blocks from where I used to live. For outsiders, “Knight of Cups” is a dream-like look at a great swath of Los Angeles–at least the rich, white, show biz side of it. But for those of us who live here, it’s much more: a trippy, deluxe home movie shot by three-time Oscar-winning cinematographer.
Coincidentally, I saw “Knight of Cups” on the same weekend as “City of Gold,” the new documentary about the Pulitzer Prize-winning food critic Jonathan Gold. Like the Malick film, “City of Gold” provides a beautiful, in-depth tour of Los Angeles, though a less rarefied one–e.g., no naked women in towering designer shoes and many ordinary people, all of whom have jobs. Gold is a native Angeleno whose knowledge of L.A. is profound and inclusive. Intrepid and expert in most of the world’s cuisines, he takes us to a wide variety of notable restaurants, two of which happen to be food trucks. The wonderful street scenes in “City of Gold” show the real Los Angeles: a multi-racial, multi-cultural vibrant megacity. The documentary also contains this truth: Los Angeles is beyond the grasp of those who, in Gold’s words, “come for a couple of weeks, stay in a hotel in Beverly Hills, take in what they can get to within ten minutes in their rented car and [then] explain to you what Los Angeles is.”
August 28, 2015 § Leave a comment
Although I have no formal training in architecture, I’ve been studying it my entire adult life. I also had the good fortune to grow up in an architecturally significant mid-century house in Tokyo. Designed by the French-Czech architect Antonin Raymond, the house was a hybrid, a mostly western-style house that contained such Japanese features as a genkan (step-up entryway) a tokonoma (display alcove) and tsuboniwa (courtyard gardens). It was the only house I knew and I loved every inch of it, but it didn’t belong to my family. After we left Japan, it was torn down and replaced by an apartment building, which was later torn down and replaced by a much larger apartment building that obliterated what remained of the garden. Today the only reminder of my childhood home is its driveway. Yet the house lives on in my mind, indelible though it was demolished forty years ago.
During our years in Tokyo, my family made biannual visits to the United States. Each time someone would ask me, “Do you live in a paper house?” No matter how strenuously I said no, that person would insist, “we learned it in school–Japanese houses are made of wood and paper.” Somehow shoji, the wood and paper room dividers of traditional Japanese houses, were interpreted as structural materials to generations of American children.
While it’s been a long time since anyone has asked me whether I lived in a paper house, today I’m constantly confronted by “zen.” Used in English to describe anything even vaguely Japanese or minimalist, the term is as wrong as it is ubiquitous. Zen is an esoteric sect of Buddhism, and its use beyond specific temples and gardens is as discordant as “Jewish” and “Christian” would be if they were used to describe architecture and interior design.
Of course I realize the odds against my stopping the misuse of Zen. But in writing about real Japanese architecture–as opposed to “japanese-y” architecture–I can at least try.
Links to my first two articles for HOUZZ:
Other writing on architecture:
July 29, 2015 § 3 Comments
The 2015 edition of “Jim Thompson, Silk King” has new music and narration as well as two new DVD extras, one about Jim Thompson’s pre-war architecture in America and the other about my experiences since finishing the original version in 2001. Also included is my 2004 interview with his friend Catherine Bodenstein, a conversation that sheds considerable light on his disappearance.
To order the DVD, please go to http://hopeandersonproductions.com/?page_id=3361
April 2, 2015 § Leave a comment
During the 1990’s, I was a board member of the Junior Arts Center (now Barnsdall Arts), an organization formed to provide art education to Los Angeles children after art classes were all but dropped from the LAUSD curriculum in the 70’s. At the JAC, all classes were taught by working artists and, because we raised money to pay them, fees were kept low. The children produced very good work that we tried to reward, holding an annual exhibition in Barnsdall Park and giving prizes. To raise awareness of children’s art, we partnered with one of the billboard companies on a project called “Imagine a Great City.” Children entered drawings on the theme of Los Angeles, and the winners were displayed on billboards during February, a slow month in the industry. The program ran for a few years in the early 90’s. Despite the ubiquity of the downtown skyline, LAPD helicopters and palm trees in many of the submissions, it was a success.
“Imagine a Great City” came back to me when I was given a copy of Gabriel Kahane’s new Los Angeles-themed album, “The Ambassador.” Kahane is a classically trained composer and virtuoso musician, but his music contains rock, soul, blues and Broadway references. His lyrics are equally beautiful and complex, as poetic as any by Joni Mitchell.
Each song on “The Ambassador” concerns a Los Angeles building, either commercial or residential or, in the case of the “Mildred Pierce”-themed “Veda,” imaginary, and through these addresses Kahane tells the story of modern Los Angeles. Kahane’s subject matter includes modernist architecture (“Villains”), “Blade Runner” (“Bradbury”), the novels of Raymond Chandler (“Musso and Frank”), and Robert F. Kennedy’s assassination (“Ambassador Hotel). In the album’s most ambitious composition, “Empire Liquor Mart,” Kahane tells the life story of 15-year-old Latasha Harlins, whose 1991 murder at the hands of Korean store owner Soon Da Ju was a catalyst for the 1992 riots. He begins with the shooting, from Harlins’ point of view:
The lady in the fishing vest
Has dropped the gun
Who wears a fishing vest
When they’re working at a liquor store?
I float up to the corner
Just above the ice cream And the frozen food.
I perch beside the surveillance
He then traces the Harlins family’s move west from St. Louis, revealing the devastating loss of Latasha’s mother and uncle in separate shootings, before returning to Harlins’ murder.
Nobody reads from the Book of Job
At the church where me and my grandma go.
Nobody sees the trouble I know
But I know that trouble’s gonna find me.
So when I say that my un-
timely death was
What I mean is
That these tragedies
Are a kind of family tradition.
The album concludes with another masterpiece, “Union Station,” which considers manifest destiny, apocalypse and the tragedy of leaving LA:
When the pilasters slplit to admit the sea,
The hands of the clock will be covered in verdigris
I’ll swim to the train and I’ll find my seat
And hazard a smile at anyone who looks at me.
When the Alkali flats with their cracks pass by,
Think of the color wheel, think of the Western sky:
Distant city with a distant glow,
The hall of the lost has let me go.
This is songwriting of the highest order, incisive and deeply felt. The fact Kahane doesn’t even live here (although born in Los Angeles, he grew up in Northern California and lives in New York) says something too: that the tired La-la Land cliches have finally fallen away. Gabriel Kahane is appearing tonight at the Fonda, opening for the Punch Brothers, and I’m looking forward to his performance.