Revisiting Peg Entwistle’s Life and Death: Myth vs. Reality in Netflix’s “Hollywood”

May 21, 2020 § 2 Comments

Peg Entwistle in 1932/Courtesy Bruce Torrence

Filming “Peg Entwistle’s Last Walk

Jeremy Pope, Darren Criss and Laura Harrier in “Hollywood”

Soon after Netflix released the new Ryan Murphy-Ian Brennan miniseries “Hollywood,” I heard from Chris Yogerst, a University of Wisconsin film professor who has corresponded with me off and on since 2010, that Peg Entwistle’s story was a major theme. Naturally, I got right on it.

Since releasing my short film “Peg Entwistle’s Last Walk,” my documentary “Under the Hollywood Sign” in 2009 and my book of essays (Peg Entwistle and The Hollywood Sign) in 2013, a number of Peg-related projects have been announced, such as this one ://underthehollywoodsign.wordpress.com/2014/10/05/the-newly-announced-peg-entwistle-biopic/ , but “Hollywood” is the first major one to be completed. It’s also the most imaginative, using Peg’s story not as a grim cautionary tale but the departure point for a wildly revisionist Hollywood history.

At the outset of “Hollywood,” a script about Peg is greenlit by the Paramount-like Ace Studios. The screenwriter, Archie Coleman (Jeremy Pope) is predictably male but also black, and his struggle to make it in Hollywood gives him empathy for Peg’s tragic story. Fortunately for Archie, his champions at Ace Studios are self-professed outsiders: the director Raymond Ainsley (Darren Criss), though passing for white, is half-Filipino, and the acting head of production Avis Amberg (Patti Lupone) is a former silent film star whose acting career was cut short by her apparent Jewishness.

Though the Peg Entwistle project begins as a straightforward biopic featuring a blonde, white starlet, Avis agrees to cast Claire Wood (Samira Weaving), a Dorothy Dandridge-like actress whose screen test blows away the competition, in the lead. Thus Peg becomes Meg, and the film changes from a tragedy to a triumph of interracial romance and career redemption. If that weren’t enough, a major subplot involves Archie’s romance with the young Rock Hudson, and the couple soon smash racial and sexual barriers by walking the red carpet hand-in-hand at the Oscars. When Anna May Wong (Michelle Krusiec) becomes the first Asian to win an Academy Award, every studio-era wrong is righted, and it’s only 1948.

In short,”Hollywood” is a fantasia of racial and sexual justice. Though it’s based in fact–Rock Hudson, his manager Henry Willson (Jim Parsons) and the gas station/prostitution ring all existed–the series becomes increasingly fantastical as it careens toward a universal happy ending. This revisionism actually works for Peg Entwistle’s story, which–stripped of her Depression Era suicide–becomes a tale of  movie stardom and true love.

Unfortunately, Ryan and Brennan can’t let go of the biggest myth about Peg: that the Hollywood Sign symbolized Hollywood The Industry. In fact, it didn’t even symbolize Hollywood The Place. As I’ve said many times, the Hollywoodland Sign (which is how it appeared even when “Hollywood,” is set) was a billboard for the neighborhood where it stood. What it symbolized was real estate, nothing more. If Peg Entwistle hadn’t been living in Beachwood Canyon in 1932, she would have chosen another spot from which to jump–or might not have jumped at all.

As for Peg’s drinking beforehand, it didn’t happen, not only because there were no legal alcohol or bars during the Depression but because no inebriate could have climbed Mt. Lee, let alone the ladder to the top of the H. In “Meg” this fiction does, however, give Rock Hudson something to do: in the role of bartender, he not only serves Meg a drink but tells her how to get to the Sign. The directions, it should be noted, are accurate.

For Peg Entwistle’s actual story, as well as photos and artifacts, here are links to my film, documentaries and book:

DVDs

eBooks

COVID19 Two-For-One Sale on DVDs

April 21, 2020 § Leave a comment

“Jim Thompson, Silk King”/Copyright 2015 Hope Anderson Productions


Curious about the documentaries that inspired this blog? Here’s a good chance to see them at a bargain price. Beginning today, each purchase of a full-length documentary on DVD will include a free companion documentary. Each order of “Under the Hollywood Sign” will come with “Peg Entwistle: The Life and Death of an Actress”, while each order of “Jim Thompson, Silk King, 2015 Edition” will come with “The Jim Thompson House and Art Collection.”

This offer does not apply to digital downloads and will end as soon as the lockdown ends in Los Angeles. To order, please go to: http://www.hopeandersonproductions.com/dvds/

Remembering Kate Johnson, Visual Artist, Teacher and Editor of All My Films

April 13, 2020 § Leave a comment

Kate and Me 1

Kate Johnson and Me at the 2009 premiere of “Under the Hollywood Sign”/Hope Anderson Productions

I first met Kate Johnson in 1999, shortly after I returned from Thailand with the raw footage for my first two documentaries–a suitcase full of BetaSP tapes that logged in at more than seventy hours. Documentaries are made in the editing room, and the time spent editing far exceeds the time spent shooting, writing and researching. Thus over the next sixteen years we spent countless days working side by side, and the resulting films were a collaborative effort. Weaving together interviews, footage, archival film and stills, music, sound effects and graphics is like making a giant tapestry, and Kate always kept track of the thousands of strands.

Kate edited both “Jim Thompson, Silk King” and its companion piece, “The Jim Thompson House and Art Collection.” Then came “Under the Hollywood Sign,” and its short feature, “Peg Entwistle’s Last Walk,” which I later spun off into a separate film. Our last project was the reissue of of “Jim Thompson, Silk King,” which by 2014 had to be remastered because the original software was obsolete. For the new version, I filled the gaps in the score with new music that Kate composed and performed; it complemented the Thai classical music seamlessly. I also made two new shorts as DVD extras: one on Jim Thompson’s pre-Thailand architectural career and the other on developments on his disappearance since the release of the original documentary in 2002.  

Throughout our time together, Kate was an invaluable source of ideas and guidance, providing the critical eye I needed. The fact that she was the only editor I’ve worked with says a great deal about her immense talent and range. Since she did it all, I never needed a sound editor, graphic artist or visual effects person, and only once did I use an outside composer.

In addition to editing my work and that of others, Kate was a filmmaker in her own right, and in 2015 won an Emmy for “Mia: A Dancer’s Journey.” Somehow she also found time to be a professor of Digital Media at Otis College of Art and Design, passing on her skills to a new generation of visual artists.

Because most of what I do is solitary, I found in Kate Johnson the longest and most significant working relationship of my career. My struggle to accept her passing includes the stark realization that I will never have a comparable collaboration, either in importance or duration. Brilliant and unique, she was also, for me, irreplaceable.

Justice For the Bronson Canyon Murder Victim, Nearly Four Years Later

November 10, 2015 § Leave a comment

Gabriel Campos-Martinez during his trial

Gabriel Campos-Martinez during his trial

Longtime readers of this blog will remember the shocking discovery of a man’s severed head, hands and feet in Bronson Canyon on January 17, 2012.
https://underthehollywoodsign.wordpress.com/2012/01/17/helicopters-over-bronson-canyon-and-a-gruesome-discovery/
The victim was Hervey Coronado Medellin, 66, a retired airline worker who lived in Hollywood. Although the prime suspect was Medellin’s boyfriend, Gabriel Campos-Martinez, he wasn’t arrested until March of 2014, the same month human remains were found buried at the mouth of the Bronson Canyon Caves. Federal DNA tests, which were not returned until September of this year, showed the remains were Medellin’s.
The Bronson Caves

The Bronson Caves


On October 1st, Campos-Martinez was found guilty of first-degree murder. He faces a 25-year-life prison sentence and will be sentenced on November 16th.

Postscript: Gabriel Campos-Martinez received a sentence of 25 years to life.

Related articles:

https://underthehollywoodsign.wordpress.com/2012/01/18/searching-for-body-parts-in-bronson-canyon-day-two/ https://underthehollywoodsign.wordpress.com/2012/01/21/as-the-plot-thickens-hikers-return-to-bronson-canyon/ https://underthehollywoodsign.wordpress.com/2012/01/20/authorities-identify-bronson-canyon-murder-victim/ https://underthehollywoodsign.wordpress.com/2012/01/20/bronson-canyon-murder-victim-identified-by-police/

My Documentary Feature, “Under the Hollywood Sign,” Is Now Available On Demand

April 24, 2014 § Leave a comment

Poster by Nathan Church/ Copyright Hope Anderson Productions

Poster by Nathan Church/ Copyright Hope Anderson Productions


The documentary that inspired this blog is now available as a download, either for purchase ($18) or rent ($5). Under the Hollywood Sign explores the history and present-day life of Beachwood Canyon in historical pictures, new footage and interviews. Here’s the link:

https://vimeo.com/ondemand/uths

To purchase a DVD, please go to: http://www.underthehollywoodsign.com

LaBonge Rides Again: His Plan to Run Vans Up Beachwood Drive to the Hollyridge Trail

August 27, 2013 § 2 Comments

The August 14 meeting with Councilman Tom LaBonge, in which Beachwood Canyon residents asked the City to temporarily close the trailhead at the end of Beachwood Drive, has yielded the opposite response:

Motion (LaBonge – O’Farrell) instructing the LADOT to report relative to the feasibility of implementing a transportation pilot program that ferries tourists and hikers in a vehicle (no larger than a 10 passenger van) to the Hollyridge trailhead at the end of Beachwood Drive or the Hollywood Sign in a safe and organized manner.

Oddly, LaBonge never mentioned this plan during the meeting, though surely it was on his mind. If implemented, Hollyridge Trail will not only remain open but receive even greater traffic than it does now. The vans are apparently slated to run every ten minutes, completing the transformation of Hollywoodland from a residential neighborhood to a tourist zone. For those who think it’s no big deal, the dead-end of Beachwood is a bottleneck with no place to turn around. Those who live there report constant problems from a steady stream of visitors, who vandalize property and smoke in a fire-prone area. A recent medical emergency involving two hikers on the trail had a delayed response because emergency vehicles couldn’t get through the crowds.

For those who wish to attend tomorrow’s meeting, here are the details:

Wednesday August 28, 2013
at 2 p.m.
TRANSPORTATION COMMITTEE MEETING
City Hall Room 1010

Built on Granite: Hollywoodland’s Unshakable Foundations

November 27, 2012 § 1 Comment

The Foundations of a New House on Westshire Drive, 11/26/12/Hope Anderson Productions

Since I moved to Beachwood Canyon seven years ago, there have been hundreds of earthquakes in the area–not that I’ve felt the vast majority of them. Unless they are very strong, tremors are rendered imperceptible by the deep shelf of granite that underlies Hollywoodland. My circumstances have led to phone conversations like this:

–Did you feel the earthquake?
–What earthquake?

Just to the east, Bronson Canyon has a similar geologic makeup, with a dramatic difference: until 1929, the north end of the Canyon was a productive quarry called the Union Rock Company. Now popularly known as the Bat Cave because of its appearance in the old “Batman” TV show, the quarry supplied all the granite for Hollywoodland’s public retaining walls, stone gates and stairs, as well as the walls, chimneys and walkways of its houses.

My first inkling of my new home’s underpinnings came during escrow, when I met the engineer who supplied the requisite site report. “Because of where you are, you really don’t have to worry about movement,” he said. He wasn’t kidding. I later learned that in 1994, a post-Northridge Earthquake survey of Beachwood Canyon houses–which number in the hundreds–turned up no damage at all.

At the time of the Northridge Earthquake, I lived in Hancock Park, which lies on the floodplain of the Los Angeles River. Hancock Park stands on clay, and the neighborhood shook violently that night. Power lines, brick walls and chimneys fell. Although the extent of the structural damage to my house there wasn’t apparent at first, a low crack in my chimney called for it to be replaced; when it came down, the house started to collapse. Long-term termite damage was exacerbated by the quake, and the house had to be completely reframed. None of the work was covered by FEMA.

After that nightmare, I was happy to move to a neighborhood that is the geologic opposite of Hancock Park, a place so solid you can feel it underfoot. The photo–of a newly excavated hillside on Westshire Drive–shows the thick granite foundations on which Hollywoodland was built nearly ninety years ago.

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