David Cronenberg on Lighting the Hollywood Sign

September 6, 2013 § Leave a comment

The Hollywood Sign on August 20/Photo by Tyler Shields

The Hollywood Sign on August 20/Photo by Tyler Shields

The Eiffel Tower 10/10/11/All Photos Hope Anderson Productions

Not the Hollywood Sign 10/10/11/All Photos Hope Anderson Productions

Yes, he did it–and with permits. Here’s a link.

http://laist.com/2013/09/05/cronenberg_admits_he_lit_hollywood_sign.php

The most interesting thing about the article is not that Cronenberg was able to shine big bright lights on the Hollywood Sign, but that he comments, “I was frankly just surprised to learn the sign wasn’t lit in the first place. If it were Paris, it would be lit at night!”

If it WERE Paris, Hollywoodland would be an enormous, flat public park with no houses in it. And the Hollywood Sign would be called the Eiffel Tower. But it’s not, and it’s not. I would have thought this was obvious.

Related posts:
https://underthehollywoodsign.wordpress.com/2013/08/26/the-mysterious-lighting-of-the-hollywood-sign-the-plot-thickens/
https://underthehollywoodsign.wordpress.com/2013/08/24/the-glow-in-the-dark-hollywood-sign/
https://underthehollywoodsign.wordpress.com/2011/10/25/the-hollywood-sign-and-the-eiffel-tower-monuments-to-modernity-with-differences/

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The Hollywood Sign and the Eiffel Tower: Monuments to Modernity, With Differences

October 25, 2011 § 3 Comments

The Eiffel Tower on 10/10/11/Except where noted, all photos by Hope Anderson Productions

The monument that is mentioned most frequently in conversations about the Hollywood Sign is the Eiffel Tower, and for good reason. Both became icons by accident, having been conceived as temporary structures, and grew to represent the cities in which they are located. Both were built during the Machine Age and project the dynamism of that era. Finally, both monuments are abstract symbols, allowing their admirers to imbue them with a variety of meanings. Just as the Hollywood Sign can symbolize the movie industry,  fame, or its physical location, the Eiffel Tower can embody the Belle Epoque, the City of Paris or a triumph of engineering.   

There are, however, important differences. While Gustave Eiffel’s iron masterpiece wasn’t supposed to be permanent, it certainly looks as if it were built for the ages. An engineering marvel, it was the tallest man-made structure in the world upon its completion in 1889. Its base, particularly the curved spans that support its legs, somehow manages to be both massive and delicate. To stand under it, as I did during a recent visit, is to see a breathtaking array of lacy patterns whose beauty belies their strength. As charming as the Tower is from a distance, it provides an even greater visual thrill a close range.

By contrast, in its original incarnation (1923-1978) the Hollywood Sign wasn’t engineered at all. The letters were anchored from behind by telephone poles, rather than bolted to a foundation. Unsurprisingly, over the years assorted letters were knocked down by windstorms and, in the case of the H, by an out-of-control car driven by  the Sign’s caretaker, Albert Kothe. After the old Sign was torn down in 1978, its replacement–the present-day version–was skillfully engineered. Caissons were sunk into the bedrock, and the new corrugated steel letters were bolted to a heavy steel scaffolding. In its 33-year history, the current Sign has never moved, whether during earthquakes or windstorms, or required any repairs. 

The Present-Day Hollywood Sign Under Construction, 1978/Courtesy Bruce Torrence

Perhaps because both my grandfathers were engineers, I have a great fondness for the back of the Hollywood Sign, where its support structure can be seen. The helicopter pilot on my aerial shoot told me that, to his knowledge, I was the only person who ever shot the back of the Sign.  I also shot the back from the ground at close range, both on video and in still photos.

The front of the Sign is another story. At close range, its corrugated steel resembles nothing more than an industrial fence, and projects the same appeal. The Hollywood Sign can only be appreciated at a distance, where its 45-foot letters can be read.

Which brings me to another difference. The fact that the Hollywood Sign is composed of letters that make up a word sets it apart symbolically from the Eiffel Tower. Though both monuments represent modernity, the Sign’s “wordness” (to quote Leo Braudy) gives it an abstraction that goes beyond any meaning attributed to the Eiffel Tower. By virtue of its height, the Eiffel Tower projects a common message that the Hollywood Sign does not. Which, of course, explains the Sign’s appeal to tourists in search of a photo opportunity. Standing in front of the Eiffel Tower, you’re an ant–albeit one that has traveled to Paris. But in front of the blank white letters of the Hollywood Sign, it’s all about you, the potential Hollywood star.

Mary Desti Dempsey: Preston Sturges’s Mother of Invention

October 6, 2009 § 2 Comments

Preston Sturges, ages one to fourteen. His mother, Mary Dempsey, appears in pictures two and three.

Preston Sturges, ages one to fourteen. His mother, Mary Dempsey, appears in pictures two and three./From "Preston Sturges on Preston Sturges," Touchstone copyright 1990.

Preston Sturges was born in Chicago in 1898 to a beautiful mother (and fabulist of the first order) named Mary Dempsey and an unreliable father named Edmund Biden, which seems straightforward but wasn’t, at least to Sturges in his early years. Because his  father left the scene when he was an infant, his mother led Sturges to believe his stepfather was his biological father. She also claimed to have been 15 when Preston was born–she was actually 27–and 16 when she entered medical school, which she wasn’t, and didn’t. But those fibs were mere warm-ups for the Big Lie: deciding she was descended from Italian nobility–on the grounds that Dempsey had to be a mispronunciation of the princely “d’Este”–Mary Dempsey opened a cosmetics business in Europe called Maison d’Este. After threats of litigation from the actual d’Estes, she modified the firm’s name to Desti and used it as her middle name. Sturges summed up the situation by writing:

My mother was in no sense a liar, nor even intentionally unacquainted with the truth…as she knew it. She was, however, endowed with such a rich and powerful imagination that anything she had said three times, she believed ferverently. Often, twice was enough.

When Mary Dempsey was between marriages, she took the 2 1/2-year-old Preston to Paris, where she ostensibly planned to study theater. On her first day in town, Mary met a Mrs. Duncan whose daughter, Isadora, was a dancer. Isadora Duncan and Mary Dempsey not only became instant best friends but maintained a lifelong bond that outlasted their many relationships with men.  Though Mary soon returned to Chicago to marry Solomon Sturges, she managed to exact an agreement to live with him only half the year. The remainder of her time–which often stretched well beyond six months–would be spent in Europe,  accompanying Isadora to Bayreuth and other venues.

The result was that Preston Sturges not only spent his formative years in Europe but at one point, after being left for a long period with a French family while his mother traveled, spoke English with a French accent. After his adored stepfather divorced Mary in 1911, he spent nearly all his time in Europe. By the time his mother had married a Turk, learned a secret Ottoman skin cream formula from her new father-in-law and started Maison Desti, Preston was a full-fledged expatriate child, fluent not only in French and German but able to fend for himself during his mother’s frequent absences. The culmination of his European childhood involved running her shop in Deauville as a 15-year-old on summer vacation. When WWI broke out in August, he packed up the business and got himself to New York just ahead of the fighting. (His mother had gone to the front to volunteer as a medic, citing her non-existent Chicago medical credentials.)

Eventually mother and son were united in New York, but the pull of Europe was too strong for Mary to resist. One night in 1915 they were seeing Isadora off on a ship to Italy when she called from the deck, “Mary! If you don’t come with me, I don’t know what I’ll do!” Despite having no money and only the clothes on her back, Mary Dempsey walked up the gangplank, saying to Preston, “Do the best you can, darling. Keep things going. I’ll send you some money as soon as I can!”

Anyone familiar with Preston Sturges’ heroines can see where he got his inspiration. His movies are loaded with smart, hilarious and devious babes who bedevil the hapless and innocent men who love them. In “The Lady Eve,” Barbara Stanwyck plays a shipboard fortune hunter who snags a rich but naive heir (and snake expert) played by Henry Fonda. Madcap adventures ensue. “The Palm Beach Story” features two Mary Dempsey-like characters, the gold-digging runaway wife played by Claudette Colbert and the talkative, much-married heiress played by Mary Astor. A key scene in the movie, in which Colbert leaves the rowdy Ale and Quail Club car and returns to find that it, along with her clothes, has been left on the tracks, was taken from Sturges’s life. As a boy traveling by train through Germany, Preston and his mother had left their compartment–and all their belongings, including two dogs, some canaries and a parrot–for the dining car and come back to find it gone.  This presented a problem, not least because–like Claudette Colbert–Mary Dempsey had left her purse in the missing car. Madcap adventures ensued. Fortunately,

…everything was straightened out when we pulled into Cologne, where a soldier with a bayonet was guarding our pile of stuff, with the parrot insulting him in French.

Preston Sturges inherited not only his mother’s enthusiasm for culture and her sense of humor but her impulsive nature. Like her, he married often and sometimes suddenly, as in the case of his third marriage, which occurred during a brief separation from another woman with whom he’d spent a decade. The maternal source of his behavior seems obvious, though apparently not to him. In his memoir Preston Sturges on Preston Sturges, he wrote:

And yet, except that she chose the schools in which I was placed and made a few wise remarks which I remember with pleasure now but thought totally inconsequential at twelve, Mother had absolutely nothing to do with my development or what I grew into. Strangely, Father, though he was not my true progenitor, had very much more to do with the shaping of my character than Mother ever had.

This jaw-dropping lack of awareness didn’t serve Sturges well in his personal life. He found domestic happiness only in his fourth marriage, which lasted from his early 50s until his death at 61.  He had a talent for alienating friends and co-workers, abruptly cutting off relationships that had lasted for years. His hasty departure from Paramount, home to all his hits, was a mistake from which he never recovered. By the time he died of a heart attack in 1959, Sturges was struggling to pick up the pieces of a brief but astonishingly fertile and lucrative career. Twenty minutes before his death, he wrote:

…I have suffered so many attacks of indigestion that I am well versed in the remedy: ingest a little Maalox, lie down, stretch out, and hope to God I don’t croak.  

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