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

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