For a Pacific Electric Red Car to be able to go around a corner, it needed two fairly wide streets to intersect. In this circa 1940s photo (feel free to correct me if I’m wrong about the date), a streetcar coming out of the San Fernando Valley and heading for the subway terminal in downtown LA is at Santa Monica Blvd and Highland Ave. In color shots like this we can see how eye-catching that red is—you could see them coming from miles away. As much as many of us miss the Red Cars, I don’t think any of us pine for the days when all that electrical wiring stretched overhead. It is a bit of an eyesore, isn’t it? The other detail that caught my eye is the typewriter store on the left. That’s something you never see anymore. In fact, I wonder if they still even make typewriters…?
The Sunset Strip section of Sunset Blvd is known for its nightclubs, restaurants, and gambling backrooms, but for a while – mid-1930s through to the ‘50s – there also was a mortuary. The Utter-McKinley Mortuary offered a 24-hour service, which I’m guessing came in handy if you overestimated your ability to party at 3 a.m. on the dance floor of Ciro’s. It would also have been convenient for mobster Mickey Cohen, who for a few years in the late 1940s owned the building next door. One report I read said that this was the funeral parlor from which director Raoul Walsh and a couple of pals took John Barrymore’s corpse and propped it up in Errol Flynn’s favorite chair as a practical joke they played on Flynn. The rather lovely French Colonial building is long gone and the site is now largely occupied by the Book Soup bookstore.
The Book Soup bookstore on the Sunset Strip now (approximately) occupies the location of the mortuary. This image is from February 2021.
The Earl Carroll Theatre at 6230 Sunset Blvd, just east of Vine St, sure must have been a sight to see when all lit up at night like this—especially that enormous neon head on the side of the building ringed the theater’s famous slogan: “Thru These Portals Pass The Most Beautiful Girls In The World.” Judging from the cars, this photo was probably taken some time in the early 1940s.
Understandably, they used the large neon sign as their logo on everything. John P says: “That enormous neon head is 20 feet in diameter portraiture of Headliner Beryl Wallace. Nearby “Off-Vine” restaurant was Beryl’s house where she lived with her mother and siblings. She had a radio program across the street at NBC. She volunteered at the Hollywood Canteen two blocks away on Cahuenga. Screen credits from Paramount Studio and a Gene Autry film or two. The adjacent new construction apartment building (opened 2021) The Wallace, is named after her.”
The Earl Carroll later became the Aquarius Theatre, which is where the musical “Hair” played in the 1960s. It was recreated for Quentin Tarantino’s movie “Once Upon a Time in Hollywood.” (2019) This image if from February 2021.
***UPDATE*** – I was later corrected by someone who knows way more about this than I do:
“It’s actually the production report from the Assistant director that is put out at the end of the day. It has the wrap time and all the script supervisors totals. A call sheet has all the info for the next days shoot with everyone’s call time and prop, wardrobe, makeup, requirements for the day, but would not have the additional info from script super, etc.”
UPDATE #2 – This was later posted on Twitter:
In a moment of what can only be described as remarkable synchronicity, I was preparing the publication of my new novel – All the Gin Joints, set against the filming of Casablanca – when a friend sent me this remarkable photograph of a call sheet for Saturday June 27, 1942 during the filming of Casablanca. The backstory is quite remarkable: it was taken only by someone who was recently shooting on the Warner Bros. lot. Apparently a wall need to be moved and when it was, this Casablanca call sheet was discovered. As amazing as it sounds, it’s quite possible that it’s been hanging there since 1942. Looking at the list of cast members needed that day and the fact they were filming inside Rick’s Café, I wonder if they were filming the famous scene where the Germans start playing “Die Wacht am Rhein” and Victor Laszlo fights back by getting the orchestra to play “La Marseillaise” and then all the French refugees jump to their feet to drown them out. Whatever they were filming that day, this is a remarkable find.
You can learn more about All the Gin Joints – a novel of World War II HollywoodHERE and HERE.
You know what I was thinking the other day? Unless we’re a part of the Psychic Friends Network (does that service even still exist???) we never really know what life has in store for us, do we? And maybe that’s a good thing. Take me, for instance. If anyone had told me 30 years ago that I’d be moving to Los Angeles, where I would end up making a name for myself as the author of novels set during Hollywood’s golden era, I would have laughed in their face. “HA!” I would have said. “You’re drunk. Go home.” And yet here I am, doing exactly that—and nobody is more surprised than me.
Or take the hero of my new novel, All the Gin Joints. Luke Valenti from Brooklyn, New York has a whole bunch of reasons to say no when his favorite aunt asks him to return a stolen prop from Warner Bros.’ The Maltese Falcon. It’s the last thing he wants to do, but when he says yes, it propels him into a future he never saw coming.
I am very excited to let you know that
ALL THE GIN JOINTS: a novel of World War II Hollywood
Book 1 in the Hollywood Home Front trilogy
is now available.
~oOo~
oOo~
Luke Valenti has never fit into his swaggering family of overbearing loudmouths. Even worse, the world is at war again and Uncle Sam has stamped his draft notice “4-F” — the ultimate rejection — because of a rare eye condition that has left Luke unable to see colors. So instead, he dreams of escaping Brooklyn for the beaches of Montauk.
That is, until a stolen prop from The Maltese Falcon pitches him down a reluctant path to Hollywood. Luke is tasked with returning it to Warner Brothers, where Humphrey Bogart is about to embark on the movie that will launch his career into the stratosphere: Casablanca.
But the production is chaotic. Bogie is desperately unhappy in his marriage. Ingrid Bergman feels lost and alone. The script is constantly rewritten, and the overbearing director hates that damned song. Nobody thinks this movie will amount to anything—except the guy who sees in black and white. Finally, Luke has found his way in.
But studio stuntman Gus O’Farrell wants him out again: Luke has replaced him as the star’s stand-in, and Gus is having none of it. Bogie warns Luke to keep his friends close and his enemies closer. It’s great advice, but when a chance to reverse his 4-F status presents itself, Luke needs to learn that distinguishing friends from enemies can be a tricky business in a land where artifice blurs reality like murky shadows in a back alley.
From the author of the Hollywood’s Garden of Allah novels comes a story set against the making of one of the most beloved films of all time—and the beginning of a beautiful friendship.
~oOo~
~oOo~
ALL THE GIN JOINTS is now available through these retailers:
Even before it was finished, Los Angeles’s new City Hall dominated the skyline. Of course, it helped that, at 32 stories, it was the tallest building around, but there’s something about its shape and pyramidal top that made it recognizable even when it was still just a bunch of scaffolding. The building’s dedication took place on April 26, 1928, so this photo would have been taken during the latter half of 1927. One of those billboards overlooking the parking lot is for a Warner Bros. movie called “Matinee Ladies” (co-starring future gossip maven, Hedda Hopper) which opened in April 1927.
Ironically the most famous name on the poster for “Matinee Ladies” is Hedda Hopper, but not for her acting. Cute poster, though.
It can sometimes be hard these days to know if a photo has been colorized or not, but my guess is that this shot of the dining room of the Vine Street Brown Derby in Hollywood is a genuine color photo. I haven’t encountered many color shots of one of the most famous restaurants in Los Angeles, so this is a rare treat. It’s not hard to imagine the place filled with faces as famous as the caricatures on the walls and the air filled with chatter about David O. Selznick casting a British actress as Scarlett O’Hara, or how Alfred Hitchcock will fare amid Hollywood-style filmmaking. I don’t know that I would have chosen purple carpet. The pink tablecloths compliment it, but I’m not so sure about that red upholstery.
Susan M. says: “This photo is from a much later redecoration done to The Brown Derby. I think this might have been the one done in the late 70s/early 80s. However, I doubt I was in the dining room here in the 70s and 80s other then to walk in and show the room to someone from out of town. The table cloths for years were only white. The booths were brown leather and not tuck & roll; they were flat upholstery until the later years. The light fixtures were changed out to these large brass ones with the little shades. I don’t recall the table chairs, or any chairs being covered in burgundy until the last redo. I think that also was when they started to use light pink base table cloths and the small white square toppers turned on the diagonal. They also remodeled the back divider wall in one of the last redecorating projects. I can recall dark brown carpeting as well as some that were brown with gold scattered print. Again, I think what appears as purple carpet was pieced at an angle to accent the area under the tables. This carpet might have been a brighter burgundy installed during the last redecorating. I don’t know what the menu was like in the latter years. It was always rather large in the years I went here most (30s – early 50s). The customers who frequented, had a variety of eating desires from light supper, full supper and post radio show snacking. The adjacent bar went through more redecorating over the years then did the dining room.”
Here’s a much earlier view (1930) taken before the caricatures started to fill the walls:
Here’s their menu from February 25, 1942. Those pixe fixe dinners look like pretty good value. What would you order?
I normally focus on vintage photos of Los Angeles and Hollywood, but I feel that the name Grauman (as in Grauman’s Chinese Theatre) is so synonymous with Hollywood that I’m grandfathering it in. This photo was taken in San Francisco after the devastating earthquake that leveled 80% of the city. Among the destroyed buildings were both Sid Grauman’s Unique and Lyceum theaters. Recognizing that the locals yearned for a return to normal, Sid swung into action. He borrowed a tent from a local preacher, salvaged some church pews and opened the Grauman’s Canvas Theatre on the grounds of his Unique Theatre on Market St, where he showed “The Great Train Robbery” (1903) to such success that he opened a second canvas theater where the National Theatre had once stood. Ever the showman, he promoted his enterprise with this reassuring message: “Nothing to fall on you but canvas if there is another quake.”
As cool as this 1959 Cadillac looks, it would have been a nightmare—for me, at least—to parallel park. Or to park at all, given how long it was. It may just be the angle of this shot, but it looks like it was as long as the Air Lite Luggage storefront was wide. Air Lite was at 6415 Hollywood Boulevard, which put it between Cahuenga Boulevard and Wilcox Ave. I wonder if the driver was shopping there, or was drinking at the next-door bar called—rather suggestively—My Desire. It looks like it could have been a bit barfly-ish, but I do like the sign. On the other side we can see Aldo’s which was a coffee shop type of restaurant. It was next door to the old KFWB radio station, and was where Sonny met Cher in the early 1960s. Air Lite later became the Thom McCann shoe store.
Unfortunately 6415 Hollywood is now an empty lot. I was rather hoping My Desire was still around. This image is from February 2021:
Although this circa 1960 photo has been colorized, so we don’t know for sure that those cars were actually those hues, it’s such a strikingly rendered image that I wanted to share it as I found it. The Farmer’s Market is at the northeast corner of Fairfax Ave and 3rd St, Los Angeles, and while the cars parked there no longer resemble these beauties, the tower is still there and looks practically the same.
This is how the Farmer’s Market tower looked in January 2021: