Showing posts with label sharon tate. Show all posts
Showing posts with label sharon tate. Show all posts

Monday, March 06, 2023

Marmont Monday: By the Numbers



A recent Architectural Digest article spilled the beans about my favorite hotel ever, the Chateau Marmont on Sunset Boulevard in West Hollywood. The first paragraph says it all:

Since it opened in 1929, the Chateau Marmont has been a beloved retreat of actors, writers, musicians, and directors craving a temporary (or sometimes not so temporary) home away from the prying eyes of the public and the press. As the Old Hollywood adage goes: “If you want to be seen, go to the Beverly Hills Hotel. If you don’t want to be seen, go to Chateau Marmont.”

The story mentions many of the hotel’s famous guests and the rooms that they stayed in. The article uses a number of stock photos that weren’t even shot at the Chateau; I will attempt to rectify that. You know already that I’m a visual kind of guy.



In discussing famed director Billy Wilder (“Sunset Boulevard” and “Some Like it Hot”), the description of his room sounds a lot like Room 16, which also happens to be the very first room I checked into during my first few stays there.

Rather than go to another hotel, he stayed in an antechamber beside the women’s restroom for several days until a room opened up.



If I have the room correct, what was then the women’s room near the lobby is now a men’s room…but it’s still located next to 16 (shown above, looking larger than it is, thanks to my wide angle lens). The women’s room moved to a hallway off the bar located next to the lobby (which was once a formal dining room). 16 can also count Barbra Streisand, Buddy Hackett, and Warren Beatty as former guests.

29 is where Myrna Loy lived for a number of years (once again, according to Vanity Fair). What a great balcony!



One of the most infamous rooms is 54 (below), for which the phrase, “If you must get into trouble, go to the Marmont” was coined. 



To keep two of his biggest male stars out of the tabloids, Columbia Pictures head Harry Cohn rented suite 54 for William Holden and Glenn Ford so that they could carry on with their affairs in private. According to Vanity Fair, David Niven ended up tagging onto their little deal with Cohn. I’m sure that kind of stuff doesn’t happen anymore.

Both Howard Hughes and director Lloyd Bacon stayed in the penthouse (room 64, below).



Director Lloyd Bacon’s weekly penthouse parties attracted a who’s who of Hollywood in the mid 1930s.…Howard Hughes rented the penthouse off and on for years and used binoculars to spy on women at the pool below.

Howard’s view from 64:



Vanity Fair “allegedly” stated that Greta Garbo stayed in 64, signing the guest register under her alias, Harriet Brown.

Montgomery Clift recuperated at the Chateau in 1956 after getting in a horrific car accident (below) leaving Elizabeth Taylor’s home. He stayed in a two-bedroom suite on the sixth floor during his residency.



To my knowledge, 64 is the only two-bedroom suite on the sixth floor. Add Clift to that fabulous roster of guests who have slept there.…unless you read Vanity Fair, which states that 36 is where Clift stayed after his accident, which says the star emerged…

onto the terrace from time to time to scream obscenities in the nude.

The terrace of 36. You be the judge.



Director Nicholas Ray rented a bungalow for eight years, beginning in 1952. While living there, he made “Rebel Without a Cause” and carried on an affair with one of the film’s stars, Natalie Wood.



Today, it is numbered as bungalow 1.



While actor Anthony Perkins lived at Chateau Marmont, he would use the payphone in the lobby to avoid the listening ears of the switchboard operators.

While the phone itself may have changed, one of these three doors is probably the one Perkins hid behind.





Based on this photo, you can also add Perkins to the guest roster for 54.



In 1955 he [Anthony Perkins] met Tab Hunter by the pool, and they quickly began a relationship.



The diminutive pool still seems magical, all these years later. Another instance where size just doesn’t matter.



Bette Davis frequently caused a stir at the Chateau. In 1958, her bungalow caught fire when she fell asleep with a lit cigarette.

Shown here is the courtyard to the poolside bungalows, most likely where Bette was staying.



The Doors frontman Jim Morrison lived in a poolside bungalow in 1970 and was known for swinging between windows and balconies, once falling two stories.

Although Morrison may have stayed in the bungalow, this shot was definitely taken inside the main hotel.



I am off by at least one floor from where Morrison posed; the fire escape stairwell behind him angles to the left; the one I shot (below) angles to the right.



Roman Polanski and Sharon Tate lived at Chateau Marmont as newlyweds. They gave up their apartment when Tate got pregnant.

I was told that the two stayed in room 54; however, in Polanski’s autobiography he states that they stayed on the fourth floor. This shot of Sharon shows her hanging over the balcony of 54. According to an article in Vanity Fair:

The McGraths hosted a brunch salon every Sunday, drawing the likes of Sharon Tate and Roman Polanski (who lived below, in 54, before moving to Cielo Drive in early 1969).



Since I’ve stayed in 54 and been on that balcony, too, I’ll side with Vanity Fair over Polanski’s memory.



Back to A.D.:

The hotel’s most famous resident may be John Belushi, who died of an overdose in bungalow three in 1982. Pictured here is the scene outside the hotel after his death. Several celebrities, including Jean-Michel Basquiat and Rick James, specifically requested to stay in bungalow three after Belushi died there.



Vanity Fair credits Errol Flynn with a drunken rampage in bungalow 3 back in 1959. There must have been something in the air. How it looked when I stayed there a few years ago:



Johnny Depp was a frequent visitor to the hotel and once claimed that he and his ex-girlfriend Kate Moss had sex in all 63 rooms.


Probably good that I don’t bring a black light when I stay there. Some things are best unknown.



Photographer Helmut Newton (above) was a regular guest. He and his wife, June, would arrive the week of Christmas and stay until March each year.

Newton stayed in room 49. Here’s how the desk/window looked last December:



In 2004, he died after having a heart attack and crashing his car outside the hotel.

The plaque outside the hotel that commemorates the spot where it happened.



Scarlett Johansson lived in the hotel in 2004 and was famously rumored to have had a dalliance with Benicio Del Toro in the elevator after the Oscars. In 2022, she set the record straight on a podcast, saying, “That was a story that followed me for a long time. But I always thought that was outrageous.”

That sounds like she neither confirmed/denied.



Stephen Dorff lived in the hotel in his 20s and returned to live in suite 69 while filming “Somewhere,” in which he played an actor living at the Chateau Marmont.

Room 59 was used for the film, as seen by this balcony shot of Dorff:



A shot of room 69, where Dorff resided during filming:



Vanity Fair names room 33 (below) as the one where Lindsay Lohan stayed in 2012. It’s also the one she was booted from for accumulating $46,350.04 in unpaid bills. Yikes. VF names 33 as the honeymoon suite for Jean Harlow and third husband, Harold Rosson.



The most famous guest of the Chateau refused to be interviewed for this post. He just wants to be left alone.



See more Chateau Marmont photos at my main website.

Thursday, January 21, 2021

Once Upon A Time In Hollywood


I had mixed feelings about seeing Quentin Tarantino’s 2019 magnum opus “Once Upon A Time in Hollywood.” Set in 1969, it weaves the semi-fictional account of an actor in a downward career slump (Leonardo DiCaprio) and his best friend/stuntman (Brad Pitt) into the true story of the Manson murders, specifically of Sharon Tate and her friends. Knowing how brutal the murders were, I was not anxious to see those splashed on the big screen; however, Tarantino’s conversion of current Hollywood back into the 1969 version was intriguing to me, especially since I saw some of the façades that Barbara Ling and the production team so carefully recreated during a few visits of mine to Hollywood. Let me get my comments out of the way on that topic first.


Much attention was obviously spent on putting the façades back to 1969, recreating period wardrobe, picking the correct vintage autos, and choosing just the right film stock, lighting, and angles to put the viewer back into that era. For the most part it works and the team should be credited. Interviews I have seen show them patting themselves on the back for doing it all “old school” and not using CGI. While this is commendable, it really doesn’t matter to the majority of viewers who just want to be immersed into a well-made film. Nit-picky me was thrown out of that 1960’s world when I saw street signs and freeway signs that had not been changed; why go to the trouble of putting vintage brochures in a shop window (that probably can’t be seen) and then let street signs stay in the present era? I don’t think the viewer would have held a CGI effect against Tarrantino. That’s the end of my little rant. 


The first time I saw the movie, I found myself getting increasingly bored and restless as the plot continued on. I thought Brad Pitt was masterful in his restrained portrayal of a badass stuntman; Leonardo DiCaprio was a little bit more messy in his characterization of an actor who was on the verge of becoming a has-been; there was too much time spent on showing this rather than moving the plot along. That would be my major complaint; too many unnecessary subplots and too much time driving points home that could easily have been understood by an audience with less waste of film stock. 


It seemed like Tarantino had a difficult time letting go of the extraneous parts that had special meaning to him, but not necessarily important to the storyline. One somewhat uncomfortable sequence shows a fight between Pitt’s character and Bruce Lee (Mike Moh). Lee is portrayed as an egotistical jerk, and Tarantino included a long sequence to explain why stuntman Cliff Booth (Pitt) wasn’t having an easy time getting hired for a particular film because of the director (Kurt Russell) and his wife. Flashbacks of Booth’s stormy relationship with his own wife and the fight sequence with Lee are purely extraneous, and for fans of Bruce Lee, probably offensive.


Margot Robbie does an excellent job of channeling the luminous Sharon Tate. I enjoyed watching her scenes, which were obviously designed to give a sense of what a kind and caring person she was. This knowledge makes her senseless death even more tragic.
 

The actors playing the Manson gang members were chilling. I cannot give enough kudos to all of them. When Pitt’s character visited Spahn Ranch, I was on the edge of my seat during that entire sequence.


By the time the plot arrives at the point that I knew the Tate murder would be occurring, I was extremely uncomfortable. I even had my finger on the fast forward button. Without giving the plot of the movie away, all I can say is that this is where Tarantino shows his brilliance. It is one of the very few times that I could say the violence shown was cathartic. The last 15 or 20 minutes of the movie found me praising the film and actually wanting to watch it again, which I did. The second viewing was more enjoyable, as I was able to catch more production details and character nuances. The choices of what was shown made much more sense., too I still stand by my earlier comments about this film needing a good edit job to make it more compelling and less rambling. Overall, I’d give it a B+.

Seeing this film made me want to go back to LA/Hollywood and re-shoot some of these iconic locations:





See more Daveland vintage and contemporary Hollywood photos at my main website.

Wednesday, February 26, 2020

Dearly Departed



While it may not be everyone’s taste, I dearly loved the Dearly Departed Museum, so I was honored when owner Scott Michaels asked me to photograph it for posterity before all of its historic contents went into storage. Here is a look at some of the items one could find inside its Hollywood location on Santa Monica Boulevard.

This display of recently acquired items came from the Sharon Tate auction.



Tate is best known for her role in the campy “Valley of the Dolls” and sadly the Manson murders.



Her false eyelashes. NOW we know why they looked so lush!



One of her bras:



Her “let ’em droop” scene in “Dolls” is definitely one of the most memorable of the film.



Jayne Mansfield held a large portion of real estate inside the museum.



Here’s a section of the gate from her Pink Palace mansion which was located in Holmby Hills...before it was demolished in 2002.



Mansfield died tragically in a car accident on the way to New Orleans at the age of 34. The 1966 Buick Electra 225 she was in was also in display here. To see it in person was unbelievable.



These two vintage mugs/steins of Bette Davis and Joan Crawford are favorites of mine.



Karen Carpenter’s sink:



The death mask of notorious 1930’s Depression-era gangster John Dillinger:



For fans of Mae West, how about this framed display showing her autograph on a check to Bullock’s Department Store?



Last but not least...her dental bridges:



Want to see More Dearly Departed? Check out their youtube channel.

See more Dearly Departed Museum photos at my main website.