James M. Cain

James M. Cain was my gateway drug into crime fiction. Before Cain, I’d read Nelson Algren, whose novels, while often featuring criminals, would be better defined as social realism. But to my twenty-five-year-old aspiring writer self, Cain’s voice—and the reading it inspired—changed the focus of my writing horizon.

I discovered Cain through film, specifically The Postman Always Rings Twice– the original, starring Lana Turner and John Garfield, its final script written by Harry Ruskin and Niven Busch—and eventually tracked down from the library James M. Cain: Four Complete Novels (The Postman Always Rings Twice, Mildred Pierce, Double Indemnity and Serenade). I read them in order, and quickly.

Cain’s career in fiction writing didn’t follow the path of his being a successful short story writer and novelist before heading out to Hollywood to make his fortune. Instead, the writings for which he first became known, and which led to a lifelong friendship with H. L. Mencken, were nonfiction pieces for The Atlantic Monthly, The Nation, and The American Mercury. His first article for Mencken in The American Mercury, “The Labor Leader,” mocked both the miner and the businessman, using the vernacular of each. These so-called dialogues gave Cain the reputation as a master of spoken word, and among his admirers was Alfred A. Knopf. If he lacked the typical screenwriter’s pedigree, it was this facility with dialogue that led to his getting offers from Hollywood studios.

When he got fed up with his job at The New Yorker, he finally accepted an offer from Paramount, believing that moving west would help him solidify his voice as an author. By 1931, Cain was indeed headed for Hollywood. Unlike some of the authors who preceded him there— Faulkner, Fitzgerald, et al.— Cain had limited success as a fiction writer before he arrived, and so the charge of being a sellout didn’t apply. In fact, the opposite occurred as his literary reputation began to expand, beginning with the short story “The Baby in the Icebox,” published in The American Mercury and then sold to Paramount.

With more confidence, Cain began writing a novel based loosely on two news stories he’d read—one about a female gas station attendant who ended up killing her husband, the other about a woman and her lover who conspire to murder her husband before turning on each other afterwards. Because of its length (35,000 words) and perceived problems with the ending, the novel, titled “Bar-B-Que,” was conditionally accepted by Alfred A. Knopf. After considerable back-and-forth between Cain and the publisher, the book was finally published as is save for the title. “Bar-B-Que” became “The Postman Always Rings Twice.”

Upon its release in 1934, Postman went—and there is no other word to better describe it—viral, with rave reviews on both sides of the Atlantic and best seller status for hardcover and paperback editions, along with adaptations for serial, stage, and screen.

Cain’s next project was an eight-part serial, its title suggested by Jim Geller, his agent, and inspired by his own experience in the insurance industry. Titled “Double Indemnity,” the story was rejected by Redbook but eventually bought by Liberty. Like Postman, Double Indemnity went viral, if in a different way: people lined up to purchase the next issue of Liberty as soon as it was out.

In between these successes, Cain spent time, much less successfully, on other writings. If he didn’t see these outlets as hindrance to his novel writing, Alfred A. Knopf, his publisher of Postman did: “You can’t write fiction with one eye on the movies. … How much money would it take to persuade you to drop everything and do this book [meaning his next novel]?”

Cain didn’t answer but did eventually produce Serenade (1937), a book as sensational as its predecessors, but one that did not sell as well. Mildred Pierce, Serenade’s follow-up, appeared in 1941. Unlike the earlier three works, it was written in third person (one of only three such novels in Cain’s lifetime) and was much longer; also unlike those three, it was not initially the publishing sensation of its predecessors.

But of the four novels in the collection, I remembered details in Mildred Pierce the best. In one chapter, Mildred practices balancing plates at home to improve her waitressing skills. Far from being superficial, this scene reveals Mildred’s determination and drive, as well as her self-awareness, and it also shows that Cain, as always, had done his research.

Cain spent many years in Hollywood, but received only three screen credits. Most of his income there came from work on other scripts and from the sales of his own fiction to various studios. His last novel, The Cocktail Waitress, was published posthumously by Hard Case Crime in 2012. Cain began writing it in 1975, when he was 83, but it remained incomplete at the time of his death. Edited by Charles Ardai based on Cain’s various drafts and notes, The Cocktail Waitress represents, as Ardai points out in the Afterword, when Cain “decided to go back to his roots and write a James M. Cain novel again.”

There’s no way of knowing how many future authors Cain inspired. Ardai writes that without James M. Cain, there would be no Hard Case Crime. And without James M. Cain, it would have taken me far longer to find my way to writing crime fiction, if I got there at all. For if I’d initially embraced the laconic, cynical persona of Philip Marlow in my first crime fiction efforts, Cain’s prose and characters were surely living in my subconscious, because when I finally started writing from the perspective of people caught up in crime, I felt liberated.

Author’s note: The quote from Alfred A. Knopf and the biographical details of Cain’s writing life are taken from Ray Hoopes, Cain: The Biography of James M. Cain (New York: Holt, Rinehart and Winston, 1982). This article originally appeared in slight different form on the CrimeReads website.

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"Paris Street Scene," my PI story featuring Erin Ferrigno, appears in Richmond Fantastic: Shadowy Secrets from the Commonwealth's Capital. All the stories in the collection feature speculative elements, and it was fun for me to give Erin a missing person case involving a painting by my favorite artist. The whole team at Whitaker Lyon Press was great to work with. You can purchase the collection here:
https://bookshop.org/p/books/richmond-fantastic-shadowy-secrets-from-the-commonwealth-s-capital/5b238538eb266a7a?ean=9798990934078

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Towles in Hollywood

One of the oldest plot lines in the canon is the one about the old guy who comes back to triumph. From the days of the old war horse and the old samurai to the old gunslinger, the old spy and the old cop, the age and experience of a supposedly washed-up guy turns out to trump vain and overconfident youth in these stories.

Guy, that is, as in masculine. I am sure there are some mysteries where the surprisingly capable older character is female, but lets face it: the pattern for the older woman sleuth was set by Miss Marple, who appears to have been born complete with her spectacles, sweaters, and skepticism. 

The females in the plots under consideration tend to be young and beautiful with surprising tastes in May-December romances. While I am old enough to enjoy the triumph of age over youth, I feel a certain impatience with what are clearly fantasy plots based on masculine wishful thinking.

So it was with real pleasure that I discovered Eve in Hollywood, a short novel tucked into Amor Towles' new collection of stories, Table for Two. He's taken Eve Ross, a character from his 30's New York novel, The Rules of Civility, sent her to Hollywood at the height of the studio system, and landed her right in Raymond Chandler territory. It's a good move.

Eve is great: brave, intelligent and loyal. And like almost all Towles's characters, she is a charmer. Indeed, charm is almost the hallmark of this author, whose characters are almost uniformly entertaining, eloquent, and appealing. His particular talent has seldom been on such varied display as in Eve in Hollywood.

Besides Eve, we have Charlie, the widowed and retired cop who meets her on the train west. He's returning home from New Jersey when he chats with Eve, regaling this eager listener (how different from his chilly and bored daughter-in-law!) with tales from his professional past. They won't be wasted on this gal.

No sooner have we met Charlie, then we are introduced to another supposed has been, Prentice, a once important screen actor who, literally, ate himself out of stardom. Prentice still has an eye for pretty starlets, though, and, more importantly, a genuine and protective sympathy for actors on the lower rungs of the treacherous Hollywood ladder. 

He and Charlie are going to be our comeback guys but with a difference. No cliched feats of derring do from these two, and plenty of mistakes, wobbles, and mishaps, and plenty of help accepted from younger friends. No age-inappropriate romancing, either. These are realistic older guys, and their great moments are all the more satisfying for being almost entirely plausible. 

The book is unusual in structure as well as in theme, being organized in short chapters, each from a different point of view. We get Eve, Charlie, and Prentice, but also a wide range of other voices and characters, from Olivia (de Haviland, a real golden age actress) to an out of work still photographer, a big time studio lawyer, and the house detective at fancy Beverly Hills Hotel where Eve, Olivia, and Prentice are residents. 

This design requires tricky plotting to keep the action moving, and Eve in Hollywood is a real master class in structure as well as in differentiating characters' speech and outlooks. But far from being a novelty ornament, the organization of the novel is a fine complement to the plot, which relies less on individual heroics and super hero skills than on the cooperation and courage of folks of ability and good will.  

This novel began as a Penguin Books ebook and as a print edition, apparently published by Towles, himself, while one of the stories was an Audible original: signs that even best selling, big name authors are dabbling in new ways to reach audiences.

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Janice Law's The Falling Men, a novel with strong mystery elements, has been issued as an ebook on Amazon Kindle. Also on kindle: The Complete Madame Selina Stories.

The Man Who Met the Elf Queen, with two other fanciful short stories and 4 illustrations, is available from Apple Books at:

https://itunes.apple.com/us/book/the-man-who-met-the-elf-queen/id1072859654?ls=1&mt=11

The Dictator's Double, 3 short mysteries and 4 illustrations is available at: 

https://itunes.apple.com/us/book/the-dictators-double/id1607321864?ls=1&mt=11

Location Location Location – In “The Blues Don’t Care”

In front of Club Alabam

Every time I have a novel come out I do a post about some of the locations in it. I try to set most scenes in the real world and give that world a sense of verisimilitude (remember, don’t use a small word when you can use a six syllable one). Much, though not all, of what I write is set in Los Angeles. As is The Blues Don’t Care (dropping on 6/1/20, and available now for pre-order)…but with a twist this time. Instead of being set in the modern L.A. of White Heat, Broken Windows and Vortex this one is set in 1940s L.A., with World War II raging in the background.

Bobby Saxon is a young white piano player whose ambition is to get a spot with the all-black Booker ‘Boom Boom’ Taylor Orchestra (big band) at L.A.’s famous Club Alabam. He gets his wish but at the price of having to help investigate a murder that one of the band members is accused of.

Like Randy Newman said, I love L.A. (well, more like love-hate, but overall love) and I really loved researching the locations and history of 1940s L.A. Bobby’s adventures take him on a wild ride through mid-century Los Angeles, from the swanky Sunset Tower apartments in West Hollywood to seedy pool rooms near downtown and the vibrant jazz scene of Central Avenue.

So here are some of the stops on Bobby’s journey:

The Club Alabam and The Dunbar Hotel: In the days when African-Americans couldn’t stay at most hotels and couldn’t go to just any “white” nightclubs—or other establishments—they formed their own businesses. In L.A. the heart of the black community during the mid-twentieth century was Central Avenue. Clothing stores, barbershops, restaurants, doctors, dentists and pretty much anything one could want could be found there. And the heart of Central was the Dunbar Hotel (formerly Hotel Sumerville), which featured an elegant lobby with arched windows and entry ways and Art Deco chandeliers. The Dunbar was where the cream of black society, entertainers, politicians, et al., stayed when they were in town. Duke Ellington kept a suite there. Right next door to the Dunbar was the most famous of the nightclubs (of which there were many) on Central, the Club Alabam. Bobby spends a lot of time at both the Alabam and the Dunbar. And it’s said that one night when W.C. Fields got drunk at the Alabam he stayed overnight at the Dunbar, accidentally integrating it.

Two shots of the Dunbar Hotel, interior & exterior.
It was formerly the Hotel Somerville.

Famous couple at Musso & Frank.

Musso & Frank: Has been a Hollywood watering hole for decades, since the 1920s. There was a back room bar where famous writers including F. Scott Fitzgerald, Ernest Hemingway, John Fante, Thomas Wolfe and William Faulkner hung out. Movies stars like Charlie Chaplin, Gary Cooper, Betty Davis, Ginger Rogers, Greta Garbo and Edward G. Robinson all dined there. It’s known for its red-coated waiters, many of whom have worked there for decades, probably since the time of the story (maybe?). In Blues, Bobby plays piano in exchange for a free meal, but pays dearly for that meal when he’s ambushed outside of the restaurant. Here’s a recent pic of Amy and me there. We didn’t get ambushed that night, but anything’s possible on Hollywood Boulevard.

Another famous couple at Musso & Frank ;-)

The La Brea Tar Pits: Located on Rancho La Brea lands, the tar pits were a major excavation site in the 1910s for paleontologists from all over the world. In the 1920s ranch owner, Hancock, donated the land to Los Angeles County with the stipulation that the tar pits be designated as a protected park and that the fossils found there be retained and exhibited. When I was a kid we’d go on picnics at the park surrounding the tar pits and I have fond memories of them, including the acrid smell of the tar. Since those days the George C. Page Museum was built and fossil excavation continues to this day. Bobby visits the tar pits in a scene in the book, and let’s just say not all the bones in the tar pits are that old….but you’ll have to read the book to find out what really happens there.

La Brea Tar Pits (photo by Kimon Berlin)

The Long Beach Pike: In the novel, Bobby and his “partner” Sam Wilde head down to the Pike in Long Beach, while looking for clues. For decades the Pike was an amusement park by the sea. It featured a wooden roller coast, The Cyclone, with two tracks so cars could “race” each other. Bobby and Sam ride the coaster in one of the scenes at the Pike.

Long Beach Pike

There was also a midway with arcade games, shooting galleries, fortune tellers and assorted shops. And because it was situated near Naval shipyards, it earned a reputation for being a hangout for rowdy sailors looking for girls. That’s the atmosphere that appealed to me as a setting for some of the scenes in Blues.

In the 1970s it fell on hard times, got seedy and eventually closed.

One of the challenges writing Blues was figuring out how Bobby and Sam got down to Long Beach in the 1940s, before freeways. I turned to the usual sources for help, the internet, books, etc. But the best source was buying old Los Angeles area street maps from eBay. They really helped in this regard and were just plain fascinating in general. My mom also helped with her memories of how to get from “here” to “there.”

Here’s a short excerpt of Bobby and Sam heading to the Pike. When Bobby first meets Sam it’s not exactly under pleasant circumstances and Bobby isn’t sure if Sam is on his side or not, so the long ride to Long Beach is a little tense to say the least:

Long Beach was a navy town south of Los Angeles, the Pike its oceanside amusement quarter. Bobby knew there’d be lots of sailors around, if they ever actually made it to the Pike. They’d have to pass through the Wilmington oil fields on the way and that was as good a place as any to dispose of a body. The oil fields were a well-known dumping ground. Bodies were always bobbing up through the greasy black muck that leached to the surface.

Bobby white-knuckled the steering wheel, gripping as hard as he could, mostly so Wilde wouldn’t notice his shaking hands. They passed through the oil field, with its forests of towering derricks—supplicants reaching for the sky. Safely past the dumping grounds, he loosened his grip on the wheel.

Pickwick Books (in case the sign didn't give it away :-) )

Pickwick Bookshop: I loved this place, which is, unfortunately, gone now. It was an institution on Hollywood Boulevard for decades. Three stories of books, books and more books. There was a time when there were a ton of bookstores on Hollywood Boulevard, most of them used or antiquarian. I think most are gone today, replaced by electronic stores and gimcrack souvenir shops in large part. And people running around dressed up like super heroes who, if you take their picture without paying some ridiculous fee will chase you down and… Bobby has occasion to go there in the story, but my favorite part of the scene there was cut. Supposedly this is a true story that actually happened there, but fictionalized to include Bobby. So here it is:

Bobby looked away.
“There are no second acts in American life,” the salesman said, as Bobby handed him a five dollar bill.
“No, I guess not.”
“Know who said that?”
“Can’t say I do.”
“F. Scott Fitzgerald, the famous writer.”
“I like his books,” Bobby said. “But I don’t know the quote.”
“A man came in here one day looking for Fitzgerald’s The Great Gatsby. You know our store here’s on three floors, the first is current titles, the second level is for rare and unusual books. The third floor is for used books, bargains and the like.”
Why was the salesman telling him all this?
“So anyway, this man comes in and asks for Gatsby. The salesman tells him, ‘We don’t stock the work of dead authors on this floor. You’ll have to try upstairs.’”
“So did he find the book upstairs?”
“He did. And do you know what his name was?”
“No.”

Pickwick Books (interior)

“F. Scott Fitzgerald. I didn’t even recognize him and it’s been making me sick ever since. Especially since he died shortly after that. Another customer who knew him told me my not recognizing him and thinking he was dead had a catastrophic effect on him.” The clerk looked at the book Bobby had set on the counter. “Thomas Wolfe. No, you certainly can’t go home again.”
“Neither you nor me.”
The clerk finished wrapping Bobby’s book in brown paper, tied it with string. He handed it to Bobby with a wink. “Here’s your change.”

Max Factor Building: Bobby has occasion to go to the Max Factor building in Hollywood on Highland near Hollywood Boulevard. Max Factor is the famous Hollywood makeup artist, who branched out into a line of cosmetics that I think you can still buy today. He also had a salon where anyone could make an appointment and you might run into someone rich or famous while there. Bobby goes there on business, but feels a little funny, and maybe not for the obvious reasons. Today it’s the Hollywood Museum, so luckily here’s one building the Powers That Be didn’t tear down as happens so often in the City of Angels.

Max Factor building (the pic doesn't do it justice)

Cocoanut Grove: The Cocoanut Grove nightclub in the Ambassador Hotel on Wilshire was one of the premier, if not the premier nightclub in L.A. for ages. On a darker note, the Ambassador is also where RFK was shot by Sirhan Sirhan in 1968. Bobby takes Margaret, a woman he’s interested in and someone who might know more than she’s saying about the murder, on a date there. It might not have worked out so well for him…

Cocoanut Grove

Clover Field (A.K.A. The Santa Monica Airport): Douglas Aircraft worked out of Clover Field in the heart of Santa Monica. As such, during the war Warner Brothers technicians and artists came out from Burbank to camouflage the airfield so it couldn’t be seen from the air. Movie magic applied to real life. Bobby, his pal Sam Wilde, and Margaret wind up there when they’re chased by a mysterious car and end up almost breaching the base’s security, not something that is taken lightly by the MPs on duty. But what happens after that makes Bobby wish they’d been arrested by the MPs.

Clover Field: the center/bottom half of the pic is the concealed Douglas Aircraft

Cars parked under the camouflage tarp

Bradbury Building (photo by Jay Walsh)

The Bradbury Building: With its atrium, caged wrought iron elevator and marble and brick is one of my favorite places in Los Angeles. I’m sure you’ve seen it ’cause it’s been in many movies, especially the interior. Generally, one can’t go above the mezzanine as it’s still a functioning office building. I had a meeting there one time and felt special to be able to go up the elevator and walk the upper hall. Someone Bobby has an interest in has an office here, too. I don’t think his visit was as pleasant as mine… I did a whole SleuthSayers post on it some time back so if you want to check that out: https://www.sleuthsayers.org/2016/05/the-bradbury-building-screen-star.html .

These are a few of the places Bobby visits. I hope you’ve enjoyed this brief tour of 1940s Los Angeles. Stay tuned for more when the book comes out on June 1st. It’s available for pre-order now at Amazon, BarnesandNoble.com and iTunes.

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And now for the usual BSP:

My short story "Fade-Out On Bunker Hill" came in 2nd place in the Ellery Queen Mystery Magazine Readers Poll. In lieu of the pre-Edgars cocktail party, we had a virtual awards ceremony. You can see the whole thing (including my bookshelves) on YouTube. I want to thank Janet Hutchings and Jackie Sherbow of Ellery Queen and, of course, everyone who voted for it!

Coming June 1st from Down & Out Books – The Blues Don't Care:

 “Paul D. Marks finds new gold in 40s’ L.A. noir while exploring prejudices in race, culture, and sexual identity. He is one helluva writer.”
                                                               —Michael Sears, author of the Jason Stafford series

Please join me on Facebook: www.facebook.com/paul.d.marks and check out my website  www.PaulDMarks.com

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MGM: More Stars Than There Are in Heaven – Part II

We're back for Part II of my interview with Steven Bingen, co-author with Stephen Sylvester and Michael Troyan of MGM: HOLLYWOOD'S GREATEST BACKLOT.  If you missed Part I you can find it here: https://www.sleuthsayers.org/2020/01/mgm-more-stars-than-there-are-in-heaven.html .

Enjoy:


Paul: Welcome back, Steve. What are your and your co-authors backgrounds?  Tell us a little about your personal as well as Hollywood backgrounds.

Steve: There are 3 credited author's on this book, "MGM: Hollywood's Greatest Backlot."

Years ago our agent was told by a publisher that there could never be a "unified vision" on a book with 3 perspectives.  That publisher didn't understand that we all felt exactly the same way about Hollywood's backlots and shared exactly the same odd obsessions.  Whatever the book's virtues and flaws, I defy anyone to figure out where one of our voices stops and another's starts.  Our collaborating was just like the production of most Hollywood movies.  The book's very existence is a sort of 2-Dimensional denial of the auteur theory.   Creativity by committee, if you will.

Mike (Troyan) and I both came out of Warner Bros. Corporate Archive – although his background is more academic than mine.  I have a background rooted in film production while his is more literary.  Mike is the author of "A Rose for Mrs. Miniver," about MGM star Greer Garson – which I can't recommend highly enough, by the way.

Steve (Sylvester), my other partner is in possession of vast amount knowledge and a vast collection of materials relating to MGM as a physical place.  He's the only one of us who was actually able to boast of visiting the MGM backlot before it was all destroyed.  In some ways, in visiting the studio he was able to do what I've aspired to do for my whole life. Because I was too late to see the place, the studio always seemed almost mythical, like Shangri-La or Camelot to me.  But it was real and Steve was there.  I wanted that perspective in the book.  It just seemed like a good fit for the three of us to coauthor – and it was.

Who have you contacted (MGM old-timers, etc.) and have they been willing to help?

I don't know if it was a conscious decision, but we tended to avoid talking to movie stars because their stories have been told so often, and because their worlds at the studio were so insulated.  Elizabeth Taylor was at MGM for decades, but her experience on the backlot would have consisted of being driven through the sets in a limo to her particular location.  I doubt if she would have had much opportunity or interest in exploring a place which wouldn't have seemed at all unusual to her because of the odd circumstances of her life.  It would be like asking a coal miner what was extraordinary about a mine shaft!

On the other hand we spoke to a lot of "regular people," some of whom worked on the lot for their entire careers who had amazing stories to tell, and who realized, even at the time what a bizarre and wonderful place MGM really was.  Some of our best stories were from people who grew up near the studio who used to climb the fences and explore inside as children.  I really do envy those people.

How many backlots were there?  Where?  What did they have on them?

MGM wasn't a single lot. Lot One contained the soundstages, corporate offices and post production facilities.  The backlot was literally at the rear, or back, of the plant.  As the studio grew it expanded across the street onto a property known as Lot Two.  Lot Two contained a small-town street, residential districts, railroad stations (with working trains) – the largest of which replicated New York's Grand Central Station.  It also had European and Asian villages, a jungle with a bridge, man-made lake, gardens, pools, castles, Southern and English estates, and a half dozen blocks, built full scale, replicating New York City and all its Burroughs – right down to the last street sign, man-hole cover, and fire escape.

Up the road a few blocks was Lot Three, which was even larger and contained three distinct old western settings, two more waterfront districts, a tropical rainforest, rock formations, winding roads, a Mississippi steamboat, a circus set, military bases, a POW camp, a vintage era New York Street, farms, ranches, an Arabian Knight districts and the world's largest process tank for shooting miniatures.

Lot Three was itself surrounded by the satellite lots; Four, Five, Six and Seven – which collectively housed zoos and stables, more sets, storage sheds, partial fleets of aircraft and locomotives, a peat farm….   whatever there wasn't  room for anywhere else.  When L. B. Mayer, the boss, took an interest in horse racing in the 40's, people used to suggest that the Santa Anita racetrack should perhaps be rechristened  Lot Eight!

What are your philosophical thoughts about the loss of the backlots?

I've always been haunted by and interested in Hollywood's backlots in general.  The idea that there exists places in the world where there are entire phantom towns constructed to mimic the real world – and yet where no one has ever lived, could ever live, is fascinating and mysterious and a little creepy.  Backlots are supposed to duplicate our lives, our homes, and the city streets we move thorough every day, and yet although they can be as familiar to us as places we've lived in our actual lives, they remain unknowable, untouchable, just out of normalcy and of recognition.

Backlots are like the purest form of architecture.  They really are designed just for aesthetic reasons.  The backlot architect doesn't have to worry about service elevators or building codes or faulty wiring.  A backlot just has to look good and to set a mood in order to do its job.  There are no real world considerations involved. Find an architect and ask him where else in the world that happens?

During the writing of this book it occurred to me that Hollywood's backlots are responsible for an awful lot of the defining non-movie architecture of the last century as well.  Think about it.  If Hollywood hadn't started designing sets to suggest moods or foreign settings would we really have shopping malls, or theme parks, or places like Las Vegas today?  All of these places, for good or bad, came out of backlots and the people who designed them.

I used to give tours of Warner Bros. Studio in my capacity as historian for the company.  Once I was showing the family of some executives an artificial lake out on the backlot and describing how that lake had been dressed as India for a film which I'd seen shot there.  I was going on about how the set had looked exactly like the real India when all of a sudden it occurred to me, and I told my bemused guests this, that I'd never personally been to India at all.  That my entire idea of what India is, in fact came not from the real thing, not from India at all, but rather from movies, some of which had undoubtedly been made right where we were standing right at that moment!

You should talk to my wife, she grew up in India for a time – but yes, she does have an American birth certificate....  But changing elephants in midstream now, What is your next project?

I can't speak for my partners…but…I will.  Honestly, I'm not sure if I'll ever be able to shake off the current project!  After all, I'm doomed to see the MGM backlot every time I sit back to relax and turn on the TV!

We'd love to make this book the first volume in a series about all 7 of Hollywood's major studio lots – the Seven Sisters.  I'm just not sure if logistically, and legally it's going to be possible to do so.  To look at it from the viewpoint of the other studios I can't really blame them for not wanting someone from the outside to come around and start rooting around in their past.  We were able to "do" MGM because so many different hands have been running the company and the people who owned the copyright on the materials we needed weren't the original owners. But I don't know if that set of circumstances could come up again in regards to another studio.  We'll see…

Thank you, Steve, for joining me here at SleuthSayers.  And good luck with the book. "MGM: Hollywood's Greatest Backlot" is available in bookstores and at Amazon.  Click here:

~.~.~

And now for a little BSP:  I’m running a free promotion for people who subscribe to my newsletter. You can get a FREE e-copy of my novel Vortex. Just subscribe. And if you’re already a subscriber and want the novel contact me via my website or e-mail and I’ll send you the link for the download.

I'm also excited to announce that I've got a new book coming out in 2020: The Blues Don't Care. It's a little different for me. It's set in 1940s Los Angeles jazz scene during World War II. I hope you'll keep checking in for more news on this exciting new release.

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Once Upon a Time

This is a quixotic sorta thing, but Once Upon a Time in Hollywood got me thinking about Who It Might Really Be. Granted, it's a counter-factual narrative, and part of its weirdness is how and where the real world overlaps the fantasy. Sharon going into the matinee and watching herself in The Wrecking Crew is an enormously charming conceit. Her murderers going to the wrong house and finding Brad Pitt stoned out of his mind is a lot more disturbing, because in real life the Manson crew did actually go to the wrong house, and Terry Melcher wasn't home.

Anyway, some of you might have noticed that Edd Byrnes died last week. He was obviously most famous for 77 Sunset Strip and Kookie. He was also from a generation of actors who caught the last gasp of the studio system. He was under contract to Warners, along with Ty Hardin, and Peter Brown, and Troy Donahue. Doug McClure signed with Universal, as did James Farentino and Guy Stockwell. They did a lot of series TV with their respective stablemates, for their specific studios, and they got feature work, but again, they were locked into longtime studio commitments.

The part that Leo gets in the pilot for Lancer was in fact played by Joe Don Baker, who was in his mid-thirties at the time. Jim Stacy and Wayne Maunder, series regulars, were in that same age band. It's one of those simply odd things, that one of these guys breaks out. Steve McQueen, for instance, after Wanted: Dead or Alive, the model for Rick Dalton's show. Burt Reynolds and Clint Eastwood came out of the same Petri dish, but bear in mind that for every one of them there was a Vince Edwards or a George Maharis.

Of this group of actors, what you might call male ingenues - like Robert Wagner or Jeffrey Hunter a couple of years earlier - I've always thought Guy Stockwell was the most poignant. He got some really good breaks. So did Doug McClure, for that matter, but Guy was an actor with more range. (They worked together twice, in Beau Geste and The King's Pirate, both of them dogs.) Brad Pitt has himself remarked that there are a lot of pretty boys out there, and a lot of pretty boys who can act, but it's still purely a crap shoot. Guy did a bunch of guest shots, and then he was signed for Adventures in Paradise. A year after that, he joined Richard Boone's repertory company for Boone's anthology show, which unhappily only ran one season. Then we get The War Lord, with Boone and Chuck Heston (and James Farentino), Blindfold and Tobruk,  with Rock Hudson, and Banning, with Wagner, and Farentino again, and Gene Hackman - right before Buck Barrow. Not too shabby a playlist.

He doesn't catch fire. It doesn't help that he gets cast in some real stinkers, but he goes back to guest work in television, much like Rick Dalton. Lancer (you guessed it), Bonanza, The Virginian, The F.B.I. (more cross-collateral with Once Upon a Time), and like as not, playing a charming psychopath. As he gets older, character parts.

It isn't that his career went in the tubes. That's not what happened. It's that he couldn't or didn't leverage his early advantage. Maybe he was disappointed in the parts he was offered. Maybe he didn't have enough animal magnetism. He reinvested himself in theater, and was a highly-praised acting teacher. It's not like he lost his chops. It's one of those unfathomables. He should of been a contender, along the lines of Bob Culp or Brian Keith.

All the same, he's got a legacy, whether or not he's the real-life model for Rick Dalton or not. That's just a conceit on my part. Every time I watch The War Lord, I think, Jeez, this guy is good. And this is a picture, basically, where everybody overacts. On the other hand, it seems so physically authentic. The bare stone tower, the winding stairs. When do any of these people bathe? you can only wonder to yourself.

So there it is. My little paean to Guy Stockwell, probably over-thinking on my part, conjured up by Tarentino.

MGM: More Stars Than There Are in Heaven

On New Year’s Turner Classic Movies ran all the That’s Entertainment movies. Amy and I caught a few minutes of them. The host appearances were largely filmed on the MGM backlot, or what was left of it at the time. And that got me thinking about some of my own experiences there and an interview I did with Steve Bingen, one of the authors of the highly acclaimed book: MGM: Hollywood’s Greatest Backlot. The interview is from a while back but hopefully still of interest. This is part one of two.

Only one studio in the golden days of Hollywood could claim as its motto "more stars than there are in heaven" and actually mean it: MGM – Metro-Goldwyn-Mayer.

Not only did MGM have more stars than in heaven it also had more backlots—the place where dreams were made.  In Culver City, CA, besides the main studio lot, were eight backlots, depending on how one counts them.  I have the distinction of being one of the last people to have shot a film on MGM Backlot #2, one of the two main backlots, which is an interesting story in itself, but for another time.

Because of that, I was contacted by Steven Bingen, an archivist at Warner Brothers, who, along with Mike Troyan and Steve Sylvester have authored a book called MGM: HOLLYWOOD'S GREATEST BACKLOT—with a foreword by Debbie Reynolds.

Unfortunately MGM ain't what it used to be and, in fact, the main lot, the only lot left, is now owned by Sony.  All the backlots met with the wrecker's ball and made way for condos or houses.  "They paved paradise and put up a parking lot," as Joanie Mitchell once sang.  Luckily the photos, memories and stories of people who remember the backlots have been collected in this book.

What follows is Part I of my interview with Steve Bingen about the book and the backlots.  Please note that the interview was done before the book was finalized and released so that is reflected in the interview's wording.

Paul: Thank you for dropping by, Steve. What gave you the idea for this book—what was your inspiration?

Steve: There have been books written about MGM before, and I recommend them all.  But there was always a major part of the equation, maybe the major part of that equation missing on each and every one of them. All of these books would inevitably contain one aerial shot of the lot—usually the same one—and a single paragraph, maybe, about soundstages and backlots at the studio. And that would be it!

This struck all three of us as mysterious.  It always seemed to us that if you were writing about a place, and MGM was indeed an actual physical place, then why would an author choose to tell us what amounted to virtually nothing about that place?  People always describe Hollywood's studios as "dream factories." Well that phrase isn't bad for what it is, and anyone who was there will tell you that life in those dream factories was if anything, even more interesting than the product the factory was producing.  Yet no one had ever talked about that factory.  Ever.

What we wanted to do with our book was to zoom in on that single aerial photo in everyone else's book, to climb the fences of one of those dream factories and look around a bit.

More stars than there are in heaven.

Tell us about the book and what makes it unique.

Let me just say that the book is formatted as a "virtual tour" of MGM Studios.  The text mostly consists of a walk around the lot, circa 1960, with every major set and department described and illustrated.  We've included hundreds of unseen photos of the place as well, many of which were saved from catacombs and basements and archives which no living person has accessed in decades.  I'm not sure about the "not living" people.

MGM Backlot #2

What did you learn about MGM and/or the various backlots that was new or really interesting?

I thought it was fascinating and haunting how many famous movies and television shows shot on that lot for which no one ever suspected that what they were watching was a backlot at all.  Even if audiences were watching a set they had already seen in hundreds, thousands of other films, people seemed to accept that a curved European street was Paris one week and Transylvania the next just because a visual cue, a street sign or an establishing shot told them it was. Something like a fifth of all the movies made in the United States, historically were made somewhere on the MGM backlot!  Sadly, and decades after the fact, this only proves how successfully these facades were at doing what they were designed to do.

Even today in an era of wide-spread location shooting and so-called digital backlots, Hollywood's few surviving actual backlots manage to succeed in constantly fooling today's "sophisticated" audiences time after time.  I recall watching the Super Bowl on TV recently, and counting at least 4 commercials during the broadcast which replicated real locations using current LA backlot sets which every single person in that game's vast worldwide audience had seen hundreds of times before. I can't help but wonder how many of those people, besides me, have ever suspected that was the case?

What were some of the movies shot on them?

In the book we came up with a list of every major backlot set with the titles of films shot on that set listed underneath.  I'm not sure how much of that list is going to be published, and in what form, but as  it stands now those lists alone, in reduced print, equal over 40 pages of text, and frankly are not even close to being comprehensive!  It amuses me that people write books about, and make pilgrimages to, locations where their favorite scenes from their favorite films were shot.  You know, Griffith Observatory in the Hollywood hills where a single scene in "Rebel Without a Cause" was recorded for example. Well, that location pales in significance to any single inch of any single movie studio—which has probably hosted hundreds, thousands, of films across the decades.  I sometimes drive though those vast anonymous subdivisions which were built where MGM's Lot Two once stood, and I can't help but wonder if the people in those tract homes on that land, know, or care, how historic their property really is. Movie-wise that real estate is more important than any single block of Hollywood Boulevard ever was!

Anyway, I think it's kind of fun to hopscotch through these lists and realize how versatile these sets were, and how much of our shared movie memories were created on them.


How and why did you hook up with me?

Now that's an interesting story.  I don't know if readers of this blog are aware of this but Paul directed one of the last movies ever made on the MGM backlot.  That 40 page chronological list I mentioned of films shot at the studio ends with his name on it.

I didn't know any of this.  I had noticed that there were a few very tantalizing stills floating around on the internet of the studio in its very decrepit very last days.  I couldn't figure out what film these stills were from or what movie was seen in production in them.  I started asking around on the sites where these "holy grail" shots had been posted and that finally led Paul and I to a meeting where he was good enough to loan me some of these same stills and describe the strange production history of his picture.  I'm not going to tell that story here because I can't do so as well as he can, but needless to say it is in my book, and hopefully some of those pictures will appear there as well.  (The photo selection is still being assembled [at the time of the interview]). Let me just say that the history of Paul's movie quite a tale.  Ask him to tell it to you…

MGM: HOLLYWOOD'S GREATEST BACKLOT is available in bookstores and at Amazon.  Click here.

In Part II find out about more about MGM. Stay tuned.

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And now for a little BSP:  I’m running a free promotion for people who subscribe to my newsletter. You can get a FREE e-copy of my novel Vortex. Just subscribe. And if you’re already a subscriber and want the novel contact me via my website or e-mail and I’ll send you the link for the download.

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I'm also excited to announce that I've got a new book coming out in 2020: The Blues Don't Care. It's a little different for me. It's set in 1940s Los Angeles jazz scene during World War II. I hope you'll keep checking in for more news on this exciting new release.

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