Posts Tagged ‘Hollywood Hotel’

The Story of the Sacketts of Hollywood

Saturday, October 21st, 2017

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The extended Sackett family in front of the Sackett Hotel, in 1898. From left to right: Betsy Otis, H.D. Sackett’s aunt; Mrs. Sackett; Lyman Hathaway, cousin of Mary Sackett; William H. Sackett; unknown; Mary Sackett; Zella Sackett, married to George Dunlap; unknown; Lilly ? ; Dora Miller. (LAPL)

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Horace David Sackett, whose family came to America from England in 1831, was born in Blandford, Massachusetts on December 29, 1843, the son of Leverett and Mary Culver Sackett. When he was eighteen years old, he went to Suffield, Connecticut and started a flourishing general merchandise and farming business that lasted for several years.

On January 15, 1873, Sackett married Ellen Minerva Lyman (b. July 24, 1848) and became the parents of five children, Mary Mariah (b. July 8, 1875), William (b. June 22, 1876), Warren Lyman (b. August 30, 1882), Zella Myra (b. June 11, 1883), and Emily (b. March 1885).

Sackett was a squat, spare, busy man with a short beard. He was cheerful and kindly but firm in his convictions. In 1887, with $10,000 in his pocket, he left Connecticut with his family and moved to Los Angeles. There he heard about land in the North Cahuenga Valley being subdivided for business and residential purposes. This new development called Hollywood was without lights, telephones, paved streets or other modern improvements.

The developer, Harvey Henderson Wilcox and his wife Daeida were looking for men willing to build up the area and attract new residents. Sackett’s daughter Mary recalled that her family was one of the first families in the area. “Mr. Wilcox subdivided his 160-acre ranch and named it Hollywood,” Mary recalled years later. “Both our families settled down there in May, 1888 when I was 12.”

Each lot was going for a fixed price of $1,000 each. But Wilcox gave Sackett, free of charge, three, sixty-five foot lots facing the assigned business area at Cahuenga Avenue and the southwest corner of Prospect (now Hollywood Boulevard), if Sackett made certain improvements before the dummy line (the old steam engine with the open car) reached Wilcox Avenue. .

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By 1888, the railroad was functioning, and Sackett built a three-story hotel building (above) of wood with a mansard roof, consisting of a corner store, and Prospect Avenue lobby and parlor. Behind that was the culinary department. The stairway in the lobby led to the upper two stories with eighteen rooms and a bathroom. Behind the hotel was a barn and corral; surrounding the store and lobby front was a cypress hedge and several two-year-old pepper trees planted by Wilcox, giving the place a very cozy appearance.

The Sacketts ran the first hotel in the Cahuenga Valley, and the second general merchandising establishment within the corporate limits of Hollywood. He also kept a few horses for his clientele and gardens to the blocks east and south of the store, to sell produce in his store.

Sackett bought the lot south of the hotel, two lots facing west on Wilcox Avenue, and south of the two northern lots in the row. Here he ran an overnight and breakfast place for city visitors and a bachelors’ roost for the young single men of the village. At his store, Sackett sold butter and eggs, crackers and cheese, overalls, jumpers, boots and shoes, ribbons and yardage, and canned goods that were becoming popular.

Another Hollywood pioneer associated with the hotel was Dr. Edwin O. Palmer, who later wrote a history of the area. Upon his arrival in California, he rented a room and an office there for his medical practice.

Sackett’s daughter, Mary and her siblings, attended the old Temple Street School through grade school, but didn’t go to the downtown high school because they couldn’t get there on time. Later, Sackett added another store, where in a corner nook he opened Hollywood’s post office; Mary became Hollywood’s first postmistress, running her practiced eye over the little rack of boxes. For her duties, Mary was paid as high as $5 per month.

Tragedy hit the Sackett family in 1899 when his son, William died unexpectedly at 23 years of age and was buried at Rosedale, as there would not be a cemetery in Hollywood for another two years.

Due to competition from the new Hollywood Hotel, built three years earlier at the northwest corner of Prospect and Highland, Sackett closed his hotel in 1905. He sold the property to Henry Gillig, but it remained unoccupied for the next five years except for one store room on the first floor.

In 1907, Sackett built a six bedroom house on property he had bought at 1642 Wilcox Avenue. Later that same year, in the reception hall of their home, Sackett’s daughter Zella, married George Dunlap, the mayor of Hollywood at the time, and the city’s last since Los Angeles annexed Hollywood in 1910.

In 1910, J.P. Creque, one of the wealthiest men in Hollywood, bought the former hotel property for $28,000 from the estate of Henry Gillig, who was now deceased. Creque razed the abandoned hotel and erected a fireproof two-story cream brick structure that cost approximately $30,000. The Hollywood National Bank leased a portion of the new building; there were three other stores facing on Prospect. The second floor had offices with wide hallways and tile flooring. .

The J.P. Creque Building being built in 1911 on the site of the Sackett Hotel at the southwest corner of Hollywood and Cahuenga.

In 1931, the Creque Building was enlarged by adding two stories; the Art Deco building at 6400-6408 Hollywood Boulevard, is still on the site. .

The Creque Building as it appears today on the site of the Sackett Hotel.

Now retired from the mercantile business, Sackett devoted himself to the management of his private interests and several properties that he owned. He took an active part in the public affairs of Hollywood and Los Angeles for many years and was a man of ability and worth. He was a staunch democrat and was interested in politics, especially in local matters.

It was in their Wilcox Avenue home that Horace Sackett died in 1918, and was buried next to his son at Rosedale. In 1929, his wife Ellen followed him in death at the age of eighty from heart disease.

At the time of Ellen’s death, the area around Hollywood Boulevard and Wilcox had become mostly commercial, and land was being bought for business purposes. Mary Sackett was living in the family home, but instead of demolishing the house, she sold the property in 1929 and moved the house to the San Fernando Valley which was residential.

Remarkably, the old Sackett house is still standing at 10739 Kling Street in North Hollywood. The 1908 residence looks somewhat out of place next to the small bungalow homes built mostly in the 1930s. .

The altered, but original Horace Sackett home, once located at 1642 Wilcox Avenue in Hollywood, is now at 10739 Kling Street in North Hollywood. PLEASE NOTE: This is a private residence. DO NOT DISTURB the occupants.

The rear of the former Sackett home.

On Wilcox, a row of storefronts still stands in place of the old Sackett homestead.

Mary Sackett never married, and in her old age claimed that she never touched liquor, tea or coffee. “I’m an old maid and proud of it,” she insisted to a reporter in 1950. “I’ve never worn a bit of make-up, yet I had three proposals. Men have taken me out but usually with a chaperone. I wouldn’t let them kiss me good-night and to this day no man has ever been allowed to put his arm around me.”

In 1954, at the age of 78, Mary appeared on an episode of the  You Bet Your Life television show with host Groucho Marx and laughingly ruffled the comedians feathers. She asked Groucho to put away his trademark cigar, either lit or unlit, and he grudgingly complied. .

Mary Sackett, 74, spars with comedian Groucho Marx on “You Bet Your Life.”


Click HERE to watch the episode. Mary’s segment begins at 18:45

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When asked if a man might yet come along and sweep her off her feet, Mary replied, “Not a chance. I’m too set in my ways. I don’t want any man cluttering up my house.” When Mary died on January 31, 1969 at age 93 in Rosemead, California, she was the last remaining Sackett. She was buried in the family plot at Rosedale Cemetery. .

The Sackett family marker at Rosedale Cemetery.

Mary Sackett’s marker at Rosedale Cemetery.

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The Story of the Lasky-DeMille Barn

Sunday, December 22nd, 2013

HOLLYWOOD HISTORY

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This month celebrates one-hundred years since director Cecil B. DeMille arrived in Los Angeles and rented a barn in the sleepy village of Hollywood to make The Squaw Man.

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By Allan R. Ellenberger

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Paramount Pictures traces its beginnings back to the founding of Adolph Zukor’s Famous Players Film Company on June 1, 1912. In 1916, Zukor merged his company with the Jesse L. Lasky Feature Play Company, and with the Paramount Distributing Corp., a subsidiary. The new studio became Famous Players-Lasky Corporation and their films would be distributed under the Paramount name. In 1927 the organization was reorganized under the name Paramount Famous Lasky Corporation. In 1935, the Famous-Lasky name was dropped and the studio officially became Paramount Pictures.

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During Paramount’s acquisition of the Lasky Feature Play Company, the studio inherited an unpretentious, at least by Hollywood standards, wooden barn. The origins of that barn have had several incarnations. This is one version.

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In 1913, Jesse Lasky, a thirty-three year-old vaudeville producer, knew very little about films and how they were made. What he did know was that the fairly new entertainment medium was cutting into his stage show business. One day as Lasky and his partner, Cecil B. DeMille were going over the plans for the 1913-1914 Vaudeville season, DeMille dropped a bomb on his friend and partner.  DeMille was having problems living on his royalties and his debts were piling up, so he told Lasky he wanted to quit Broadway and go on an adventure. There was a revolution going on in Mexico and he thought about going there. Lasky did not want to lose his best friend so he blurted out an idea that another friend, Sam Goldfish (he later took the name Samuel Goldwyn) had been trying to interest him in—the movies.  Suddenly Lasky made a suggestion. “If you want adventure,” Lasky told him, “I’ve got an even better idea—let’s make some movies.”

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DeMille grabbed his hand and said, “Let’s.”

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“A portion of the motion-picture industry was built on that one word,” Lasky later said.

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From left: Jesse Lasky, Samuel Goldfish (Goldwyn) and Cecil B. DeMille

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But Lasky had one condition. He had seen a four-reel feature starring Sarah Bernhardt called Queen Elizabeth (1912) which Adolph Zukor of the Famous Players Film Company had imported from France for exhibition. If they were going to do this, he wanted to “do it in a big way and make a long picture like Queen Elizabeth.”

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After lunch they adjourned to the Lamb’s Club on West Forty-Fourth Street to discuss the details. At the club they ran into actor, Dustin Farnum and, while explaining their idea, asked him if he would star in a long feature they were going to produce. Looking around the room, Farnum saw Edwin Milton Royle the author of The Squaw Man. “You get Royle to sell you The Squaw Man and I might agree to join you,” Farnum told them.

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After some discussion, Royle was open to negotiating so Lasky called Goldfish and told him “they were in business.”

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The Jesse L. Lasky Feature Play Company was formed with Lasky as president, Goldfish the general manager, and DeMille would be the director-general. They each held a quarter of the stock and Farnum agreed to take the other quarter instead of receiving a salary. They paid $15,000 for the rights to The Squaw Man.

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At first they planned to film it Fort Lee, New Jersey, just across the river from New York, but Lasky didn’t think that would satisfy DeMille’s penchant for adventure, so he suggested they go to Flagstaff, Arizona where he knew there were real Indians. “It did not seem necessary for us to go to the then new Hollywood, so we looked at the map and selected Flagstaff, Arizona, as a pretty good name for our producing town,” Lasky said.  

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DeMille was agreeable but Farnum balked at the proposal. As long as he could live at home and work across the river he was willing to be paid off in stock, but if he had to travel across the country, he wanted his salary in cash. With the entire proposition on the verge of collapse, Lasky convinced his wife’s uncle and brother to invest and purchase Farnum’s stock. Reportedly, if Farnum had held onto the stock for eight years, he could have sold it for almost $2,000,000.

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The new producers hired a cameraman with his own camera and they engaged Oscar Apfel to help direct the production. Lasky and Goldfish remained in New York and attended to the sales and financial details as DeMille and Farnum took the train west.

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When DeMille finally arrived at Flagstaff, it was raining, so they boarded the train again and continued west to Hollywood. Once there, he sent a telegram to Lasky: “Flagstaff no good for our purpose,” DeMille wired, “Have proceeded to California. Want authority to rent barn in place called Hollywood for $75 a month. Regards to Sam. Cecil.”

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Goldfish was furious. Lasky defended DeMille’s decision even though he was not sure it was the right one. After arguing for hours they finally agreed to let the company stay in Hollywood. “Authorize you to rent barn but on month-to-month basis,” Lasky wired back, “Don’t make any long commitment. Regards. Jesse and Sam.”

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The barn that became their studio was located in a grove of orange and lemon trees on the southeast corner of Selma and Vine. Built in 1895, it was once a part of the estate of Colonel Robert Northam, whose mansion was located across the street where the Broadway building now stands. In 1904, Northam sold the estate to Jacob Stern, a realtor who, in March of that year, sold the barn to Harry Revier, a producer-director. In December 1913, Revier rented it to DeMille.

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Remodeling the barn into a studio to fit their needs began immediately. The horse stalls were removed and the space gained was transformed into a storage area for equipment the company hoped to buy. The carriage stand was turned into offices, a projection room and a primitive laboratory. The washing block was surrounded by walls and called a vault and the hay and feed section was made into an office, shared by DeMille and Lasky. A 30-foot square platform was built to adjoin the barn on the south side. This platform, the company’s first stage, was covered with a sail rigged to a mast, which could be adjusted to regulate sunlight.

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Shortly, DeMille wired Lasky that production was starting the next day. On December 29, 1913, DeMille ordered “camera” for the first scene of The Squaw Man. The excitement that the production was finally beginning convinced Lasky to come out to Hollywood.

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When Lasky arrived at the old Santa Fe Station, he told a taxi driver that he wanted to go to Hollywood. “He gave me a puzzled look,” Lasky recalled, “but said, ‘Get in boss—we’ll find it.’” After conferring with other drivers at the Alexandria Hotel, they found their way over dirt roads, past endless orchards and the occasional farmhouse until they came to the Hollywood Hotel. Lasky introduced himself to the clerk and made inquiries about the film company.

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“This is my first trip here and I’m not sure where our studio is located,” he told the clerk. “Would you please direct me?”

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“I’m sorry,” said the clerk, “I never heard of it.”

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“Perhaps I should have told you that the director-general of the company is Cecil B. DeMille,” Lasky stated.

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“Never heard of him,” the clerk said. Disappointed, Lasky was leaving when the clerk called him back.

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“Tell you who might help you,” he said. “Drive down this main road till you come to Vine Street. You can’t miss it—it’s a dirt road with a row of pepper trees right down the middle. Follow the pepper trees for about two blocks till you see an old barn. There’s some movie folks working there that might know where your company is.”

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When Lasky heard “barn” he knew he had the right place. He found the barn at Selma and Vine with a sign that identified it as the Jesse L. Lasky Feature Play Company. When he opened the door he heard someone say: “There’s the chief.” Outside there was a two-ton Ford truck with the company’s name inscribed on its side. When DeMille saw him, he grabbed his hand and gathered the company around and gave a speech of welcome. Afterward he had a photographer take a photo of Lasky and the company against the truck.

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Cecil B. DeMille (right) directs a scene from “The Squaw Man”

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DeMille finished The Squaw Man in three weeks, and Oscar Apfel took over the one stage for his production of Brewster’s Millions (1914), another successful stage play. Edward Abeles, who had starred in the stage production, was brought to Hollywood for the film, which was followed by The Master Mind (1914) and The Only Son (1914).

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When The Squaw Man was released, Lasky received a telegram of congratulation from Adolph Zukor, then president of Famous Players. Lasky thought it was generous of him to do so and knew the value of the telegraphic dispatch so he asked Zukor’s permission to use his congratulatory message in their advertising.

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Further improvements were made on the barn and the studio lot. In May 1914, electrical illumination was used for the first time to augment sunlight, when tow spotlights arrived from the East and were used in the production of Steward Edward White’s story, The Call of the North (1914). Meanwhile, the studio was expanding. The platform attached to the barn was outgrown, and a larger, open-air stage was constructed. This received the title of Stage Number One, and when the end of this stage was glassed over, Stage Number One became the pride of the studio and the wonder of Hollywood. Sheds extending from the Selma Avenue side of the barn formed the cutting rooms, carpenter and paint shops, and the first dressing rooms were constructed.

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The first feature film to be made on this stage was DeMille’s Rose of the Rancho (1914). This picture marked a definite step forward in the life of the studio, for this was the first film which was shot, in part, on location away from the stages. At this period the first major influx of stars started. H.B. Warner, Max Figman, Theodore Roberts and Mabel Van Buren joined the Lasky forces. Dustin Farnum returned to the studio to star in the first film version of Owen Wister’s novel, The Virginian (1914), under DeMille’s direction. In the east, Marguerite Clark made her screen debut in The Goose Girl (1915).

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Stage Number One was inadequate to handle the expanding production of the studio and a barley field to the south was annexed and Stage Number Two, an exact replica of Number one, was constructed. Soon a third stage was built, and then a fourth.

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On June 28, 1916, the Jesse L. Lasky Feature Play Company was merged with Adolph Zukor’s Famous Players organization, whose most important asset was Mary Pickford.  Zukor and Lasky combined forces and capital and purchased Paramount Pictures on July 19, 1916 and announced the formation of the $25 million Famous Players-Lasky Corporation, which included Paramount as its distributing channel. Zukor was elected president and Lasky was placed in charge of production.

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The Lasky Studios looking southeast from the corner of Selma and Vine.

The barn is on the far left of the photo.

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Within three years they acquired the entire block between Selma and Sunset on which the former barn was located. The barn was transformed into a small property room and the business offices were moved into a new administration building which extended practically the length of the entire block facing Vine Street. A new glass stage was erected 60 by 200 feet, and another glass stage of the same length. New carpenter and property construction shops were built 300 by 100 feet in size. The studio had extended its walls a full block.

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An aerial view of the Lasky lot (center)

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Further expansion continued and a vacant block on Argyle Street to the east was bought and was referred to as the “back yard,” containing fourteen garages and the street sets for outdoor filming. A new double deck paint frame was erected, eight times the size of the former paint frame, which at the time of its construction, was the largest on the Pacific Coast. Over 150 new dressing rooms were built for the stars, members of the organization and the extras. The studio also controlled the Morosco-Pallas Studios at Occidental and Council, and there, a new stage was built and the plant adjusted so that it could handle at least six companies.

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Beginning with a total staff of fifteen, just three years after The Squaw Man was completed the Lasky Company now had nearly a thousand on its weekly payroll. It had a complete printing plant on the grounds, which was used not only for printing sub-titles, but for preparing all stationary and the like. From having two automobiles, one of which was the personal property of Cecil B. DeMille, the Lasky Company now had fourteen cars, as well as three trucks. At the rear of the garages a complete machine shop was erected and all repairs were made by an expert mechanic and his crew. A concrete building was put up especially for the housing of transformers for the electricity for lights on the stages and the adjacent outdoor lot.

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A thousand-acre ranch near Burbank (now Forest Lawn-Hollywood Hills) was acquired as a site for out-door action. It was on this ranch that the studio’s growing collection of horses, cow ponies and cattle were held.

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On the studio’s twelfth anniversary, about 200 stars and well-known film executives attended and gathered in the old barn, now referred to as the “little grey home in the West,” for the celebration on December 14, 1925. Those attending included Ethel Wales, who was a casting director, secretary and, when needed, a leading lady; Mabel Van Buren, James Neill, Theodore Roberts, Dustin Farnum and others. Lasky was presented with a bronze tablet which was placed on the spot where the old barn stood.

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A month later, Famous Players-Lasky purchased the United Studios a few blocks south on Melrose Avenue and Marathon Street, reportedly for $5 million. Lasky would move their operations from the old Sunset and Vine lot to the new studio on May 1, 1926. “Although our studio in Hollywood has long been considered the best equipped plant in the country,” Lasky said, “it is not big enough to take care of the productions which we have scheduled for this coming year. The United Studios has nine stages and its 26 acres will enable us to expand our activities to take care of the production program we have in mind.”

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At the time there were no plans on what to do with the old lot, but Lasky was sentimental about the old barn and the studios beginnings, so he had it picked up and trundled over to the new location. In addition, the window frame that he used to gaze out from was removed and placed in his new private office.

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Top: An aerial view of the new Paramount lot. Note at the top is

Hollywood Cemetery and the new Cathedral Mausoleum on the far right.

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On the new Paramount lot, the old barn served as the studio library and later as the gymnasium. It became part of the studio’s western set, and a porch and railroad tracks were added outside. It was later used as part of the Bonanza television series set.  On December 26, 1956, the barn was dedicated as California Historical Landmark No. 554.

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The dedication to declare the barn a California landmark. From left:

Samuel Goldwyn, Cecil B. DeMille, Jesse Lasky, Leo Carillo.

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The barn remained on the lot until October, 1979 when Paramount gave the barn to the Hollywood Historic Trust, a cultural heritage arm of the Hollywood Chamber of Commerce. Until a decision could be made on what to do with the structure, it sat in the parking lot of Dennis Lidtke’s Palace, just north of Hollywood Boulevard on Vine Street. For the next three years it sat there becoming an eyesore to the community. Even though money was raised to restore the historic barn, there still was no permanent site to be found.

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When Jack Haley, Jr. wanted to film a television special at the Palace, he asked that the barn be moved. The Historic Trust offered to have the barn go to Universal, but preservationists knew it would become just another part of the studios tour. Eventually, Haley and Lidtke backed down on their request and the barn was allowed to stay until a site was found.

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The barn on the move.

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Meanwhile, Marion Gibbons, co-founder of Hollywood Heritage, and a board member of the Hollywood Chamber, proposed that her organization find the barn a permanent home. In May 1982, the Hollywood Historic Trust signed over the barn to Hollywood Heritage. They found a site on a grassy piece of land across from the Hollywood Bowl on Highland Avenue and signed the lease with the county on September 29 of that year. Gibbons and her volunteers finished painting the barn and getting it ready for removal from the Vine Street parking lot to the Bowl location. When completed, the barn was dedicated in December 1985 as The Hollywood Studio Museum.

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After a fire in September 1996, the museum remained closed until July 1999 when it was renamed the Hollywood Heritage Museum in the Lasky-DeMille Barn. When in Hollywood, be sure to visit the old barn where much of the early history of film took place. The museum is open from Wednesday to Sunday from noon until 4PM. For more information, visit their website at www.hollywoodheritage.org .

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Early filming in Hollywood

Friday, October 14th, 2011

FILMING LOCATIONS

 

One-hundred years ago this month, the first motion picture studio was opened in Hollywood by David Horsley in the old Blondeau Tavern on the northwest corner of Sunset and Gower. However, it wasn’t the first time that filming took place in the environs of the future film capitol. In those days, movie companies would show up unexpected and unannounced and begin filming a scene, then just as quickly leave. One such event occurred just six months before Horsley’s arrival at the famed Hotel Hollywood, now the site of the Kodak Theatre. The following is the account as it was reported in the Los Angeles Times the following day.

 

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Los Angeles Times
April 14, 1911

 

Two stage miners cause panic at hotel while making of motion-picture film progresses

 

While the guests at the Hotel Hollywood were enjoying a quiet siesta on the wide verandas yesterday they were thrown into an incipient panic by the appearance of two very stagey-looking mining men riding typical desert broncos.

 

The men were looking about furtively as they drew rein before the hotel. The guests’ watched them curiously as they laboriously dismounted.

 

Just then the doors of the hotel opened and two youths, dressed elaborately as bellboys, rushed out to meet the newcomers. The bellboys grabbed at a heavy leather bag which the mining men were placing on the ground.

 

Suddenly each of the mining men gave a shout, drew a large revolver and began firing indiscriminately at the bellboys. The hotel guests arose as one person and made a center rush for the doors leading into the lobby. They wedged themselves in the doorways and yelled for help. Children playing on the lawn yelled and fled for the crowded doorway.

 

Meanwhile the mining men were pumping away blithely with their revolvers. A third man appeared and the bombardment ceased. There was a moment’s conversation with a great deal of gesticulation and the mining characters, carrying their heavy leather pouch between them, marched up to the door of the hotel. The trembling bellboys were holding the miners’ horses. As soon as the mining men reached the shadow of the veranda they dropped their bag with a sigh and turned around genially to the peering and frightened faces of the guests.

 

“Gee,” said one, “these stunts are hard on we guys.”

 

The scene was staged for the benefit of the American Biography Company and was part of a long film now being made, which depicts the experience of two miners who strike it fabulously rich and have a strenuous experience at hotels owing to their suspicion of everyone who tries to carry their precious gold-laden leather pouch.

 

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If anyone recognizes the plot and knows the title of this film, please post it here. Thank you.

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Andreas Dippel at Hollywood Forever

Saturday, April 30th, 2011

HOLLYWOOD FOREVER CEMETERY

Andreas Dippel, operatic tenor and impressario

 

 

  

 

By Allan R. Ellenberger

 

Andreas Dippel, a once famous tenor in German opera at New York’s Metropolitan Opera house, was distinguished for his progressive and far-reaching vision. Dippel was born in Kassel, Germany on November 30, 1866. His family was not musical and he was destined for a business career. At 16 he worked for a bank and remained there for five years. At the same time he was developing his voice with singing groups and under the coaching of Mme. Zottmayer of the Royal Court Theatre of Kassel.

 

In 1887 he left home and tried his hand at being an opera singer. In the fall of that year he made his debut in the Stadttheatre of Bremen as Lionel in Flotow’s opera Martha, beginning an engagement that lasted, with one important interruption, until 1892. He sang several smaller roles in Bayreuth in 1889, and become a member of the Vienna State Opera in 1893. He sang there until 1898 in 27 roles, including Marcello in the Vienna premiere of Leoncavallo’s La bohème. During that period he also sang in London’s Royal Opera House.

 

He made his first American appearance at the Metropolitan on November 26, 1890, in Alberto Franchetti’s Asrael. Except for a concert tour, he did not sing in the United States after that season until 1898, when he became a permanent member of the Metropolitan Company, then managed by Maurice Grau.

 

For twelve years Dippel was one of the important figures in opera in New York, first as a tenor of exceptional versatility, able to jump into a part at a half hour’s notice, possessing a repertoire of 150 roles; then, from 1908 to 1910, as administrative manager of the company in association with the newly arrived Giulio Gatti-Casazza as general manager. When Dr. Lee De Forest approached the management of the Metropolitan management for permission to attempt the radio broadcast of opera, Dippel enthusiastically consented, even allowing Caruso himself to sing into the microphone.

 

Early in this regime it was apparent that all was not harmonious in the executive offices. The outcome of whatever disagreements existed was a superficially happy one. Dippel resigned in April 1910, to assume the management of the Chicago Opera Company, which he guided for three years through the difficult period of its beginning and early development. Again rumors of internal discord arose and he left the organization after receiving a year’s salary, $25,000, and other rewards for his promise not to re-enter opera in Philadelphia or Chicago for three years. Thereafter he tried various operatic ventures, none winning more than a temporary success.

 

 

 

 

In 1914 he formed the Dippel Opera Comique Company which produced the Broadway premiere of Lilac Domino at the 44th Street Theatre on October 28, 1914. It ran for 109 performances and then toured the United States. Rather less successful was Dippel’s next Broadway production, The Love Mill, which opened at the 48th Street Theatre on February 17, 1918 and closed five weeks later after 52 performances.  Dippel had his own opera school at the Ithaca Conservatory of Music in the 1920s.

 

In 1920 he was reported to be gaining a livelihood by selling life insurance in Chicago. In May, 1921, a large testimonial concert was given for Dippel at the Metropolitan, following a similar benefit in Chicago. Two years later, along with Hugo Riesenfeld, Dippel once again became an advisor to De Forest when he introduced on Broadway, the Phonofilm, or talking pictures. This scheme to give opera in motion picture houses in combination with “jazz” and a fashion show failed, as did his United States Grand Opera Company.  

 

In 1924 he divorced his wife, the Countess Anita Dippel of Vienna, whom he married in 1890, on the ground of desertion. Once again with De Forest, in 1925 they recorded in the Century Theatre the notable Wagnerian score of the German film Siegfried, arranged by Riesenfeld – the first serious attempt anywhere to utilize the then new sound-on-film for so significant a departure. From then on, Dippel always insisted that the sound-picture would eventually become the medium for the masses of grand opera.

 

Dippel was brought to Hollywood in 1928 by Metro-Goldwyn-Mayer and worked in the studio synchronization department. The following year he was injured by a street car and spent six months in the hospital. While there he was taken from the studio payroll and was left without finances, yet he toiled indefatigably on his own on the different problems of multi-lingual films.

 

During the last few months of his life, unknown to most of his friends from whom he had gradually withdrawn, he had become destitute.  On May 15, 1932, Dippel’s body was found in his room at the Hollywood Hotel; the cause of death was heart disease. Because he was penniless, his funeral was placed under the direction of the Motion Picture Relief Fund and plans were made to bury him at Valhalla Cemetery where they normally placed indigent actors. However, several friends donated money to buy him a crypt at Hollywood Cemetery next to that of actress Renee Adoree.

 

Dippel’s funeral was conducted at Pierce Brothers Mortuary on Washington Boulevard and was attended by several score of intimate friends and associates, including Joseph Zoellner, Sr., Andres de Segurola and Mme. Sophie Traubman, who sang with Dippel in the Metropolitan; Charles Dalmores, formerly of the Chicago Grand Opera and Dr. Lee De Forest. His crypt marker was paid for by a friend and former student.

 

 

 

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Hollywood Hotel site

Tuesday, March 30th, 2010

HOLLYWOOD LOST: THEN & NOW

Hollywood Hotel site

 

(Hollywood Hotel: LAPL) 

 

The above photo was taken from the northeast corner of Hollywood and Highland. The Hollywood Hotel was built in 1902 with another wing added in 1905. Not long after, the hotel was bought by Mira Hershey, an heir to an Iowa lumber and farming magnate. When the movies came to Hollywood this is where everyone stayed. By the 1950s it was a run down and faded remnant of its former splendor. The Hollywood Hotel was razed in August 1956.

 

(PHOTO: Allan R. Ellenberger) 

 

Here is the same spot today taken from the same corner. The block is now the Hollywood and Highland complex and further down is the Kodak Theatre, the current home of the Academy Awards.

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