Charlie Chaplin in World War I…

Posted by Allan Ellenberger on Jul 13th, 2008
2008
Jul 13

World War I

Charlie Chaplin

 

Douglas Fairbanks lifting up Charlie Chaplin
at a war bonds rally in New York City 

 

By Allan R. Ellenberger 

 

During the Great War, Charlie Chaplin, Mary Pickford, Douglas Fairbanks, and other film stars spoke at bond rallies that helped sell $18.7 billion in Liberty Bonds.

 

Shortly before the end of World War I, it was speculated that comedian Charlie Chaplin may be drafted as of June 1, 1918. “I’ve always been ready and am still ready to serve my country and the cause of liberty whenever it was necessary for me to go,” said Chaplin just before he left on a Liberty Bond rally in the south.

 

Chaplin appeared in four towns daily for the  Liberty Loan cause, passing up Pullman cars and travelling chair cars, resorting to autos and freights for the purpose of making towns on time. In some towns where there were no public halls, meetings were held in tobacco warehouses. At Raleigh, North Carolina, Chaplin raised $92,000 for Liberty Bonds and offered to kiss all little girls who bought bonds. While he enjoyed the osculator ceremonies, he had to discontinue the practice merely on the account of the time consumed. The age limit was not stated.

 

Below is Charlie Chaplin’s World War I registration card, dated June 5, 1917. At the time he was living at the Los Angeles Athletic Club and working for Lone Star Co. (click on image to enlarge)

  

  

 

 

 (National Archives)

 

 ___________________________________

 

 

 

 

Cecil B. DeMille on Wallace Reid…

Posted by Allan Ellenberger on Jun 29th, 2008
2008
Jun 29

Cecil B. DeMille Talks About…

 __________

 

Wallace Reid

 

 

  

Wallace Reid, one of  the outstanding stars of his time, was first brought to DeMille’s  attention in D. W. Griffith’s Birth of a Nation (1915).

 

“He [Reid] played the part of blacksmith in the picture, and I was very impressed with the marvelous fight he put up. He was probably on the screen not more than seventy-five feet, but his magnificent physical strength and appearance was striking.

 

“However, Wally wasn’t very much of an actor in those days. He was stiff and rather wooden, and it was difficult to make him unbend. I sent for him and we had a chat. He was very much a kid, but I put him under contract fro a small amount, something like $60 or $75 a week. I gave him important leads to do and later public opinion made a star out of him.

 

“The first thing he did for me was with Geraldine Farrar in Maria Rosa (1916), then with Farrar in Carmen (1915), and later with the same star in Joan the Woman (1917). Then I decided to allow him to carry a picture, without starring in it, and I called the picture The Golden Chance (1915). Cleo Ridgely played opposite him in it, and it proved indeed to be Wally’s golden chance. It was a big success and Wally was a very big success in it.”

— Cecil B. DeMille

 

NOTE: I think DeMille had some problems with his chronology

 

The preceding is taken from an interview that DeMille gave the Los Angeles Times on August 21, 1932.

 

 _______________________________

 

Historic Fires at Universal…

Posted by Allan Ellenberger on Jun 4th, 2008
2008
Jun 4

HISTORIC FIRES AT UNIVERSAL STUDIOS 

 

 (Allen J. Schaben/Los Angeles Times)

 

Sunday’s recent fire on the Universal Studios back lot recalls blazes that have occured there since the studio moved to that location in 1915. All the major studios have had fires at one time or another but Universal seems to have had more than their fair share. What follows is a brief history of fires at Universal over the years.

 

by Allan R. Ellenberger  

 

 

March 25, 1913

 

Before Universal moved to their present location, their studio was at Gower Street and Sunset Boulevard. Very early in the morning, the studio was totally destroyed by a fire that began in the film storehouse and was believed to have been caused by spontaneous combustion.

 

Several outdoor stages, dressing rooms, outbuildings, offices, scenery storeroom and other buildings, all made of wood, were burned to the ground. For a time the Hollywood branch office of the Sunset Telephone Company and near-by residences were threatened.

  

 

September 29, 1917

 

A fire started from an unknown origin in the dry grass and spread to a two-story building on one of the western streets just a short distance from the wardrobe building. Members of the Universal fire department and most every able bodied man fought to extinguish the flames. Sparks from the burning buildings were carried to one of the stages and set fire to a number of the overhead diffusers. Actors helped to put them out.

 

Sparks also fell on the roof of the new electric light studio, which was constructed only a few weeks earlier, but a group of men quickly put it out. For a while, it was feared that the $4,000,000 studio would be seriously damaged, however, the loss was estimated at $10,000.

 

Not to waste the opportunity, several cameramen trained their cameras upon the fire scenes which would be placed in stock for use in future films.

 

 

June 3, 1919

 

A stubborn fire aided by a strong wind blowing into the San Fernando Valley was intent to destroy everything on the Universal back lot (back ranch). However, being in an unincorporated district, the nearby Hollywood fire station declared Universal City to be beyond its jurisdiction. Actor Harry Carey, who was filming scenes for Rider of the Law (1919) gathered several of his fellow cowboy actors to help fight the fire. They hauled a hose from the studio to the crest of one of the hills where there was a huge water tank and sprayed the hillsides from there. The blaze destroyed sets and equipment on three of the hills and damage was set at $5,000 and might have amounted to more had not Carey and the other men acted so quickly.

 

 

 

 

May 25, 1922

 

A short-circuited electric wire, which whipped through an open doorway of a cutting room, ignited more than 100,000 feet of film. The huge coils of film flared up instantly with flames sweeping through the room, endangering near-by buildings. Padlocked metal boxes of film exploded with the heat, showering the vicinity with steel splinters that embedded themselves in the walls.

 

The explosion, smoke and fire that followed caused a near-panic among the hundreds of studio employees. Actress Priscilla Dean rushed up a flight of stairs to the burning room, intent on saving the film of her picture, Under Two Flags, (1922) which was just being completed. She tripped on a flowing oriental robe (part of her costume) she was wearing and sprained her ankle.

 

At a loss of four cents a foot, more than 185,000 feet of film was destroyed including Under Two Flags and the footage for five other productions.

 

Tod Browning, who directed Under Two Flags, was about to leave for his home when the fire started. Irving Thalberg, director-general of the studio; Julius Bernhein, Leo McCarey and Arthur Ripley (film editor), all made an effort to reach the cutting room but were forced back by the flames.

 

Thalberg estimated that the property damage from the fire and the loss of film would come to more than a half-million dollars.

 

 

December 23, 1922

 

Just seven months later another fire ravaged the studio under similar circumstances when an electric lamp short circuited and ignited more than a million feet of film. An explosion shook the building, knocking down a woman standing fifty feet from the source. Fortunately the fire was prevented from spreading to the adjoining scenic shop where large amounts of paint, chemicals and inflammable materials were stored.

 

The fire broke out at 3:50 pm, and was battled by fire-fighting apparatus on the premises. Special effects man, Edward Bush and actor Norman Kerry, who was still dressed in his Austrian costume from Merry-Go-Round (1923), rushed into the building ahead of the fireman. However, both were overcome by fumes from the burning film and were carried out unconscious. They were attended to at the Universal City Emergency Hospital. Actors Herbert Rawlinson and Art Acord were among those who also aided in fighting the flames.

 

The studio was not seriously damaged but a total of 1,100,000 feet of film was destroyed. This included footage for between thirty-five and forty films which were being edited including One of Three (19230 from the Yorke Norroy film series starring Roy Stewart. It was estimated to cost approximately $250,000 to reshoot the pictures. The destroyed film was valued at about $100,000.

 

 

February 26, 1923

 

A “prop” fire became a genuine blaze and damaged a cabin set and singed every actor in the filming of an episode of The Phantom Fortune (1923) serial. William Desmond suffered slight burns and minor lacerations when he dragged Cathleen Calhoun from the burning cabin with her costume ablaze. Esther Ralston suffered scorched hands, arms and back. Robert F. Hill, the director, was burned about the neck and ears. Cameraman, “Buddy” Harris had his right hand severely burned. Three electricians and a property man also sustained minor injuries.

 

The fire was caused by flares used to simulate flames that ignited the woodwork of the set. All the injured were given emergency treatment at the studio hospital and then taken home.

 

 

Universal Film Corporation, 1924

 

 

August 27, 1925

 

A fire broke out on the set of The Midnight Sun (1926) starring Laura La Plante and Pat O’Malley. Five hundred extras were thrown into a panic, many of them trampled under foot and two injured slightly when a gigantic set representing the interior of the Petrograd Imperial Ballet was swept by fire.

 

The cause of the blaze was a sputtering overhead-arc light which came in contact with a huge drapery, part of the decorations imported from Paris for the production. Three days of shooting had to be reshot because of the destruction of the draperies which could not be duplicated. The estimated damage to the set was $15,000.

 

 

April 8, 1927

 

A fire started in the editing room when a lamp burned out and a spark flew into a stack of film. The fire, which threatened to spread, was confined to the single building, but the building was destroyed.

 

Many thousands of feet of film had to be reshot. Among the films destroyed was Reginald Denney’s Fast and Furious (1927). The loss due to the fire was estimated at $10,000.

 

 

January 7, 1931

 

A blaze started in a frame structure used for cutting short-length films. The cutters narrowly escaped when the room burst into flames. They were slightly overcome by fumes generated by the burning film, but were revived in the studio infirmary. The studio fire department confined the fire to the one building. Damage was placed at $10,000 to the film and $5,000 to the building.

 

 

October 25, 1932

 

A brush fire broke out in the woodlands behind Universal and swept through fifteen acres of land and destoyed two film sets valued at $10,000. While the main stages and sets were not in danger, the sets destroyed were used in Frankenstein (1931) and the William Wyler film, A House Divided (1931).

 

 

September 8, 1937

 

A brush fire fanned by a stiff breeze burned over twenty-two acres on the Universal back lot destroying three houses used as a motion-picture set. A score of wild animals caged near a jungle set and several hillside residences were also in danger of the blaze.

 

One of the destroyed houses was an old type Spanish ranch that had been used in hundreds of western films. The other two were a part of what was known as the Swiss Village and were originally built in 1922 for a John Barrymore picture.

 

The wild animals included Universal’s famous black panther, the trained chimpanzee “Skippy,” and numerous lions, leopards and other animals. The collection was valued at $50,000.

 

The estimated damage to the back lot was $10,000.

 

 

December 23, 1954

 

A fire broke out on the set of One Desire (1955) starring Anne Baxter and Rock Hudson. The script called for Baxter to throw a book at Hudson, and knock over a kerosene lamp. She did and the flames swept up the drapes, however members of the crew were unable to contain the blaze as it whipped to the ceiling of the sound stage. The heat opened sprinklers over an adjacent stage and caused damage to other sets prepared for the same film.

 

 

Universal back lot during the 1957 fire 

 

September 25, 1957

 

An acre of permanent street-scene sets was destroyed by a fire that broke out on Universal’s back lot shortly before 5 pm. None of the street scenes involved in the fire was in use. A complete theater set on “New York Street,” a landmark for twenty years, was consumed in the fire. The heat melted and twisted the steel girder frame of the building that had been used in numerous films. The last film to use the set was the remake of My Man Godfrey (1957) starring David Niven. The damage was estimated at $500,000.

 

 

May 15, 1967

 

A fire started in a barn on the “Laramie Street” set and spread north and east over twelve acres of movie and television sets. At times, flames leaped more than 100-feet into the air. The “European,” “Denver” and “Laramie” streets were burned to the ground by the fire which roared out of control for more than an hour.

 

Wind-blown sparks showered upon nearby Warner Bros. Studios causing at least one minor fire on the roof of the old casting building. Embers were carried as far as NBC Studios, two miles away and across the river to the Lakeside golf course.

 

The “European” set was originally built in 1930 for filming of All Quiet on the Western Front and had been used for countless films since. The destroyed “Laramie” set was used for the television show Laredo and the “Denver” street for The Virginian series.

 

The total estimated damage was set at $1 million.

 

 

The famous Courthouse Square set at Universal that once again escaped destruction. (Universal Studios)

 

 

November 6, 1990

 

A spectacular fire ravaged four acres of the Universal back lot and destroyed the New York Street; an adjacent alley set; Brownstone Street; a portion of the Courthouse Square where Back to the Future was filmed and the Dick Tracy Building. Also heavily damaged was the King Kong and Earthquake exhibits on the studio tour.

 

The New York Street set was used in the films The Sting (1973), and Dick Tracy (1990), among others. Beside the Back to the Future films, the Courthouse Square set was used in To Kill a Mockingbird (1962). The fire was set by a studio guard who was later sentenced to four years in prison. Damage was estimated at $25 million.

 

Ironically, this is in the same area that was destroyed in Sunday’s fire. This time, however, the King Kong exhibit was completely destroyed. Investigators have determined that this fire was caused by workers repairing a roof on the New York Street set.

 

 

September 6, 1997

 

Improperly stored chemicals were blamed for a fire that destroyed the northern side of Courthouse Square. Once again this building was spared.

 

 

Section of backlot affected by Sunday’s fire

 

Memorial Day Observance…

Posted by Allan Ellenberger on May 26th, 2008
2008
May 26

Memorial Day

 

 

 

Memorial Day or Decoration Day, began in 1868 when members of the Grand Army of the Republic heeded the request of their commander, General John A. Logan, to decorate the graves of their fallen compatriots. It has since become the day on which the United States honors the dead of all its wars and is observed as a legal holiday in most states. National services are held at the Tomb of the Unknown Soldier in Arlington, Virginia.

 

Following are four entertainment casualties during World War II.

 

  

 

CAROLE LOMBARD (1908-1942) -Popular comedienne of films during the 1930s, most notably in Twentieth Century (1934), My Man Godfrey (1936) and Nothing Sacred (1937). In January 1942, Lombard had sold over two-million dollars worth of war bonds in her home state of Indiana. Anxious to return to her husband, Clark Gable, she chose to take a plane. The plane crashed into a mountain outside Las Vegas. Everyone on board was killed, including Lombard’s mother, Bessie Peters and MGM publicity man, Otto Winkler.

_______________________________________ 

 

TAMARA (1910-1943) - The Russian-born radio singer and Broadway actress who made popular such songs as “Smoke Gets in Your Eyes,” “Love for Sale” and “Get Out of Town.” She was one of twenty-four entertainers, foreign correspondents and business men who were killed when a USO Yankee Clipper crashed in the Tagus River near Lisbon on February 22, 1943. Also on board was actress and singer, Jane Froman, who was severely injured in the crash. She was rescued by the clipper’s co-pilot, John Curtis Burn, whom she married five years later.

_______________________________________

 

 

LESLIE HOWARD (1893-1943) - British-born actor best known for his role as Ashley Wilkes in the popular film classic, Gone with the Wind (1939). Howard died when he was returning from Lisbon and his plane was shot down by a German Junkers Ju 88 over the Bay of Biscay. His body was never found.

  ______________________________________

 

CHARLES KING (1889-1944) - Vaudeville entertainer who appeared in a number of Hollywood films, most notably the Academy Award winning, Broadway Melody (1929). King died of pneumonia in London while entertaining the troops.

 ______________________________________

 

Lon Chaney’s Ghost…

Posted by Allan Ellenberger on May 14th, 2008
2008
May 14

Ghost of Lon Chaney Once Played a Part

in a City Councel Controversy

 

 

by Allan R. Ellenberger

 

Would you believe that the ghost of actor Lon Chaney once played a prominent role in a heated controversy at the Los Angeles City Council? It’s true. It seems that Chaney’s ghost was reportedly seen sitting on a public bench at the corner of Hollywood and Vine. Then in October 1942, Chaney’s ghost suddenly no longer was seen and whether any super-natural powers had a part in the mysterious disappearance of the bench are questions that councilman Norris Nelson was demanding.

 

The reputed visitation of the ghost was brought up at a Council meeting by Councilman Nelson, as he announced he was against granting permits to various businesses to place benches, painted with colored advertisments, on street corners or in the middle of the block.

 

Before he became a councilman, Nelson claimed that he put an ornamental iron bench on the northeast corner of Hollywood and Vine and there it remained for fifteen years.

 

“Lon Chaney used to sit on that bench and wait for a bus when he was an extra boy,” declared Nelson. “When he became a star he used to drive by it and pick up poor devils who were still extras: after he died his ghost was reported seen sitting on the bench and finally a spot was reserved for the ghost and nobody ever sat in it.”

 

Nelson indicated that his bench was becoming famous when one morning, only a few weeks before, he noticed that it had vanished and in its place was another that had an advertisement for a certain brand of cigars that sold for two for 5 cents.

 

“No self-respecting ghost would sit on such a bench,” maintained the councilman. “I want my bench put back.”

 

Unfortunately the results of the City Councils decision was never made public. Evidently Norris failed in his attempts because benches with advertisements have been placed around Los Angeles ever since. Until recently, a bench has graced the northwest corner of Hollywood and Vine at the bus stop. Below is a recent photo of that corner - ghostless and sans bench.

 

 

Hollywood Oral Histories…

Posted by Allan Ellenberger on May 12th, 2008
2008
May 12

Early Hollywood Days

 

The following is reprinted from the Holly Leaves, an early Hollywood newspaper.

 

Philo Judson Beveridge (1851-1921) was the son of Illinois governor, John L. Beveridge and the second husband of Hollywood co-founder, Daieda Hartell Wilcox (1861-1914).

 

__________________________________________________

 

Holly Leaves
Saturday, January 15, 1921

 

Remembrances of Hollywood Pioneer and Leader

who Tells Origin of the Name “Hollywood”

 

 by Philo J. Beveridge

 

In 1893, when I came to Hollywood, the name Hollywood legally covered only a sub-division of 160 acres bounded by Franklin Avenue, Sunset Boulevard, Gower Street and Whitley Avenue culminating in a population of about thirty people. The larger territory lying north of Santa Monica Boulevard, west of Vermont and east of Laurel Canyon, was, however, frequently designated as Hollywood. The sub-division of 160 acres was recorded as “Hollywood,” a name selected by my late wife, Ida Wilcox Beveridge, because it was the name of a country estate of a friend in Ohio. 

 

  

The larger territory had a population of nearly one-hundred people. It was known as the “Frostless Belt of the Cahuenga Valley.” The late E. C. Hurd and Edward Baker were the pioneers in the growing of lemons and oranges, and Mr. Rapp, Jacob Miller and others had suceessfully grown winter vegetables and semi-tropical fruits. Wells were the only source of water supply. Such roads as had been dedicated were upgraded and improved. A four-foot cement sidewalk on the west side of Cahuenga Avenue from Franklin to Hollywood Boulevard and westward to Whitley Avenue, installed in 1888 by the late H. H. Wilcox, was for many years the sole evidence of a desire for better things. The pepper trees within the virginal sub-division were all planted by my wife. Within the larger territory there was one church, and a single school house of one room was located on Sunset east of Gower Street.

 

 Photograph of early Hollywood in 1910. Location of streets are noted.

 

The Cahuenga Valley Railroad, built in the late eighties by Mr. MacLaughlin, a son-in-law of Senator Cole, ran from Whitley and Hollywood Boulevard to a connection with a cable line at the western end of Temple Street. One engine and a combination passenger and freight car comprised its equipment. It was supposed to make five round trips a day, but frequently discontinued all service for days and weeks at a time. It had two regular passengers, E. C. Allen and Harve Friend, both deceased, and these two with H. D. Sackett who had a general store at southwest corner of Cahuenga and Hollywood Boulevard, represented the active business interests of Hollywood.

 

The story of the long months of persistent efforts by a number of loyal citizens to secure better streets, a water system, sewer outlet, gas, electricity and a direct electric railway system, would be of interest to the older inhabitants but can not be covered in detail with the limits at my disposal.

 

The Hollywood Board of Trade, organized about twenty years ago, has accomplished much for Hollywood, and deserves our united support.

 

To me it is a source of constant satisfaction that while in early days we disagreed amongst ourselves on many matters of public policy no enmities were formed, and the opponents of the past are the friends of today. To the oldtimers and to the strangers within our gates let me recall old Rip’s toast: “Here’s to you and your family. May they all live long and prosper.”

 

 

Philo J. Beveridge’s grave at Hollywood Forever Cemetery

 

The Laemmle Building

Posted by Allan Ellenberger on May 1st, 2008
2008
May 1

Hollywood and Vine:

A History

 

by Allan R. Ellenberger

 

Arguably the most famous intersection in the world, Hollywood and Vine sometimes disappoints tourists who search it out. Yesterday’s fire at the intersections northwest corner made me think about its history. The intersection first became famous in the 1930s because many of Hollywood’s important radio stations were located nearby.  “Brought to you from Hollywood and Vine” was a familiar opening to many early radio broadcasts.

 

Historic 1920s office buildings are located on three of its corners. On the northeast corner is the Equitable Building (1929), a Gothic Deco commercial building, designed by Aleck Curlett. The B. H. Dyas building (1927) on the southwest corner at one time housed The Broadway-Hollywood department store. It’s famous sign still stands on its roof. And on the southeast corner is the Taft Building (1923), by architects Walker & Eisen in the Renaissance Revival style. This building once housed offices for Charlie Chaplin, Will Rogers, Hedda Hopper, Photoplay magazine and the Academy of Motion Picture Arts and Sciences.

 

On the northwest corner is the building devasted by yesterdays fire. At first glance it may not be mistaken for a Hollywood landmark, however, it was built in 1932-1933 by Universal founder, Carl Laemmle and bore his name (Laemmle Building) for many years. Designed by famed architect, Richard Neutra in the International Style, the building has been altered many times over the decades (beginning in 1940) and no longer retains any of its original features.

 

Below are photos from the Laemmle Buildings past:

 

Vine Street at Hollywood Blvd. in 1907. The house on the left is the
approximate location of the Laemmle Building

 

The former Laemmle Building in the 1950s

 

The Laemmle Building’s (left) incarnation as a Howard Johnson’s Restaurant

 

 

 The former Laemmle Building in the 1990s

 

Currently, the building housed the Basque Nightclub and Restaurant (6263 Hollywood Blvd.), a popular celebrity hangout. Actress Lindsay Lohan recently celebrated her 21st birthday at Basque and rap star Kanye West partied there earlier in April. Scenes from the movie Ocean’s Eleven were filmed there and the property had recently been sold as part of a renovation renaissance in Hollywood.

 

 

 

As the intersection appeared yesterday morning (Al Seib/Los Angeles Times)

 

Sadly, the 75 year-old Laemmle Building’s future is unclear. It’s not known at this time if the building is a total loss and will be demolished or if it can be saved. Once it’s fate is known, it will be reported here.

 

 (Bob Chamberlain/Los Angeles Times)

 

Myrna Loy

Posted by Allan Ellenberger on Apr 7th, 2008
2008
Apr 7

Venice High grads work for landmark statue’s return

 

Actress Myrna Loy is little known by today’s students, but others want to return history to the campus.

 

 loy1.jpg

 

Columnists

 

By Sandy Banks

Los Angeles Times, April 5, 2008

 

Movie star Myrna Loy has passed from legend to relic status on the Venice High campus.

 

For 80 years, a statue she posed for as a Venice student was a landmark on the aging campus. But most Venice students have never seen it; it’s been hidden in a storage shed since today’s seniors were freshman. READ MORE

 

**************************************

 

Myrna Loy statue

Myrna Loy statue that at one time stood in front
of Venice High 

 

myrnastatuebroken.jpg

Myrna Loy statue broken and in storage
(photo by John McArthur)

 

For additional information and photos, see Venice High Class of ‘57 site

 

 

Hollywood Studios…

Posted by Allan Ellenberger on Apr 2nd, 2008
2008
Apr 2

Hollywood Studios in 1923

 

What follows is a listing of film studios that existed in Hollywood and the surrounding Los Angeles area in July of 1923. Remarkably, some are still in existence or under a different name.

 

Berwilla Studio, 5821 Santa Monica Blvd., Hollywood (now a warehouse).

Better Pictures Service, 780 Gower Street, Hollywood (later RKO, now part of Paramount)

Brentwood Studio, 4811 Fountain Avenue, Hollywood.

Buster Keaton Studio, 1025 Lillian Way, Hollywood.

Century Film Corp., 6100 Sunset Blvd., Hollywood.

Charlie Chaplin Studio, 1416 La Brea Avenue, Hollywood (now Jim Henson Studios).

Christie Comedies, 6101 Sunset Blvd., Hollywood.

Cosmosart, 3700 Beverly Blvd., Los Angeles.

Fine Arts Studios, 4500 Sunset Blvd., Hollywood.

Fox Studio, North Western Avenue, Hollywood.

Francis Ford Studios, 6040 Sunset Blvd., Hollywood.

Fred Caldwell Productions, 4513 Sunset Blvd., Hollywood.

Garson Studio, 1845 Glendale Blvd., Edendale.

 

terry-017.jpg 

 

ABOVE - Goldwyn Studio, Culver City (later became Metro-Goldwyn-Mayer, now Sony Pictures).

 

Golden West Studios, 4011 Lankersham Blvd., Studio City.

Grand Studio, 1438 Gower Street, Hollywood.

Hollywood Studios, 6642 Santa Monica Blvd., Hollywood.

Horsley Studios, 6060 Sunset Blvd., Hollywood.

 

terry-005.jpg

ABOVE - Ince Studios, 9336 Washington Blvd., Culver City (later the Selznick Studios, now The Culver Studios).

 

Lasky Studio, 1520 Vine Street, Hollywood.

Mayer-Schulberg Studios, 3800 Mission Road, Los Angeles.

Metro Studio, Romaine and Cahuenga Avenue, Hollywood.

Pickford-Fairbanks Studio, 7100 Santa Monica Blvd., Hollywood (later Samuel Goldwyn Studios, The Lot).

Principal Pictures Corp., 7250 Santa Monica Blvd., Hollywood.

R-C Studios, Melrose and Gower Street, Hollywood.

Sennett Studio, 1712 Glendale Blvd., Edendale.

United Studios, 5341 Melrose Avenue, Hollywood (now Paramount Studios).

Universal Studio, Universal City (still there).

Vitagraph Studios, 1708 Talmadge Avenue, Hollywood.

Waldorf Studios, 6070 Sunset Blvd., Hollywood.

 

talmadge-007.jpg

ABOVE - Warner Brothers Studio, 5842 Sunset Blvd., Hollywood (now KTLA-TV).

 

Hollywood Street Names

Posted by Allan Ellenberger on Mar 27th, 2008
2008
Mar 27

Santa Monica Blvd. in 1906, looking west from Western Avenue

Santa Monica Blvd. in 1906, looking west from Western Avenue

 

 

Hollywood Street Name Origins

 

 

 

Have you ever wondered the origin of many of the street names in the neighborhood that you travel on daily? In many towns and cities the names date back to its beginning; the same is true of Hollywood. However, you won’t see a Chaplin Avenue, Garbo Street or Garland Way here. Hollywood street names originated before the movies came to Tinseltown with the founding fathers. Though you may not recognize many or any of the names, here is a list of Hollywood streets and their namesakes:

 

Ambrose Street — Ambrose Gregory, rancher

Barton Avenue — Barton Jones, grandson of Cornelius Cole

Beachwood Drive — Albert Beach, subdivider

Bronson Avenue — Marcus Alonzo Bronson, realtor

Cahuenga Avenue — Cahuenga Indians

Carlton Way — Carlton Warner, son of subdivider

Carmen Avenue — Carmen Lopez, son of Pres. Lopez, rancher

Cole Avenue, Cole Place — Senator Cornelius Cole

De Longpre Avenue — Paul De Longpre, artist

El Centro Avenue — Center of Cole Ranch

Eleanor Street — Eleanor Cole, daughter of Seward Cole

Eulalia Street — Mrs. Eulalia Grass

Finley Avenue — Rev. Finley, Methodist minister

Gardner Street — Dr. Alan Gardner

Gower Street — George T. Gower, rancher

Gregory Street — Ambrose Gregory, rancher

Harold Way — Harold Warner, son of subdivider

Havenhurst Avenue — W. H. Hay

Highland Avenue — Highland Price, wife of Walter Price, the blacksmith

Hudson Avenue — Thomas Hudson, rancher

Ivar Avenue — Ivar Weid, owner of Weid Ranch

Lodi Place — Lodi, New York; birthplace of Cornelius Cole

McCadden Place — W. C. McCadden, subdivider

Melrose Avenue — E. A. Melrose, rancher

Nichols Canyon — Mr. Nichols, rancher

Ogden Drive — Mary B. Ogden, pioneer

Santa Monica Blvd. — Road leading to Santa Monica

Selma Avenue — Selma Weid, sister of Ivar Weid

Seward Street — Seward Cole, son of Cornelius Cole

Sunset Blvd. — Road leading to ocean and sunset

Taft Avenue — B. Y. Taft, developer and realtor

Townsend Street — Maiden name of Cornelius Cole’s mother

Vine Street — Through Cornelius Cole’s vineyard

Waring Avenue — Capt. Howard Waring, son-in-law of Cornelius Cole

Whitley Avenue — H. J. Whitley, subdivider

Wilcox Avenue — Harvey H. Wilcox, founder of Hollywood

Willoughby Street — Willoughby Cole, son of Cornelius Cole

 

  • RSS Feed