By MICHAEL PERKINS
HOLLYWOOD IS ONE OF THE SELECT LOCALITIES in the world’s largest democracy where royalty is not only tolerated but slavishly sought after. The crown (or crowns, plural) transfer from the recently fallen to the newly anointed with predictable regularity, but the ritual is always the same: we love the common people (they’re just like us!) until they are lucky enough to escape our ranks, after which we, in turn, adore them, despise them (who do they think they are?), forgive them, and adore them anew.
In terms of photography, the camera seeks out ever new lovers, nearly all of them human, and therefore fleeting. A careful study of Tinseltown, however reveals that the true royalty, the royalty that endures, is the real estate. And even in a town where “reality” is defined by whether you shoot on location or on the back lot, Hollywood harbors plenty of actual places where actual events actually occurred. Some are on the bus tours (Marilyn Monroe slept here), while others require a bit more digging. One of the industry’s most prestigious addresses is smack dab in a section so spectacularly tacky that, by virtue of merely being merely ostentatious, it seems positively muted.
The Hollywood Roosevelt Hotel (named in memory of Teddy, not Franklin) survives in legend not because it served as a studio or corporate cradle for the film industry, but because it was the first time the town turned out to honor….itself. Then make an annual habit of it. Hey, if you want modesty, live in Des Moine, okay?
The Roosevelt earned its filmic pedigree from the get-go, financed in 1926 by a group that included MGM chief Louis B.Mayer and screen idols Mary Pickford and Douglas Fairbanks (two-fourths of the founding quartet behind United Artists Pictures, along with Charlie Chaplin and director D.W. Griffith). Two years later, the hotel hosted a modest little dinner for 270 guests to fete honorees of the newly organized Academy of Motion Picture Arts & Sciences, some three months after the actual awards had been handed out, and minus the nickname “Oscars”, which would come about four years later.
Over the decades the Roosevelt and its across-the-street neighbor the Chinese Theatre (which opened within months of the “R”‘s premiere) saw a fairly staid business district transformed into “Hollywood & Highland” (trade mark)…. Sucker Bait Central, a day-glo drag whose countless souvenir stops, IMAX pleasure palaces, low-rent novelties and neon knock-offs raised tackiness to the status of a religious movement. Meanwhile, the hotel’s crazy-quilt architectural style (‘Spanish Colonial Revival’…and, yes, there will be a test later), with its coffered ceilings, mid-century pool cabanas and wrought-iron chandeliers, was just fake-elegant enough to pass for average in a town renowned for its, er, flexible relationship with “class”. Rolling through the years with an occasional ownership transfer and the odd walk-on in movies like Beverly Hills Cop II and Catch Me If You Can, the Roosevelt has recently offered lodging as a contest prize on ABC’s Jimmy Kimmel Live!, and landed landmark status as Los Angeles Historic-Cultural Monument #545.
The Roosevelt’s photographic riches lie chiefly in its extremely dark main and elevator lobbies, its still-regal pool area and the legendary Cinegrill Lounge. The lobbies, at least for handheld shots, require high ISOs, slow shutter speeds and wide apertures. Flash may not be verboten but you won’t like the result, trust me. Indeed, the soft gold afforded by natural light washing into the murk from outside brings out the warmth of the Spanish textures, and adds a little tonal nostalgia to the scene. All things together, the Roosevelt stands as a monument to real occurrences, some of them fairly historically significant, in The Town That Invented Phony. And that’s the main challenge in Hollywood: if you can fake sincerity, the rest is easy.