Casablanca with the San Francisco Symphony

Last Friday night I attended a very special screening of "Casablanca with the San Francisco Symphony" at Davies Hall. Conductor Michael Francis led the orchestral accompaniment and a full house spent the evening in thrall to Warner Bros.' sublime 1942 film classic and composer Max Steiner's unforgettable score.

Davies Symphony Hall, San Francisco

The sell-out audience of 2,800 or so was a mix of film and music lovers of every generation. Some of the young and old attended in full 1940's attire; most spent time sipping champagne and cocktails on the mezzanine before the program got underway...


When the lights flickered and muted tones chimed,  it was time for my friend and I to take an elevator to the second tier balcony. From blissfully comfortable seats we spied a huge screen at center stage surrounded by the symphony orchestra. Mr. Francis entered, stepped to the podium, picked up his baton, glanced into a small monitor next to his sheet music and in a moment the hall reverberated with those oh-so-familiar notes that herald the start of a Warner Bros. picture. Then came Max Steiner's almost as familiar score:

The San Francisco orchestra interpreted Steiner's music a bit more gently, with less bombast, than the original movie soundtrack. The experience of a live score lent both immediacy and charm to the viewing experience and it was interesting, from time to time, to steal a look at the musicians as they accompanied familiar scenes. The harpist was fascinating to watch and listen to during the Paris flashback sequence. The essence of magic that is new love seemed to float from her strings.

...at Rick's, Bogart, Madeleine Lebeau and Leonid Kinskey

I've loved and admired Casablanca for years but it wasn't until I sat watching from high in Davies Hall that a particular thought occurred and recurred in my mind..."this film is perfect." In every respect...direction, cinematography, set design, screenplay, dialogue, wardrobe, score, editing - and the cast. This is Bogart at his apex as a romantic lead, Bergman at her most beautiful and pure - along with a most eloquent supporting cast: Claude Rains, Paul Henreid, Conrad Veidt, Peter Lorre, Sydney Greenstreet, S.K. Sakall, Madeleine Lebeau (the last cast member still living), Dooley Wilson, Joy Page and Leonid Kinskey. It's no surprise that Casablanca was honored with eight Academy Award nominations and won for Best Picture, Best Director (Michael Curtiz) and Best Screenplay (brothers Julius and Philip Epstein and Howard Koch). Humphrey Bogart was nominated for Best Actor, Claude Rains for his supporting role, Max Steiner for his score, Arthur Edeson for cinematography and Owen Marks for editing. 
 
Perusing the program during intermission, I came upon Larry Rothe's insightful write-up on the picture and read of many things I knew and didn't know about Casablanca...

I found out that the timing of the film's release was auspicious. Casablanca premiered in New York in November 1942. The Allies had invaded North Africa earlier in the month - which was significant. Even more powerful was the fact that in January 1943 President Roosevelt and Prime Minister Churchill met in Casablanca to discuss the terms of an Axis surrender. This became headline news at the end of discussions, on January 24. Casablanca had gone into national release the day before...a windfall for Warner's PR team.

Paris on the eve of the Nazi invasion

According to Rothe, Steiner wove four major musical themes through the film. The first, of course, is "As Time Goes By," a song that became immortal with Casablanca. The second is the romantic theme accompanying the flashback to Paris. The third theme is France's national anthem, the "Marseillaise," first played as part of the title sequence, but most memorably featured when Victor Laszlo leads the crowd at Rick's in a stirring rendition of the anthem. A conscience-stirring variation on the "Marseillaise," first heard when Ilsa tells Rick about her devotion to Laszlo and the Resistance, is the fourth theme.

The entire night was thrilling (and I hope the fact that it sold out will persuade the symphony to do this again), but there was one moment I don't ever want to forget...listening to the San Francisco symphony play "Perfidia" as Bogart and Bergman dance (and he presses his face to hers) ...exquisite!

Meanwhile, Max Steiner's day is not done in San Francisco. Friday, July 29, the Castro Theatre begins a seven-day, 13-picture program, "Legendary Composer: Max Steiner." Included in the series will be Mildred Pierce, The Letter, Casablanca, Treasure of the Sierra Madre, Gone with the Wind, Now, Voyager, Dark Victory, White Heat, Angels with Dirty Faces, The Big Sleep, Key Largo, King Kong and The Searchers. Click here to learn more.

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Lyle Wheeler - Setting the Scene

Watercolor pre-production painting of Tara for Gone with the Wind (1939)

by guest author Captain Gregg  

The art director is one of the most important artists in the film industry for it is his talent and skill that bring a script to visual life. Lyle Wheeler was a master craftsman in this field of production design. In his career, he created the environments to over 350 films. From their initial sketches on paper to the purchasing of the props and furnishings, to the costumes of the characters, to the construction of the studio and outdoor sets, his eye oversaw each and every process.

Everything that surrounded the action in front of the camera, in the foreground as well as the background, was his responsibility and Lyle Wheeler knew how to interpret a script to set it to its best advantage.

Born on February 12, 1905 in Woburn, Massachusetts, Lyle Reynolds Wheeler began his career as a magazine illustrator and went on to become an industrial designer before joining MGM in 1931 as a layout artist. His skill in this new field was evident, and it was not long before he worked his way up to assistant art director under Cedric Gibbons (head of the MGM art department ).

In 1936 a new Technicolor dye transfer process was created and as his first assignment as a full-fledged art director Lyle worked with David O. Selznick in making The Garden of Allah, a visually stunning vehicle to showcase this new development in filmmaking. He worked on several more Technicolor films and acquired a skill in the medium that was later justly rewarded with a 1939 Academy Award for his work on “Gone with The Wind”, where – working with William Cameron Menzies – he created two of the most magnificent motion picture settings of all time - the beautiful plantation and surrounding grounds of Tara, and the burning of Atlanta.

Tara - Gone with the Wind

 Wheeler’s talent for creating historically accurate sets was exercised in many other period films of the 1940s and 50s including That Hamilton Woman (London, 1799 ), Anna and the King of Siam and its remake The King and I (Siam, 1870s ), The Foxes of Harrow (America, 1821), Dragonwyck (1844 ), Titanic (1915 ) and the numerous Biblical-era films he designed sets for, such as, The Robe, Demetrius and the Gladiators, David and Bathsheba and The Egyptian.

That Hamilton Woman (1941)

The entrance of Manderley in Rebecca (1940) - note impressive wood carvings

The Grand Room of Manderley in Rebecca...yes, it's quite graahnd

The quaint seaside cottage in Rebecca

A Lyle Wheeler setting is always characterized by its extreme clarity and sharpness of lines. Why, his scenes look so crisp and real you almost feel like you’re transported into the setting along with the characters! This is especially evident in his black-and-white productions. Through varying tones of shade and the accentuation of shadows, Manderley estate (Rebecca ) comes alive for us as much as it does for Mrs. de Winter. And in Laura we come to know the characters primarily through their personal environments. Decorated sweet and simply, Laura’s apartment reveals the kind and innocent girl behind the painting that Mark comes to love, whereas Waldo Lydecker’s place of abode is modern, aesthetic and although pleasing to the eye, it’s as cold as his marble bath.

Laura (1944)

 It was Wheeler’s decision to have Leave her to Heaven filmed in color. While all film noirs of the era were being shot in black-and-white ( to emphasis their dark storyline), this tale of deception is vividly contrasted against bright country lawns, sunny skies of New Mexico and peaceful blue waters of a private lake in Maine.

Traditional New England=style furniture in the Maine House in Leave Her to Heaven (1945)

Leave Her to Heaven included many sumptuous sets, but this is my favorite. What marvelous wood flooring and beams!

 In 1953 he created another masterpiece in color noir by effectively utilizing a carillon tower as a scene for murder in Otto Preminger’s Niagara.

From 1947-1960 Lyle Wheeler was head of 20^th Century Fox’s art department and during his tenure at the studio he worked on a broad range of productions which required sets of all sorts of different styles and themes. In The Diary of Anne Frank there is the confined quarters of a family in hiding; in Come to the Stable a songwriter’s Pennsylvanian country retreat; in The Best of Everything, the stylish living and working domains of a group of New York secretaries. The post-war buildings of Hong Kong were beautifully created for our eye’s entertainment in Love is a Many-Splendored Thing; the opulent interiors of a Parisian nightclub for Can-Can and with a giant leap into the future, we are given a glimpse of the sleek interior of an alien messenger’s private spaceship in The Day the Earth Stood Still.

The Royal Palace of Siam in The King and I (1956)

The Robe (1953) - Caligula's throne

One of my favorite of his settings is his highly imaginative creation of the center of the earth in Journey to the Center of the Earth. Luminescent cavern walls, pillars of salt, the lost city of Atlantis, rainbow colored waters, and giant mushrooms abound in this under-the-mantle world of adventure.

Professor Lindenbrook's library in Journey to the Center of the Earth (1959) - a heaven for book lovers!

Mushrooms galore are discovered beneath the earth in Journey to the Center of the Earth

After he left 20^th Century Fox, Wheeler worked for several years on Perry Mason. Here, the sets were made with the same attention to detail as on a feature film. Mason’s rich clients were surrounded with rare antiques, hand-carved furniture and priceless oil paintings in their posh apartment pads or elaborate Beverly Hills mansions – a very fitting setting for the high-end nail-biting drama that would take place within their walls.

In all, Lyle Wheeler was nominated for 29 Academy Awards (!) winning five which, unfortunately, were lost to him when they were accidently auctioned off in 1982.  He passed away in 1990 in Los Angeles. I wonder whatever became of his golden statuettes?

Guest author "Captain Gregg" is a young (early 20s) classic film enthusiast who is also a member of the Turner Classic Movies fan site, the Classic Film Union (CFU). She recently entered a giveaway here at "Eve's Reel Life" - and won the Errol Flynn Adventures boxed set from Warner Bros. Which is how we met.  Not long after, she posted this very fine piece on Lyle Wheeler at CFU and I asked if I could republish it here. She kindly agreed.

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Jean Cocteau...born July 5, 1889...

Jean Cocteau, French filmmaker/poet/writer/artist and more (dramatist, boxing manager...), was born July on 5, 1889, into a prominent and bourgeois family in Maissones-Lafitte - a village not far from Paris. His father, an attorney and amateur artist, took his own life when the boy was just nine; young Cocteau was soon enrolled in a private school. After he was expelled in 1904, he ran off to Marseilles.

Pavlova and Nijinsky

In 1909, Cocteau met Sergei Diaghilev, the Russian impresario who launched the Ballets Russes, a company whose principal dancers then were Anna Pavlova and Vaslav Nijinsky. Diaghilev encouraged Cocteau to write for the ballet and it was he who famously challenged Cocteau, "Ettonne-moi!" (Astonish me!). Cocteau responded with the libretto for the ballet Le Dieu Bleu. Cocteau also first encountered Igor Stravinsky around this time. The composer was in the process of writing The Rite of Spring when the two met and, while visiting Stravinsky in Switzerland in 1914, Cocteau completed his first novel, Le Potomak.

In 1917 Cocteau met Pablo Picasso. Together they traveled to Rome and met with Diaghilev.  The two were soon involved in Diaghilev's production of the ballet Parade. Picasso designed its sets, Erik Satie wrote the music, Lèonide Massine (Ljubov in The Red Shoes) choreographed and Cocteau wrote the one-act scenario. Although the Paris opening was a disaster, the ballet went on to become successful.

In another post-World War I venture, Cocteau founded a publishing house, Editions de la Sirene. The company published Cocteau's own work as well as scores by Stravinsky, Satie and a group of composers known as Les Six.

Jean Cocteau's first film was the surrealistic Le Sang d'un poète (The Blood of a Poet). Released in 1930, it was an early experimental reflection of his personal mythology. Cocteau also wrote what some consider his greatest play, La Machine Infernal, in the early ‘30s.

In 1946, Cocteau directed his sublime and bewitching film adaptation of the fairytale, La Belle et la Bête (Beauty and the Beast) starring Jean Marais and Josette Day. Director Renè Clèment provided technical assistance, illustrator/designer Christian Bèrard served as costume and production designer (with the exteriors evoking the illustrations of Gustave Dorè and the interior of Belle's family home echoing Vermeer) and composer Georges Auric (Roman Holiday, John Huston's Moulin Rouge) created the Impressionistic score.

Marlene Dietrich reportedly was with Cocteau when the film was first screened at a studio in Paris and, at the end, after the beast had transformed into a prince, she called out to the screen, "Where is my beautiful beast?" (I felt the same the first time I saw La Belle et la Bête).
 
In 1950, Cocteau directed another of his great film works, Orphée (Orpheus). A contemporary reading of the myth of Orpheus imbued with Cocteau's pet motifs, Jean Marais starred as modern-day poet Orpheus who descends into the Underworld to retrieve his wife, Eurydice. No subtitles are necessary for the following scene...

1960 brought Cocteau's last film and the final installment in his 'Orphic Trilogy' (along with The Blood of a Poet and Orpheus): Le Testament d'Orphèe (The Testament of Orpheus). An intricate 'home movie,' the film starred Cocteau as an 18th-century poet seeking divine wisdom and included cameos by everyone from Pablo Picasso and Yul Brynner to Jean Marais, María Casares, Jean-Pierre Leaud and Françoise Sagan.

Cocteau led a high profile life all his adult years. Friend and collaborator of Picasso, Stravinsky, Satie and Diaghilev, he was also an intimate of French icons Collette and Édith Piaf. In 1940, Cocteau had written a hit play for Piaf, Le Bel Indiffèrent, and in the early '50s he wrote an article that was instrumental in reviving her career. It was Cocteau who, in 1948, introduced American wunderkind Truman Capote to Collette. Cocteau had told Collette about Capote, "Don't be fooled...he looks like a ten-year-old angel. But he's ageless, and has a very wicked mind." Collette and Capote bonded and he cherished the gift she gave him that day for the rest of his life.

Jean Cocteau died at age 74 at his chateau in Milly-la-Foret, France, on October 11, 1963 after learning of the death of Édith Piaf. Legend has it that Cocteau heard the news, remarked, "Ah, la Piaf est morte. Je peux mourir aussi..." (Ah, Piaf is dead. I can die, too) and suffered a fatal heart attack.

David Thomson has aptly described Cocteau as "a comet passing over French cinema, throwing a vivid light on the landscape..."

Le Testament d'Orphèe (1960)

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Backstage Moments...

Allan 'Whitey' Snyder and Marilyn Monroe on The Seven Year Itch

I routinely scour the Internet for pictures to go along with my my blog posts here and, in the process, I've come upon many interesting photos that I haven't used. I thought it might be fun to post a few of those taken on movie sets along with a little bit of movie lore (and other "extras").

Wilder, Marilyn & a $4.6 mil. dress

Above, Marilyn Monroe's makeup artist, Allan 'Whitey' Snyder, prepares her for a famous scene in The Seven Year Itch (1955). Marilyn was basking in the early glow of international fame when she began work on the Billy Wilder comedy in 1954. Her popularity had been firmly established with her co-starring turns in Gentlemen Prefer Blondes (1953) and How to Marry a Millionaire (1954) and, at the time she started on her first film with Wilder, she was newly married to baseball superstar Joe DiMaggio. Legend has it that Joe stood on the sidelines watching as Wilder shot - and re-shot - takes of Marilyn's famous subway grate scene. Filming took place on the streets of New York and a crowd had gathered to watch. The slugger reportedly stormed off the set, incensed by the cheers and whistles of onlookers that erupted each time Marilyn's skirt blew skyward.

Audrey Hepburn, Blake Edwards's back and George Peppard

Monroe's marriage to DiMaggio failed in nine months, but her star continued to rise with films like Josh Logan's critically acclaimed Bus Stop (1956) and Billy Wilder's über-classic Some Like it Hot (1959). In 1961, Blake Edwards took on the film adaptation of Truman Capote's novella, Breakfast at Tiffany's. The novelist wanted Marilyn Monroe to be cast as Holly Golightly, the heroine of his tale. But Monroe balked, she worried that the role of a freewheeling party girl might have a negative impact on her career.

Audrey taking guitar lessons on the set

Enter Audrey Hepburn, Oscar-winning star of Roman Holiday (1950) who took the part of Holly Golightly and went on to make it one of her signature roles. The film provided what has become the iconic vision of Audrey Hepburn - upswept 'do, Givenchy gowns, waif-in-Manhattan persona - with or without sunglasses. The film co-starred newcomer George Peppard as Holly's love interest - but many were considered for the part. It has been said that Steve McQueen was up for the role...to quote Holly, "the mind reels."

Breakfast at Tiffany's won Oscars for its score and theme song, "Moon River," a Henry Mancini/Johnny Mercer tune.

Tony Curtis, Mia Farrow, Roman Polanski

Polish auteur Roman Polanski was known mostly to fans of foreign film and art house patrons before he began making films in the U.S. in 1968. His first full-length feature, Knife in the Water (1962) was Oscar-nominated for Best Foreign Film and by year's end Polanski was on the cover of Time magazine. His next masterwork, Repulsion (1965), starred 21-year-old Catherine Deneuve. It was illustrious and infamous producer Robert Evans, head of Paramount at the time, who lured Polanski to Hollywood. Their first effort was the trend-setting horror sensation, Rosemary's Baby (1968).  But the film featured no big names in its cast. Mia Farrow (Rosemary) was known only for her role on the prime-time TV soap Peyton Place and as Frank Sinatra's much younger wife. Her co-star, John Cassavetes (Guy, Rosemary's husband) had starred on a TV detective series (Johnny Staccato), been a featured player in several films and was early in his own career as an auteur director. But neither was a star. The many old-timers in supporting roles (Ralph Bellamy, Patsy Kelly, Sidney Blackmer, Maurice Evans, Elisha Cook Jr.) were far past their prime. The biggest Hollywood name attached to the picture did not appear onscreen or receive a credit...he was a top star from the 1950s through the mid-'60s: Tony Curtis. In Rosemary's Baby he provided the voice of an off-camera character named Donald Baumgart, an actor whose sudden blindness is key in advancing Guy's career. Curtis's voice is heard in the scene in which Rosemary calls to ask about the circumstances surrounding his loss of sight. Farrow apparently didn't know it was Curtis, but his voice sounded familiar and this disconcerted her as she played the scene. It seems that was the effect Polanski was hoping for.

Katharine Hepburn, Lauren Bacall and Humphrey Bogart in Africa

John Huston's The African Queen (1951) is legendary for many reasons. It was the film for which Humphrey Bogart won his only Best Actor Oscar. It is the one and only teaming of Bogart with co-star Katharine Hepburn, a memorable pairing. The film was shot on location in Africa at a time when such location shoots were relatively rare. The production itself became famous and notorious for what went on off-camera. Clint Eastwood's 1990 White Hunter, Black Heart was a veiled account by writer Peter Viertel (Deborah Kerr's husband) of his experience with Huston and company on that set decades earlier. Even Katharine Hepburn chimed in with her own account - in book form: The Making of the African Queen: Or, How I Went to Africa with Bogart, Bacall and Huston and Almost Lost My Mind.

William Wyler and Bette Davis in deep discussion on The Letter

Bette Davis proclaimed loud and 'til the end of her days that William Wyler was her favorite among the directors she'd worked with and the one she respected most...and...the man that got away. The two made three films together, beginning with Jezebel (1938). They'd had a less than meet-cute introduction years earlier when neither was well-known. But by 1938 each was on their way up and with Jezebel they meshed perfectly. Onscreen and off; it was during the making of Jezebel that the two were romantically involved. Their second collaboration was The Letter (1940), an adaptation of Somerset Maugham's play. I think it's the best of their three together (the third was The Little Foxes in 1941) and one of Davis's very best films.

Kim Novak takes direction from Hitchcock on Vertigo

In 1958, Alfred Hitchcock created what has been called his most personal film, Vertigo. It is certainly my favorite among his long list of brilliant, hypnotic films. Though not a critical or popular success in its day, Vertigo persevered and is now viewed by most as the director's masterpiece of masterpieces.

At the time, Hitchcock was grooming Vera Miles as a possible replacement for his muse, Grace Kelly, who had decamped to become Princess Grace of Monaco. But Miles was pregnant by the time Vertigo was ready go into production...and Hitchcock moved on to Kim Novak. Vertigo is the film for which Novak is best known and remembered. Her only regret? That she didn't ask for (as was often customary) the stunning Edith Head-designed white coat she wore in several key scenes...

For more on the set moments click here...

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Location, Location, Location: Catalina Island

Norma Shearer, Paulette Goddard and Charlie Chaplin off Catalina, 1934

A Film Location and Celebrity Haunt Since the Early 20th Century

Santa Catalina, one of California's Channel Islands, is just 26 miles SSW of Los Angeles. Once called Pimu, it's been inhabited for more than 7,000 years and has weathered the Spanish conquest, an influx of otter hunters and infestation by smugglers over its long history. It is best known today as a playground for those with money and celebrity and was once a popular location for filming Hollywood movies.

22 miles from shore to isle

Back in 1891, Catalina was purchased by the Banning brothers who planned to develop the island as a resort. Avalon Harbor was their primary focus, but roads and hunting lodges were also built in the interior. A devastating fire and World War I eventually forced the Bannings to sell off the property. In 1919, William Wrigley, Jr., founder of the chewing gum company and owner of the Chicago Cubs, bought controlling interest in the island. He soon set about building a dance hall on Sugarloaf Point - the Sugarloaf Casino.

Not long after, in 1920, Al Jolson recorded "Avalon" and popularized the song about Catalina's resort town:

"Avalon" sheet music

I found my love in Avalon
Beside the bay.
I left my love in Avalon
and sail'd away.
I dream of her and Avalon
from dusk 'til dawn.
And so I think I'll travel on
to Avalon.

As it turned out, the song's tune was similar enough to an aria from Puccini's Tosca (1900) that the composer's music publisher filed and won a plagiarism lawsuit.

The Ten Commandments (1923)

From Hollywood's earliest days, Santa Catalina Island provided a shooting location for film crews. D.W. Griffith was one of the first to use the island for this purpose with Man's Genesis in 1912. Other filmmakers followed suit. Classic silents with a Catalina backdrop include Fox's Treasure Island (1918), directed by Sidney Franklin, DeMille's The Ten Commandments (1923) for Paramount, and Ben-Hur (1925), directed by Fred Niblo for MGM. The island portrayed locales as exotic as North Africa and Tahiti and three diverse island areas were most often used for filming - Avalon, Little Harbor and the Isthmus - which eventually became known as "the Movie Colony Isthmus." Some of Catalina's palm trees were originally planted by film companies, and the island's buffalo herd was the result of a movie production. Legend has it that the animals were imported for Famous Player-Lasky's Richard Dix vehicle, The Vanishing American (1925). Though this is unproven, it is true that the picture was filmed on the island at the same time the creatures first appeared.

The  Casino's Avalon Ballroom opened in May 1929

Throughout the 1920s the island grew more popular as a resort destination and William Wrigley decided to raze Sugarloaf Casino to make room for a newer, larger structure. Construction on the Catalina Casino, a ballroom and theater, began in 1928. Architects Sumner A. Spaulding and William Webber created a design described variously as Moorish Alhambra and Mediterranean Revival. Fixtures and furnishings and art were designed in the Art Deco style. John Gabriel Beckman, known for his work on Mann's Chinese Theatre in Hollywood, designed the murals.

The new ballroom opened in May 1929 with the Maurice Menge band providing dance music for 2,500 couples. The theater opened with The Iron Mask (1929), a silent film starring Douglas Fairbanks enhanced by the musical accompaniment of the theater's organ, the largest Page organ in the world. Click here to visit the interior of the Casino theater and ballroom and hear "Avalon" played on the Page organ.

The Avalon Theatre

In 1929 sound permanently took hold in motion pictures. One early talkie filmed on Catalina was Sam Goldwyn's Condemned (1929) starring Ronald Colman and Ann Harding. Critic Mordaunt Hall, writing for the New York Times in November 1929, referred to it as an 'audible film.' In Condemned, Catalina provided the French penal island locale.

The island went on to appear in several classics of the 1930s: The Island of Lost Souls (1932), Rain (1932), Victor Fleming's version of Treasure Island (1934), Captain Blood (1935), Mutiny on the Bounty (1935) and Captains Courageous (1937).

Errol Flynn on the Sirocco just off the island

Filming on the island introduced movie casts and crews to the pleasures of Catalina, and those who could afford it sailed and vacationed there. Some of the biggest names in movies spent time on and around the island...Chaplin and Paulette Goddard (pictured above on Joe Schenck's yacht) reportedly enjoyed fishing for marlin in the nearby waters. And Errol Flynn, a devoted sailor and carouser, ended up on trial following one of his many sojourns to the island.

Beginning in 1934, the Casino Ballroom hosted legendary big bands that were broadcast nationwide as they played live. Glenn Miller, Benny Goodman, Harry James, the Dorseys, Woody Herman and other top bands played to ballroom crowds that, over 28 years, averaged 4,000 per night. A record crowd turned out 6,200 strong for Kay Kyser and his band in 1938. The Avalon Ballroom's live big band broadcasts lasted far into the 1950s.

In the mid-'30s MGM produced this 19-minute musical revue featuring Buddy Rogers and his band (the California Cavaliers), Chester Morris, Leon Errol and others. Filmed in beautiful 3-strip Technicolor, the short includes cameo appearances by Cary Grant, Errol Flynn, Mickey Rooney, Virginia Bruce, Lee Tracy, Randolph Scott, Marion Davies and Lili Damita. Avalon provides the sea- and sun-kissed setting.

Jaws 1975

When the United States entered World War II, the island was closed to tourism and decreed off-limits to film production for the duration. Following the war, domestic and international air travel boomed and studios began shooting on location in Africa, the South Pacific and around the world. This didn't end Catalina's life as a location site, however. The island and its surrounding waters have been featured many times since in films like Around the World in 80 Days (1956), The Glass Bottom Boat (1966), Rosemary's Baby (1968), Chinatown (1974), Jaws (1975), Dick Tracy (1989), The Hunt for Red October (1990), Apollo 13 (1995), and The Thin Red Line (1998). Beginning with the silent era, Catalina has appeared in more than 200 films. Of course, the island has been featured on TV many times, too...

Bacall and Bogart offshore

Once World War II ended, movie folk returned to the island. Bogart, Bacall and friends sailed often to and from Catalina on his beloved Santana. Elizabeth Taylor and Eddie Fisher spent part of their honeymoon on Catalina. Marlon Brando rented a house on the island while Morituri (1965) was shooting offshore. In 1972, Liza Minnelli threw a party in Avalon to celebrate her Oscar win for Cabaret. Celebrity couples from Warren Beatty and Julie Christie (dancing at the Chi Chi Club back in the day) to Steven Spielberg and Kate Capshaw to Barbra Streisand and James Brolin have been spotted on Catalina over the years.

On a sadder note, Natalie Wood and Robert Wagner were spending Thanksgiving weekend 1981 in the area on their yacht, the Splendour, and it was in the waters off Catalina that she drowned.

During William Wrigley's ownership of the Chicago Cubs, the team's spring training was held on the island - a tradition that went on for 30 years. But in addition to developing and making use of the island, Wrigley wanted to preserve it. In 1972, P.K. Wrigley fulfilled his late father's wishes when he established the Catalina Island Conservancy and transferred family ownership to it. Ever since, most of the island has been held in trust by the Conservancy...and buffalo still roam in the uplands (click here to watch them roam), schools of Garibaldi fish still swim in the coastal waters, gray whales continue to pass by during their annual migration and dolphins are often sighted not far from shore.

Avalon Harbor

Catalina Casino entrance

Casino entrance detail

Condemned 1929

Captain Blood 1935

Mutiny on the Bounty 1935

Rosemary's Baby 1968

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North by Northwest - free to the public...

When I was a little girl, the only director whose name I knew was Alfred Hitchcock. Though I didn't see any of his signature films of the era in a theater - Rear Window (1954), To Catch a Thief (1955), Vertigo (1958), North by Northwest (1959) - I must've seen the trailers, because I was well aware that he made exciting, colorful and glamorous movies.


Psycho (1960) was the first Hitchcock film I watched on in a theater. I saw Psycho (a far cry from his elaborate VistaVision/Technicolor creations of the 1950s) second-run (I was finally old enough) at the local movie house, the Ritz Theater, with a friend who'd already seen it. Pal that she was, she nudged me just as Arbogast, the detective, reached the staircase landing of the Bates home and a figure with a knife darted toward him...naturally, I shrieked long and loud...

I was fortunate enough to see Rear Window when it was re-released into theaters in 1984, but have seen most of Hitchcock's films on television. There's no question that his work comes through powerfully on TV, but his films were made – carefully - to be seen on full-size theater screens.

The Rafael Theatre, San Rafael, California

Last July the nearby Rafael Theatre screened the silent version of Hitchcock’s Blackmail (1929). The film exceeded my expectations in just about every way possible. I was surprised that it as well-crafted and fluid as it was and that it contained so many elements that were to become Hitchcock trademarks. Live accompaniment by the Alloy Orchestra underscored the action and added dimension. And it was thrilling to be surrounded by an appreciative SRO audience.

Six weeks later, at noon on Sunday, September 5, the Rafael presented North by Northwest, free to the public, as part of its quarterly "Everybody's Classics" series. At 11:40 a.m. the line was long, but good seats were still to be had. By show time Theater 1 was packed and anticipation ran high.

Then Bernard Herrmann's pulsing score began and the crisscrossing lines of Saul Bass's title sequence filled the screen. North by Northwest was upon us and in just a few exhilarating moments I was whisked into the adventure.

Cary Grant - the adventure begins

Possibly Hitchcock's quintessential thrill-ride, North by Northwest incorporates many familiar themes and plot devices - an innocent man accused, a romance complicated by mistrust and betrayal, a double chase (the police after the innocent man and the innocent man after the true villain), a backdrop of international espionage...

North by Northwest has been linked to two of Hitchcock's earlier classics, The 39 Steps (1935) and Notorious (1946), but by 1959 the director, at the height of his powers, was in a position to control just about every aspect of his films, much more so than he had been 10 and 20+ years earlier.

He was able to cast his favorite actor/star, Cary Grant, in the lead. And though he was unsuccessful in enticing Princess Grace back to the screen as his leading lady, he transformed Academy Award-winning method actress Eva Marie Saint into a stunning and complex femme fatale. James Mason, Martin Landau, Leo G. Carroll and Jessie Royce Landis rounded out his first-rate cast.

Cary Grant and Eva Marie Saint, hands on

Bernard Herrmann, who by now had worked with Hitchcock on several films, was just completing the score for the pilot of "The Twilight Zone" when he began North by Northwest. Ernest Lehman wrote the sophisticated and clever script that earned an Oscar nomination. Academy Award winning cinematographer Robert Burks, production designer Robert F. Boyle (also Oscar-nominated for this film) and other Hitchcock stalwarts joined in the collaboration.

All of these ingredients plus glorious VistaVision and Technicolor added up to produce one of Hitchcock's most successful and exciting films.

I'd seen North by Northwest countless times and felt I knew the film well, but to finally see it on a movie screen was akin to seeing it for the first time.

To begin with, Cary Grant's starpower was almost overpowering - his screen presence was that commanding. What grace, what confidence…and how impossibly handsome he was. It's not surprising that Bernard Herrmann adjusted his score to match what he described as Grant's "Astaire-like agility."

As might be expected, the suspense seemed magnified on a theater screen, and so did everything else - the humor was more direct and the seduction scenes more intense in their intimacy and erotic implications. The film’s pacing is acutely precise – with suspense building to an exquisite pitch, then, at just the right moment, relief - via wit or romance. Then, once more, the suspense begins to build…

Climax of a classic chase scene

The crop-dusting sequence with its truck-in-flames finale and the moonlit chase across the face of Mount Rushmore are striking set-pieces on a screen of any size. Via the big screen I could almost feel the heat of the truck’s explosion and smell South Dakota’s night air. These scenes are legendary and, for obvious reasons, much imitated. The early James Bond films emulate the crop-dusting scene... Steven Spielberg's Close Encounters (1977) includes a well-known homage with its replication of Hitchcock's night-time Black Hills.

Afterward, I couldn't help wishing I'd been able to see North by Northwest back in 1959 at the Ritz. The kid I was then would've come out of that theater exhausted and elated, convinced she'd just been on the greatest rollercoaster ride of her life.

Eva Marie Saint, James Mason and Martin Landau

Alfred Hitchcock has been widely acknowledged for his matchless ability to maneuver an audience's emotions and point of view with ease, and it's hard to maintain much distance from Hitchcock's best films. This could be why I enjoy the experience of his films as much as I enjoy the exercise of studying them.

As with all Hitchcock films, North by Northwest has a few things going on beneath its slick surface. But last Labor Day weekend, inside a darkened theater filled with laughing, sighing, cheering people, I was a child again for a while. Happily immersed in a suspenseful, clever, sexy adventure, I didn't really notice that, from the first note of Herrmann's score to the final shot of a darkened railroad tunnel, I was being swept along as if aboard a sleek 20th Century Limited under the command of a very crafty locomotive engineer.

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