Review: Michael Mann's Heat

Today, I finally got a chance to watch another of my movie annuals: 1995's Heat by director Michael Mann. It may be cheating to recycle (see below) an old customer review I wrote in 2002 for Amazon of the previous barebones DVD, but let's say I'm going more green. I don't know why I watch it during the Spring, but there it is. As I write this post, I even have Heat's closing musical piece, Moby's God Moving Over the Face of the Waters, playing on the computer. Okay... I'm obsessing.

Perhaps, Mann's Best

Writer-Director Michael Mann's 1995 Los Angeles crime saga, Heat, is perhaps his best film work. Without having to worry about niggling facts and real timelines to get in the way (and cause critics to point them out) like in later films (Ali or The Insider), this creative character-driven piece of moviemaking mesmerizes through great lead and ensemble performances, direction, and storytelling. All three aspects work wonderfully in this tale of two opposing "crews" who go up against each other on the streets of L.A.: a professional group of criminals led by master thief Neil MacCauley (Robert DeNiro) and LAPD's elite Metro Robbery/Homicide lead by Lt. Vincent Hanna (Al Pacino).

Both leads, as the story evolves, are cut from the same cloth: professional and dedicated to their chosen crafts--to a fault. Everything revolves around their jobs and nothing gets in their way, including the women in their personal lives: Justine Hanna (the very underrated Diane Venora) and the soon-to-be enlightened Eady (Amy Brenneman). It's the long-suffering Justine that nails her husband's true nature with her wifely realization:

"You don't live with me, you live among the remnants of dead people. You sift through the detritus, you read the terrain, you search for signs of passing, for the scent of your prey ... and then you hunt them down. That's the only thing you're committed to. The rest is the mess you leave as you pass through."

And it's with that predator's sense that Vincent spots MacCauley's crew after the inital, spectacular armored truck robbery. He knows that a crew is in town who are good, skillful, and very dangerous ("At the drop of a hat, these guys will rock 'n roll."). Which is also the exact description of their leader. However, in this case, the master thief is also growing weary of his trade...and the emotional discipline it requires. "I am alone...I'm not lonely", he tells Eady after they first meet. His is a life that requires him be able to "walk out on in 30 seconds flat if (he) feels the heat around the corner." Neil is the moral antithesis for Vincent, but both will do whatever it takes to do what they do best. Eventually, both find out about the other half-way through the story.

The meeting on-screen for Neil and Vincent (a first for actors DeNiro and Pacino) is the movie's key dramatic sequence. This wary confrontation over coffee is one of the best moments put to film. It's not long, but it's one of those powerfully quiet scenes that resonates throughout the rest of the film. The irony of the situation is that each recognizes themselves in the other...and appreciate the professionalism they find. Both, through their conversation, also are cognizant of the fact that each will put the other down, permanently, if need be. By the time we get to the climatic sequence, with hints of Peter Yates' Bullitt airport chase, Heat's tense climax on the outskirts of LAX is another one of those great film scenes. Mann skillfully brings their chase and relationship to a poignantly moving close.

This film also has one of the best ensemble casts ever on celluloid: Pacino, DeNiro, Val Kilmer, Venora, Ashley Judd, Brenneman, Jon Voight, Tom Sizemore, Mykelti Williamson, Wes Studi, Ted Levine, Dennis Haysbert, William Fichtner, and a young Natalie Portman. All of them giving excellent performances to an equally well written Michael Mann script. Filmed all over my hometown, and in some of the best and bad spots of Los Angeles, Heat makes great use of the locales with some breathtaking cinematography. It also has one of my all-time favorite action sequences, the Bank Heist in downtown (tragically, a real-life bank shootout in L.A. of hauntingly similar proportions would happen a couple of years later). At almost three hours in length, it takes a committment, but the viewer will be well rewarded with drama highly praised for its depth in character development and exciting sequences. This was not only one of the best films of 1995, it was one of the best for that decade. Okay, I've convinced myself... it is Michael Mann's best.

Recommended "Cops & Crooks in CA" Summary

This past weekend was the annual L.A. Times Festival of Books, hosted on the campus of U.C.L.A. This year, book blogger Jen made her way out west to attend, too. Meeting her for the first time made this an even more special event. And both of us got to attend the bash I always look forward to: the yearly book panel with our favorite author, Robert Crais. It's ever growing popularity made this year's panel such a hard ticket to come by.

I was in a Ticketmaster line the previous weekend the very hour the tickets first became available--and even though I was fifth in line, they were sold out by my turn. Criminy!!! And all week, I kept striking out online in my attempts to acquire them, too. I thought we'd have to try our luck in the stand-by line. Luckily, I remembered that this book celebration event always held back some tickets. They disperse them on a first come, first served basis on each of the two days of the festival (starting at 9 AM on Saturday). I was more than fortunate in that my wife let me off the hook from our kid's social schedule (that parents seemly always orbit around) that morning so I could get there early enough to get in the inevitable long line.

And, tickets we did get! Finally (for Jen, her sister, and I). Simply, the panel was the best one ever that I've attended. RC moderated it, as part of the Mystery book panels, in the aptly titled, "Cops & Crooks in California". It consisted of himself, Joseph Wambaugh, Don Winslow, and T. Jefferson Parker. Can't remember all of things that made Jen and I laugh so hard. But, don't wait for me to tell you all about it. Thoughtfully, writer Naomi Johnson linked me to a wonderfully written summary of it all by blogger Obsessions of a Pop Cultured Nerd. And like Naomi, I highly recommend this two-part post as a read:

“Cops & Crooks in California” Panel at L.A. Festival of Books with Crais, Winslow, Parker & Wambaugh

Demolishing an Angel

Century Plaza Hotel Faces Demolition

Today's Lost L.A. article (linked above) in the L.A. Times by Sam Watters was a shocker, especially for this native angeleno. Now being run by Hyatt, the Century Plaza Hotel is facing demolition in a city that has (unfortunately) a reputation for demolishing its landmarks. Designed by famed architect Minoru Yamasaki (yes, the very same person who designed the World Trade Center), it has been the cornerstone of the city within a city, Century City, since the mid-60's.

Though it wasn't the first building to be built in Century City, it soon became anchor for businesses and buildings to grow around, and for visitors (either in- or out-of-towners) to congregate within. And you could say, its birth and livelihood has been tied to the local movie industry. In fact, a case can be made that it came into being because of certain infamous movie flops (cough... Cleopatra). If 20th Century Fox studio, which borders CC, hadn't suffered losses from a string of unsuccessful movies, they may not have had to sell off 180 acres from its backlot to developers by 1961.

It's been the host to several past U.S. Presidents and foreign dignitaries who came to Los Angeles. It's been one of this city's VIP destinations for decades now. Directly across the street from this grand hotel there used to sit the ABC Entertainment Center--sadly, another recent victim of demolition. Whether you were a fan of movies or the stage, for many it was the place you'd go to enjoy a night out on westside. Many of the big movie releases were judged to be blockbusters by how long ticket-holder lines wrapped outside of the theater (they were clearly visible to anyone driving by on the main drag, Avenue of the Stars). And if you were a stage fan, the former Shubert Theatre in the same complex, was where you'd catch some of the biggest plays to make it out west. It's where I saw A Chorus Line, Cats, and Beauty and the Beast, among others.

As you can see, the place has left an impression. If you look at the second image of the venerable hotel of this post, you'll spot another famous location in the background, two buildings over. The Fox Plaza is well known to those who've seen either Die Hard, Speed, or Fight Club. I can happily recall going to the movies one weekend in Century City, ages ago with an old girlfriend who shall remain nameless (hey, give me credit for knowing how to prevent parts of my anatomy from going missing), and standing on the sidewalk while traffic was held up for one of the better action sequences filmed in our area. I speak of the spectacular night-time rotary action scene where the two FBI agents ascent up (in Huey's) to the top of the Nakatomi Plaza. Man, that was a blast to watch up close.

But, all of that fun and all of those memories don't happen if the Century Plaza Hotel didn't get built by a great architect. Luckily for the city, and those that either live or visit here, it was. Now it seems, developers are asking us to forget for their own profit. Grand structures have memory--they are a repository for them. The hotel emblematized a region and an design ideal. Since I don't Twitter (yet), I'm spreading the word the only way I have--through this blog. As well, I sincerely hope the L.A. Conservancy, which has placed this hotel on its list of endangered buildings, can save this wonderful piece of romanticized modernism. And reporter Watters, says it best:

"In December, a press release quoted Rosenfeld as saying, "The opportunity to redefine an urban center in one of the great international cities comes along once in a lifetime." What also comes along once in a lifetime is the chance to sacrifice profit to preservation. International cities become great by preserving their cultural achievements. They refurbish, recycle and expand noted buildings, creating unique urban experiences that define for the world what makes Paris Paris and Prague Prague. Great cities do not trash the past. They use it to enrich the future."

"The hotel cannot defend itself, so call the city now. If New York can keep its historic Plaza Hotel, why can't we keep ours?"

Well said, Sam. Well said.

Kudos to Steve & Lynn

Steven Hart always finds insightful posts on the web. This time he cites Lynn Viehl's post that is a brutally honest reflection of what it takes to hit the top twenty of the New York Times fiction bestseller list. Almost equally as good are some of the comments from readers of that post. It sure is an eye-opener.

Quiz Time

Answering (or lifting... sounds so much better than stealing) the wonderful movie quiz blogger Dennis Cozzalio put forward (thanks again Steven Hart for linking his way)--Professor Peabody's Hysterical Historical Wayback Spring Break Film Quiz--I'm posting my answers here. Besides, Corey did something similar, so there is a precedent  ;-).

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1) Favorite Biopic

» Patton
2) Dyan Cannon or Tuesday Weld?
» Dyan Cannon
3) Best example of science fiction futurism rendered silly by the event of time catching up to the prediction
» Twelve Monkeys
4) Annette Funicello & Frankie Avalon or Troy Donahue & Sandra Dee?
» Annette Funicello & Frankie Avalon (I have a thing for brunette's...)
5) Favorite Raoul Walsh movie?
» Band of Angels (though, White Heat and Captain Horatio Hornblower are a close second & third)
6) Sophomore film which represents greatest improvement over the director’s debut 
» easy... just watched it again last week: Pulp Fiction
7) Ice Cube or Mos Def?
» Mos Def
8) Favorite movie about the music industry
» Be Cool
9) Favorite Looney Tunes short (provide link if possible)
» The Scarlet Pumpernickel
10) Director most deserving of respect or upwardly mobile critical reassessment
» John Carpenter
11) Ruth Gordon or Margaret Hamilton?
» Margaret Hamilton (one of the best villains... ever)
12) Best filmed adaptation of a play
» Hamlet (Branagh's uncut version)
13) Buddy Ebsen or Edgar Buchanan?
» Buddy Ebsen
14) Favorite Jean Renoir movie?
» (aka Léon) The Professional
15) Favorite one-word movie title, and why
» Chinatown - can't say it better than what post commenter Bill R. espoused: "It’s mysterious, and yet somehow a perfect symbol. Perfect, probably, because no one ever talks about it."

16) Ernest Thesiger or Basil Rathbone?
» Rathbone (there was never a better villain swordsman... he really knew the moves)
17) Summer movies—your highest and lowest expectations

» X-Men Origins: Wolverine, Star Trek, and Up have my highest expectations; G.I. Joe: The Rise of Cobra, my lowest
18) Whether or not you’re a parent, what would be your ideal pick as first movie to see with your own child (or niece/nephew)? Why?
» WALL-E - because not only is it a highly entertaining movie, with loads of spectacular visuals, fun references to other film classics, and has a dystopian outlook initially, it's a story of optimism and a journey of how one learns to love. It displays how one's soul is more than the physical parts that make us human. I defy anyone who views that one sequence where Eve tries her damnest to bring her WALL-E back from the dead and says they did not feel anything while viewing it. Finally, it will stand multiple viewings, and the test of time.
19) L.Q. Jones or Strother Martin
» both are great character actors, but L.Q. Jones always came off cooler to me
20) Movie most recently seen in theaters? On DVD/Blu-ray?
» Theater: Monsters vs. Aliens (I have kids), DVD: Brick, Blu-ray: Body of Lies
21) Do you see more movies theatrically or at home? Why?
» Home - because, as my wife can attest, I have a whole lot of discs and tapes ;-)
22) Name an award-worthy comic performance that was completely ignored by Oscar and his pals. 
» Steve Carell, The 40 Year-Old Virgin
23) Zac Efron & Vanessa Hudgens or Robert Pattinson & Kristen Stewart 
» Sorry, but I don't know these kids...
24) Name a great (or merely very good) movie that is too painful to watch a second time (Thanks to The Onion A.V. Club)
» Oh, that's easy... Million Dollar Baby. Don't get me wrong, it's simply a great film and I love it. But, it's still laying in a drawer, unopened. I want to see it, but it's such a devastating movie, I can't get it into the DVD player.
25) Beyonce Knowles or Jennifer Hudson?
» Jennifer Hudson - because she can sing, and, just as importantly, act.
26) Favorite Robert Mitchum movie?
» The little known Sydney Pollack film, The Yakusa. (written by Paul Schrader and Robert Towne). He was almost 60 when he made it, and still carried off his role in what was a tribute to the (at that time, little known) Japanese gangster film. Few actors could carry off weary and dangerous with that ease--even fewer, anywhere near that age.
27) Favorite movie featuring a ‘60s musical group that is not either the Beatles or the Monkees
» Good Times (hey, I was desperate)
28) Maria Ouspenskaya or Una O’Connor?
» Maria Ouspenskaya
29) Favorite Vincent Price movie?
» Theatre of Blood - Vincent, a far better actor than given credit for, performing as a second rate, ham British stage actor was simply splendid here. Co-star Diana Rigg considered it her best film, too.
30) Name a movie currently flying under the radar that is deserving of rabid cult status.
» for gross fun - Slither; for crime fiction - Hickey & Boggs
31) Irene Ryan or Lucille Benson (or Bea Benaderet)?
» Irene Ryan (hey, I did pick Buddy Ebsen, didn't I?)
32) Single line from a movie that never fails to make your laugh or otherwise cheer you up. (This may be obvious, but the line does not have to come from a comedy.)
» From Robert Towne's Tequila Sunrise - "How the f*ck did this guy get dead?" -- Lt. Nick Frescia
33) Elliot Gould or Donald Sutherland?
» Donald Sutherland (for the length of his career, voice work, and that memorable scene with Julie Christie in Don't Look Now)
34) Best performance by a director in an acting role 
» have to agree with another post commenter, Clint Eastwood in Unforgiven
35) Favorite Barbara Stanwyck movie?
» Double Indemnity in her early career, and her role in the Thorn Birds decades later

36) Outside of reading film criticism or other literature about the movies, what subject do you enjoy reading about or studying which you would say best enriches or illuminates your understanding and appreciation of life, a life that includes the movies?

» Psychology - because almost everything boils down to love and sex

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Whew!

Tributes and Links

I have to commend Steven Hart for Friday's post. Not only did it ask and link some interesting metaphysical questions, but it lead to the wonderful tribute to illustrator Richard Amsel. Always loved the guy's work (without knowing his name). Which of course linked to Larry Aydlette's blog of quad posters and lobby cards. And that lead to the site that abstracts/reduces movie posters to an online/ongoing contest for visitors to guess at. Of course, you'll have know how to determine what 15.30 GMT is in your time zone to play along ;-).

Correction... Ron

In today's Top of the Ticket blog (L.A. Times), it has a post with the "darling of Libertarians everywhere", congressman Ron Paul. It highlights his idea of hiring privateers to go after the pirates using the "... little-known power written into the Constitution called marque and reprisal." Thankfully, the post also links the associated Politco.com article which cites the number of potential complications that could result when "... 100 American wannabe Rambos..." start patrolling the rather large body of water known as the Indian Ocean. Whether it gets traction with Congress or not, his lecture on the recent history of Somalia (and our involvement) that is part of his YouTube video had a glaring inaccuracy:

"... the foolish attempt... [video edit/break appears] ...and Clinton went into Somalia in the early 1990's, and a fiasco resulted. We got involved in a civil war there and supported one faction... and ah, and several of our helicopters went down and a dozen or so of our people were killed."

Too bad his memory fails here, or he mis-remembers the events on purpose. U.N. Resolution 794 is what instigated forces to intercede there. And, it was the Republican President George H.W. Bush, not Bill Clinton, who responded to that and initiated Operation Restore Hope. This is well documented in a number of historical books and web sites, as well as in Mark Bowen's excellent non-fiction book, Blackhawk Down, which includes a good chronicle of the background that lead up to the battle Paul mentions. I do hate it when politicians either screw up facts, purposely or accidentally, and the reporters fail to call them out for it.

Kathryn's Back

Being one of the few female action/adventure directors, it's great to see Kathryn Bigelow back with what that looks like a good one. The Hurt Locker is one I'm looking forward to this summer movie season.

Rest in Peace Harry Kalas

March 26, 1936 - April 13, 2009

Though I never listened to the games he called for the Phillies, I certainly did when I watched anything from NFL Films. Between Harry Kalas and the Voice of God, John Facenda, they narrated some of the best football games ever recorded. I'm sorry to see him go. May he rest in peace. 

Tales from the (Movie) Theater: Part 2

Continuation of the series--see Intro, part 1:

The Owner

Getting past my brother's interview process and meeting the owner made for quite a contrast. At least with my brother, he was a known commodity -- familia -- for better or for worst. On the other hand the proprietor, Armand, he was an eye-opener. When introduced to him by my brother, one immediately felt like you were being sized up and grouped into one of two categories: those like him, and everybody else. Those who were like him were the self-made businessmen who started out with literally nothing and work/scraped whatever they achieved through their energy and ambition.

From the time of that first interview, till the time I left a couple of years later, he felt that success in life came from hard work--and he shared that opinion...always. And, I could see why my brother had a sub-rosa admiration for the man--his success was his own. Those that were in college, studying, were another matter to him, though. Professional students, as he called them, were wasting their time there. They'd be better off getting to work, in his opinion (like my brother). I was allowed to bring my college work into the theater, given the unique aspect of the projectionist's work, but I was to be good-naturedly chided for it. Nonetheless, I would be indoctrinated into how real businessmen made a dollar in this world. He was a man used to making hard business choices for his survival. And without the scale or margins of a large theater chain behind you, you get to make a lot of them.

So, what did I find out being employed there? Scrimping is a way of life for independents. The economics of the movie theater haven't changed much since the mid-70's either. Studios make their money from the box office--and theater owners make theirs from the concession stand.

"We're not in the movie business... we're in the candy business." -- theater manager

Armand owned other theaters, besides the Huntington Park Warner. IIRC, they were located in the L.A. areas of Bell, Highland Park, and San Pedro. And all of them understood his rules of pinching pennies:

• nothing--and I mean nothing--gets thrown away
• popcorn left in the concession stand bin at closing time was bagged up and saved to go back in prior to re-opening the next day
• hot dogs (those on the roller grill) got the same fate as the popped corn... they just had a sleepover with the ice cream bars (... the fresh ones slept in the refrigerator)
• Pepsi was cheaper than Coke--so, the perennial Avis of sodas is what we stocked
• the concession stand controls the booth--meaning if patrons are stacked up to buy snacks, they'd delay the start of the movie (so now you know why movie showtimes are like the Pirate Code: "... more what you'd call 'guidelines' than actual rules.")

What did this all mean for the education of the new projectionist? Well, you found out very clearly that owning your own business was very hard and risky work. For Theresa's youngest, my brother, Armand proved to be quite a mentor (whether either of them knew it or not). My sibling learned it so well that he'd take what he picked up here to his own business, years later. And for this college student, you for damn sure made it very clear to the concessionista to put a fresh wiener in that hot dog bun when it was for you!

To be continued...

Next up: Projecting (Part 3)

Just a Quick Thought

Thought about this while driving home on this Good Friday: 

When was the last time you can recall you saw a properly done hand signal by a motorist*?

I'm thinking sometime in the 80's for me...

* I'm excluding cyclists because that's their only recourse to signal turns. 

The Sh*t Taco

The Daily Show With Jon Stewart	M - Th 11p / 10c
Baracknophobia - Obey
thedailyshow.com
Daily Show Full Episodes Economic Crisis Political Humor

I have to admit my favorite segment in this clip, beginning at the 2:00 mark, is Jon Stewart's summary of the previous administration's mis-steps and blatantly tyrannical moves that the wingnut rightis seeking to blame Obama for, now. But the whole clip is classic.

Tales from the (Movie) Theater: Part 1

Continuation of the series that began here.

Brotherhood

By the mid-70's, I needed a steady job to support my endeavor of higher education (and perhaps affording to have money in my pocket for dating purposes, too). Ah...youth. A college education was something my mother pushed for, and I (the surviving oldest) got that obligación. I was at L.A. City College at the time--junior college--see what mediocre high school grades get you. Now, my younger brother (by 1 year and 8 months) on the other hand sought work foremost (and had done so since he finished high school). He always dreamt of having his own business some day. So, he was already working as the senior projectionist at the Huntington Park Warner theater, by the time I arrived there (having bounced betwixt odd part-time jobs, in between classes).

Now, there is always a rivalry between brothers--hey, I didn't write the rules. And it's just the natural order of things that it usually goes against the youngest of a set (age does have it privileges...). So when the tables are turned, it does get to be more than a little galling for the older sibling. Just think how wonderful it is when one's fantasy comes true, and they get to rub that fact into the face of their tormentor since birth. Well, I may not have been that bad, but you get the (payback) picture. My brother got to interview me before passing me onto his boss, the theater owner. If I didn't pass his interview, end of story...do not pass Go, do not collect $200...and no recommendation for hire to the one who pays the wage. Plus, the terms of the employment were clearly laid out by my brother. And hierarchy can be a b*tch.

By this time, the Warner had become an independent theater; Pacific Theatres was the last chain to operate it before this. Normally, theater chains employed union projectionists--most of those went through apprenticeships to reach their skill/pay levels and jobs. Independents, on the other hand, didn't have to hire trained professionals. Anybody they could train, stick in the projector booth without burning down the theater, and pay a fraction of the higher union wages would work just fine for them. And if you entered as the bottom wrung in the non-union projectionist pool, well, let's let Don Pardo list those prizes:

1. the last choice for days and hours you get to work - meaning your younger brother, the sr. proj., gets all of the best (his choice); the regular proj. then gets to pick theirs...and you get the leftovers
2. you do not get to complain to the sr. proj. about (insert hours, pay, co-workers, equipment failures, etc. here), or you get replaced by another slub looking for steady employment--if he had to work his way up to sr. proj. under those conditions, everyone else would too ("...oh, and by the way, what are you getting mom for her birthday? I'll go halves with ya...")
3. new projectionists always work Amateur Night [more about this later]
4. "... and don't screw up and make me look bad"

I look back on this now and wonder if all of that was worth it. Ultimately, it was.

To Be Continued...

Next up: The Owner (Part 2)

Brevity's Pull

In Praise of the American Short Story

While I don't always agree with A.O. Scott, movie critic of the N.Y. Times, he always gets me to really reflect upon the subjects he writes up. And in this piece, he's drawn me in to a subject that I haven't given enough due. It's a marvelous piece of writing and praise of the short story. Outside of high school/college, I've haven't always made it a routine of reading them. And if it wasn't for authors like Poe, Stephen King, and Clive Barker, in later life, it would be an even shorter road for me. Thinking about it, I should also give credit to bloggers Jen and Corey for their unwavering reading devotion to the short form. And, to those like Naomi, Gay of Words in Place, and Nordette (aka Vérité Parlant) who practice the laconic art so beautifully. And yes, I'm attempting to get some credit for knowing of talented folks like these ;-).

Another Ritchie for the Collection

Finally, Guy Ritchie has directed another good one worthy of holding on to. I finally took in Rocknrolla from my NetFlix cue. It is wonderful British crime entertainment, full of the usual underworld plot-twisting, vivid characters, and slow-motion/quick cut editing that are the trademarks of the newly ex-Mr. Madonna. While his films aren't in the league of hard classics like 1971's Get Carter, the director of Lock, Stock, and Two Smoking Barrels and Snatch is still the one I want to hear from for my London gangster fix. Likely, both his return to form and divorce from the Material Girl are valued equally here (likely correlated, too), and across the pond. Now, I can't wait for his next release later in the year: the Ritchie-directed Sherlock Holmes (with Robert Downey, Jr.).

They Sank It Themselves

10 Cars That Sank Detroit

This was a thoughtful U.S. News & World Report article that clearly answers why Detroit automakers are where they are now. And, the basis for this is decades old. But, I wonder why they didn't bother to mention my dad's Chevy Vega? I have such a fond memory of it breaking down in the desert while we attempted to cross from L.A. to Las Vegas--in AUGUST!!!

                            

Tales from the (Movie) Theater: Intro

As some of you know, I have a thing for movies --"criminy, you watch enough of them!", says my wife. I reason it was because I was influenced by the act of taking them in at a young age. One of my earliest memories was going to the drive-in with my mom and dad when I was a toddler. Later, my mother's sisters and brother would take me during my childhood (I guess any kid sitting, no matter if it was in a dark theater with strangers all about, was a good thing). Even later, during that more innocent era, we (friends and I, junior high-aged) would strike out on our own to movie halls situated 2-3 miles away to take in a flick. Usually, by walking or by bus. Do you think I'd let my 9- and 13-year old do that now? Hell, no!!!

But, it was quite a different period here in Los Angeles back then. When we dumb kids (or precocious youth) did these things, we were living in the blue-collar suburb of South Gate. Typically, we'd head over to rival city Huntington Park to take in movies at their theaters on Pacific boulevard (their commercial drag was way better, compared to ours). We'd watch the movies at the Park, California, and the Warner theaters. Heck, they even had racier fare at the old Lyric Theatre, one in the chain of Pussycat Theaters -- not that we God-fearing children ever partook in any of those things (ahem). The grand lady of them, though, was the Huntington Park Warner. It was one of the classic examples of the Art Deco movie palaces strewn about the country from 1925 through the 1940's. In this case, this was part of a chain of theaters built by the Warner Bros. studio (one of the few that survived the Depression with their theatre empires intact ). Her local sister theaters were the now demolished Warner Beverly Hills and the eternal Warner Grand in San Pedro.

It was at this particular theater that my love of the movies was set in stone. Not only was it the closest of the art deco movie palaces in the vicinity, and the location for many of my dates in my youth, but I would later return to that same theater as an employee. I would do a stint as a projectionist during my days of college. So, this post is only just the start of a series -- thought it was over, didn't you? Not only that, I'll get to payback talk about my younger brother ;-). You see, he worked there first, and later hired me. The theater is now closed, but still intact. Even so, it's nowhere near forgotten. I'm sure my wife will roll her eyes at this one. I, the one with nostalgia gene she'll reckon, will milk this for all its worth ;-).

Next up: Brotherhood (Part 1)