Candescent Blooms E-Book

Andrew Hook

• Herausgeber: Salt
• Kategorie: Gesellschafts- und Liebesromane
• Sprache: Englisch
• Veröffentlichungsjahr: 2022

Beschreibung

Candescent Blooms is a collection of twelve short stories which form fictionalised biographies of mostly Golden Era Hollywood actors who suffered untimely deaths. From Olive Thomas in 1920 through to Grace Kelly in 1982, these pieces utilise facts, fiction, gossip, movies and unreliable memories to examine the life of each individual character set against a Hollywood background of hope and corruption, opportunity and reality.

Leseprobe

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ANDREW HOOK

CANDESCENT BLOOMS

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This book is dedicated to all those actors and actresses who paid the ultimate sacrifice in defending and protecting the arts and the cinema

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Contents

Title PageDedicationIntroduction: H is for Hollywoodland Memories of Olive Honeypot Buckle Up The Ice-Cream Blonde Tonight Is Today The Good Girl The Easy Flirtations Alfalfa Oh, Superman The Girl With The Horizontal Walk The Jayne Mansfield Nuclear Project Sarcoline Concordance Contributors Acknowledgements About this Book About the AuthorAlso by Andrew Hook Copyrightviii

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Introduction: H is for Hollywoodland

45ft

1932

How did I get (up) here?

The evening forms a cool September, nothing yet to bite. My jacket hangs loosely over both shoulders. My knees, bent in this position of departure, remember those stepladder rungs, the indentations in my soles. Nine months previously, the first official snowfall had been recorded in the United States Weather Bureau’s fifty-four year existence in Los Angeles. The snow-storm had begun at 5 a.m. and continued for over two hours.

Today it is I who shall fall.

One foot above the Hollywoodland sign, my jacket 2expands like wings, pulling away from my body with inexorable motion.

Two feet off the Hollywoodland sign my shoes hug tight, afraid to let go. One becomes braver than the other.

I hold a breath.

My fingers clench the purse containing the note.

I am afraid, I am a coward. I am sorry for everything. If I had done this a long time ago, it would have saved a lot of pain.

Will my life flash before me? Studies suggest the phenomenon could be caused by parts of the brain that store autobiographical memories like the prefrontal, medial temporal, and parietal cortices.

You know, I’ve completed my research.

I am Peg Entwistle. An actress about to lose sense of time; memories converging from all periods of my life.

I am P.E.

An actress about to lose.

44ft

1920

Just as Bette Davis had told her mother she wished to be exactly like me, so – in 1926 – did I aspire to Olive Thomas.

I had been recruited by the New York Theatre Guild.

Broadway there I came.

There was success in my twenty-eight performances as Martha in The Man From Toronto. Not bad for an 3eighteen-year-old from Port Talbot. And unlike movies, my mouth ran with words, my scenes developed in colour.

You know, at the height of Olive’s fame, the Hollywoodland sign wasn’t in existence.

Olive would have no memory of it.

Yet – as I return level – I have a memory of her.

Because she died four thousand three hundred and eighty nine days before me. That’s how memories are formed.

40ft

1926

Oh, Valentino!

Valentino.

I am sucked in descent. A sudden punch to the soul. Valentino doesn’t acknowledge as I hurtle, snagging stockings on a bullfighter’s muleta. The concealment of a sword.

I saw him in Blood and Sand.

I will be blood in sand.

Perhaps I might have played Vilma Bánky’s role in The Eagle. How we would have soared. Perhaps I might have saved myself. Could it be I would have saved him?

Valentino died two thousand two hundred and sixteen days before me. That’s how heartache is formed.

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36ft

1933

In early 1932 Broadway was already a distant memory.

Boredway.

Even with Bogart.

The films were there – those films – just at the ends of my fingertips.

Perhaps I caught them. Perhaps I was there, at the St. Francis Hotel in San Francisco in September 1921, watching as Arbuckle opened the refrigerator.

Would they have called me that?

Would I have haunted Fatty, two hundred and eighty six days after my death?

32ft

1935

I am most often cast as a comedienne, most often the attractive, good-hearted ingénue. For that reason I might have starred alongside Thelma Todd instead of ZaZu Pitts. But I would rather play roles that carry conviction. Maybe it is because they are the easiest and yet the hardest things for me to do.

So I shrug myself into Todd. The wind billowing her dress as I slip inside, slough her off with my role. Isn’t this how subterfuge starts? Whilst here, I play opposite the Marx Brothers.

Laughter carries with my shoe at head height. I flail 5towards it, as though it were of the utmost importance.

I die one thousand one hundred and eighty six days after my death. Photoflash.

28ft

1937

I could get used to this. Forcing my way into films, novels. Dotting the I’s and crossing the T’s.

Pretending to die, one thousand seven hundred and twenty five days after my death: segue from one life to the next.

24ft

1942

If you’re looking for something circular, I have it right in my hand. When my thumb flicks vertical I expect to see light.

But unlike Stan Laurel it is I who turns somersaults; aflame.

One coin in the air, whilst the leather of my purse contains more money than I will never spend.

The force relaxes my fingers.

Which falls faster: a ton of purses, a ton of shoes, a ton of jackets or a ton of a girl?

Bets are taken on the sidelines.

Heads.6

Or tails.

I skew the difference, make a disaster movie three thousand four hundred and nine days after my death.

20ft

1955

I hand Dean a lit cigarette, Laurel’s trick after all. The culture is different here. I have come a long way.

I continue to come. In backs of automobiles upholstered with denim.

Eight thousand four hundred and fourteen little deaths.

16ft

1959

We form a comedy act: Entwistle, Reeves and Switzer.

Watch how we fight over our billing.

Carl, George and Peg.

Do I star as Lois Lane or Darla Hood?

Where is the order to it?

Catch me.

Catch me!

I want to be saved. Even on a bed of alfalfa, on average nine thousand six hundred and ninety six days too late.

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12ft

1962

I struggle claustrophobic. Hidden within a role within a role.

Peg Entwistle: Some Like It Hot

The billboard pops coloured lightbulbs all around the picture houses.

To play any kind of an emotional scene I must work up a certain pitch: the quality of a sound governed by the rate of vibrations producing it; the degree of highness or lowness of a tone, the steepness.

Have I really made ten thousand nine hundred and fifteen movies? Are honestly none of them serious roles? How can I live with myself. Isn’t …

8ft

1967

… my life just a car crash.

Twelve thousand seven hundred and four car crashes.

4ft

1982

Tell me I was fantastic in To Catch A Thief: a cat burglar at age forty-seven.8

Tell me I was superb in Rear Window: a socialite at age forty-six.

Tell me I was perfect in Mogambo: on safari at age forty-five.

Tell me I was in The Wedding in Monaco. Tell me it wasn’t Grace Kelly.

Tell me I wasn’t already eighteen thousand two hundred and sixty days dead.

0ft

1932

How did I get (down) here?

Well, it’s a long story.

The hiker who finds me wraps up my jacket, shoes and purse in a bundle and lays them on the steps of the Hollywood police station.

She doesn’t want the publicity.

My last role was in Thirteen Women. Whilst it was one of the earliest female ensemble films it premiered to neither critical nor commercial success. It was released after my death.

I was released after my death.

I am Peg Entwistle.

I committed suicide in Los Angeles off an advertisement for real estate development.

And there are thirteen letters in Hollywoodland.

Thirteen symbols of thwarted ambition.