Davelandblog

Temple Tuesday: Fun and Games

2026-10-20T04:30:00.000-07:00

Theatergoers often don’t realize the amount of work that goes into making a movie. Many actors reveal that the worst part is the amount of time BETWEEN filming scenes. It can get pretty boring; just look at Shirley Temple during the filming of “Kathleen,” her one and only MGM production. Above, she yawns between costars Laraine Day and Herbert Marshall. What do stars do between takes? Below, Shirley keeps herself occupied with crafting:

Making fashions for her mini-mannequin:

Here, Shirley reads her script, brushing up on her lines and any possible last minute revisions while the camera gets set-up:

I wish I had more info on this one; it would appear that Shirley is rehearsing a song for the film. In the final movie though, the only musical number has Shirley dubbed. Maybe originally Shirley was slated to sing, but the studio decided against it in the end.

The director, Harold S. Bucquet, goes over a scene with Felix Bressart and Shirley:

Shirley and Herbert wait patiently for the lighting to be fixed:

A game of chess between takes for Shirley:

This poodle can dance AND balance the script!

Below, Shirley plays Chinese Checkers with her stand-in, Mary Lou Isleib:

I found this board on eBay, which appears to be the same design as the one Shirley was using. Made by Pressman, it was popularized in the U.S. in 1928 by Bill and Jack Pressman and originally marketed under the name Hop Ching Checkers before becoming widely known as Chinese Checkers.

Marshall and Day playing a game of cards; apparently they weren’t into Chinese Checkers.

Even a beautiful young teen like Shirley needs a touch-up from the makeup artist between takes.

And there you have it; life on the set between takes of “Kathleen”!

See more teenage Shirley Temple photos at my main website.

Temple Tuesday: Bunny in the Bungalow

2026-10-13T07:52:41.700-07:00

This recent Shirley Temple photo acquisition sparked another rabbit hole…literally! Taken inside her 20th Century-Fox Bungalow, Shirley is opening a rather large box. Most people would initially wonder what was in the box; not me. I wanted to know if the sheet of paper on the end table could be read! I zoomed in, but to no avail. It doesn’t appear to be a script, so who knows.

The great Rita D., Shirley expert supreme, was able to fill in the rest of the story that this series of publicity shots was about. The image below shows Shirley at the front door of the bungalow (love that decorative Hand of Fatima door knocker!) receiving the package.

The back of the image is date stamped January 1938, which lets us know that the photo is no more recent than that period, but possibly a month or more older. Before the lightning fast internet and digital photos, timed layouts had to be planned and executed way in advance to meet publishing deadlines.

Another image from Rita shows Shirley playing with some kind of custom-made wooden logs. The story behind this set is still unknown.

In searching to find out if this was what Lincoln Logs looked like back in the day, I learned that the original Lincoln Logs were designed/created by Frank Lloyd Wright’s son, John Lloyd. That’s some provenance! From the U.S. Patent and Trademark Office FB page:

Lincoln Logs were more than a toy; they were a patented invention that inspired generations of young builders. John Lloyd Wright, the second son of famed architect Frank Lloyd Wright, received U.S. Patent No. 1,351,086 in 1930 for a “Toy-Cabin Construction.” His design used notched wooden logs that could be stacked to form interlocking walls for miniature structures— without glue or nails. Inspired by his father’s earthquake-resistant construction techniques, Wright used architecture engineering principles to create a toy that was both educational and imaginative, helping children learn about construction while building realistic log cabins.

According to the Modern San Diego website, John Lloyd Wright designed many homes and commercial structures here in San Diego. I’m going to need to do some exploring, Lucy! Back to the originally scheduled program (oh those rabbit hole digressions). Rita dug up this clipping with the text that accompanied it showing Shirley’s wonderment at the bunny. I wonder how many times she had to show that face for the photographer?

When this big box came, Shirley thought someone had sent her flowers. She could hardly wait to see whether they were roses or daffodils, acacia—or what! Imagine her surprise when she opened the lid, and there was a white bunny that looked almost as real as a real Easter bunny!

Melissa (ala “The Colonel”) dug up this download from her web archive which shows more of the image:

This previously posted image from my collection has artist Feg Murray visiting Shirley between takes of “Rebecca of Sunnybrook Farm,” being filmed in 1937. Same dress, and the curls match, so there’s a good chance it was the same day.

Artist Feg Murray visits Shirley Temple between takes of “Rebecca of Sunnybrook Farm,” 1937. According to the AFI website, the production dates for that film were early October through November 1937. And there you have today’s trip down the bunny path.

See more Shirley Temple Fox bungalow and trailer photos at my main website.

Lunch at the Biltmore

2026-10-08T16:24:41.617-07:00

Another photo “bucket list” item for my recent trip to LA was to get some new and better photos of the historic Biltmore Hotel in downtown LA. Since its opening in 1923, it has been a palace of opulence, catering to some of the wealthiest and most famous clientele. Below is a vintage postcard image of the lobby:

So much to see in this closeup; the bored men sitting in the lobby, the guest in the shiny robe and slippers, and of course the vintage signage!

How the lobby looks today — still fabulous!

One feels as if they stepped back into the 1920s, with the kind of style and craftsmanship one just can’t duplicate anymore.

Lunch was at the hotel’s Casa Ipanema.

Edited from the restaurant’s website:

Where Every Evening Feels Like Rio Casa Ipanema was created from a simple idea: dinner should be more than a meal. It should be an experience that transports you somewhere else. Inspired by the vibrant spirit, beauty, and energy of Rio de Janeiro, Casa Ipanema brings together contemporary Brazilian and Latin American cuisine, handcrafted cocktails, music, design, and hospitality to create an unforgettable destination in the heart of Los Angeles.…Beyond the cuisine, Casa Ipanema captures the energy of Rio through handcrafted cocktails, immersive music, and a vibrant atmosphere. From tropical-inspired cocktails to DJ-curated evenings and signature performances, every element is designed to create a complete sensory experience.…Casa Ipanema was founded by Henrique and Herica Huyer, the creators behind H&H Group, with a vision to bring a new kind of Brazilian experience to Los Angeles. Together, they imagined a place where guests could enjoy exceptional cuisine while surrounded by the rhythm, warmth, and celebration that define Brazilian culture. Casa Ipanema is not simply where you come for dinner. It's where you spend an evening in Rio.

On a time crunch, we didn’t spend as much time as I would have liked, but I can tell you the burger was delicious and the staff was wonderful. I hope to return, especially for one of the Carmen Miranda nights!

See more Los Angeles Biltmore Hotel photos at my main website.

Temple Tuesday: Shirley and H2O

2026-10-06T12:54:20.341-07:00

With Southern California experiencing high temps in October, the thought of a cool dip in water sounded like the perfect idea for a Temple Tuesday post. Strangely enough, I have very few images of Shirley actually IN a swimming pool, which is why I expanded the theme to H2O overall! In the 1934 film, “Now and Forever,” Shirley meets her biological father at Lake Arrowhead. This image was shot between takes on location, with Shirley Temple and Gary Cooper.

There IS a scene at a pool in the film, with Carole Lombard and Gary, but…

Shirley doesn’t go IN the pool; she just plays nearby with a little boy.

In “The Little Colonel” (1935), Shirley actually gets wet, in this baptismal scene with Nyanza Potts and Avonne Jackson.

By the time of “Curly Top” (1935), the studio liked to have their biggest star in controlled environments, like this phony beach backdrop, accomplished with rear projection:

Can’t get the star wet; that might mean having to create an additional copy of Shirley’s outfit, or cause a time delay for filming. With René Hubert as the costume designer for “Curly Top,” that could really rack up the costs! Esther Dale reads the Sunday “Funnies” to Shirley’s character, but rest assured, the child stays dry.

In “Captain January” (1936), Shirley lives in a lighthouse and hangs out in the nearby coastal town wth Buddy Ebsen, but manages to stay out of the water.

This deleted Hula scene was filmed in a nice, controlled, studio soundstage at Fox.

A scene of Shirley in a bathtub for “Poor Little Rich Girl” (1936) was cut before release. Note that her curls are still perfectly set and moisture free!

“Dimples” (1936) has Shirley at the edge of a lake fishing, but as always, not allowed IN the water. No wonder she looks a bit gloomy.

Finally, in “Just Around the Corner” (1938) Shirley gets access to a pool! Only Franklin Pangborn gets wet.

In Shirley’s private life, the cameras never seemed to catch her IN the water, just nearby, like these images of her on a Hawaiian trip, circa 1937:

…and 1939:

This series of images from her Rockingham pool, circa 1937, show a fully-clothed little girl playing with a sailboat:

Doesn’t seem to be anything remarkable!

It appears that Shirley had her own sailboat to safely keep her dry while floating in the pool:

This 1944 shoot at home with Guy Madison is about as close to “cheesecake” as Shirley would let the photographers get:

The two made the tepid “Honeymoon” (1946), which had Shirley appear in a bathing costume, displaying a two-piece suit for a few seconds.

This publicity still below shows Shirley in the water with Franchot Tone after she (aka the stunt double) dives into the pool. The final film doesn't show the two in the pool together.

Shirley DOES get a pool scene with Guy Madison in “Honeymoon,” but she is fully clothed:

Final H2O image of the day is from August 1957. Shirley is at her Atherton home with son Charlie and daughter Lori. Even a blowup pool like this would be heaven on a day like today!

See more Shirley Temple photos at my main website.

Monday on Olvera Street

2026-10-05T06:26:30.554-07:00

Olvera Street is just across the street from the Los Angeles Union Station, so I stopped to take a few shots on the way to my destination. The above vintage image in my collection is from August 1966. Below is the same wooden cross - still there! Known as the Olvera Street Cross, here’s the story behind it from the HMDB site:

The first Olvera Street cross was carved by Mrs. Florence Walker in 1929 to honor the city’s 148th birthday. Over time, weather and erosion requires a newly commissioned art work. The current wooden cross was carved by Mr. Jackie Hadnot and installed on Saturday, April 15, 2017 during the Blessing of the Animals celebration.

And a bit more at Giroux Glass:

Jackie [Hadnot] was commissioned by the EPPALA to replicate a holy cross originating from Spain, to replace the old, weather-worn cross in the center of historic Olvera Street–the earliest beginnings and dwellings of Los Angeles. The intricate detail and workmanship of the new cross earned Jackie a personal blessing from Archbishop Jose Gomez on its unveiling day at El Pueblo de Los Angeles (Olvera Street), on April 15, 2017. The cross has been a landmark of that area since its opening in 1930.

From Discover Los Angeles:

Olvera Street is one of the most popular tourist destinations in Los Angeles. The colorful Mexican marketplace opened on Easter Sunday, April 20, 1930 following a preservation campaign that was spearheaded by Christine Sterling. Several of LA’s most historic buildings are located along the tree-shaded, brick-lined block, as well as dozens of Olvera Street shops, restaurants and other businesses. Olvera Street also hosts numerous traditional events throughout the year, including the Blessing of the Animals (Saturday before Easter), Cinco de Mayo, Fiestas Patrias (Mexican Independence Day), Dia de los Muertos, and Las Posadas.

The statue of Antonio Aguilar was sculpted by Dan Medina and installed in 2012. Below is a closeup of the wooden street sign at the entrance of the festive market area:

When I was there, the vendors were just beginning to setup to sell their wares. No fumar!

This is the Eugene Biscailuz Building and former Methodist Church HQ, now The Mexican Cultural Center:

Nearby is the Avila Adobe museum:

From the Discover Los Angeles website:

The Avila Adobe is LA’s oldest house still standing in its original location, and is designated as California Historic Landmark #145. Originally built in 1818 by Francisco José Avila, it has since been the home to many of his family members and descendants.

It even served as military headquarters in the late 1840s. Today, the Avila Adobe’s interior depicts the California lifestyle of the 1840s. Dark wood tables, four-poster beds, candelabras and elaborate carpets create a 19th-century atmosphere. The walls of the Avila house are made of adobe brick, a material consisting of clay, water and other organic materials like straw.

And there you have my 10 cent tour of Olvera Street!

See more Olvera Street photos at my main website.

Fashion Friday: Adrian at FIDM, Pt. 1

2026-10-02T17:54:26.308-07:00

One of my destinations for my recent LA trip was the Adrian exhibit at FIDM, which stands for Fashion Institute of Design and Merchandising. Phew…my fingers are tired. I think I'll stick with FIDM. Adrian (Adrian Adolph Greenburg) was a costume and fashion designer, mainly remembered for his incredible work at MGM during the golden age of Hollywood where he was head costume designer from 1928-1941. “The Wizard of Oz,” “The Women,” and “Dinner at Eight” all benefitted from his genius. The outfit below was worn by Jean Harlow at Grauman’s Chinese Theatre. It’s survival is a miracle!

Edited from the accompanying info:

Adrian’s slinky, silk charmeuse evening gown defined the sex appeal of bias-cut clothing of the 1930s. Popular because of its unencumbered stretch around the female body, the rich, creamy color of the reflective material likewise highlighted every bare anatomical curve beneath. Adrian observed this effect on Harlow. “Even her clothes show emotion. They move and breathe with her.”

Harlow wore this gown twice: once in her hugely popular romantic-comedy “Bombshell” (1933, shown above with Franchot Tone) and again, when writing her name in the forecourt of Grauman’s Chinese Theater on Hollywood Boulevard. However, that momentous occasion did not go as planned, due to the original slab of cement breaking in half. Harlow returned four days later to repeat her performance, but this time wearing a different dress.

The 18th-century Style Court Gown was worn by Dorothy Christy as Lady in Waiting to Madame du Barry in “Marie Antoinette” (1938):

Edited from the accompanying exhibit info:

For “Marie Antoinette,” Adrian created more than 1,200 individual women’s costumes, all designed by himself. Research trips to France and Austria uncovered antique velvets and brocades, and braids and lace that were incorporated into the extravagant creations constructed entirely in MGM’s workshops: “I worked with people who did not hold tightly to the purse strings. I never had to make pennies count. This was unusual, even in Hollywood. I had complete creative freedom. I went after perfection, especially in detail, since I had to satisfy the discerning eye of the camera, which magnifies everything eight times.”

The fact that this was producer Irving Thalberg’s last greenlit project for his wife, Norma Shearer, didn’t hurt the budget, either! Below is a metal birdcage headpiece worn by Shearer in the same film. It has paste diamonds and features a stuffed finch resting on the perch inside. It includes an internal mechanical automaton trigger that allowed the bird to turn its head an dopen and close its beak while Shearer wore is in the film.

Another Shearer project was “The Women” (1939), directed by George Cukor. The exhibit has a premiere booklet from the film as well as the two glove ornaments sitting in front that were part of the Technicolor fashion sequence.

A closer look:

Adrian designed these ornaments and Joseff of Hollywood was the maker. These gilt metal and glass ornaments were originally attached to turquoise gloves as seen in the accompanying image below:

Garbo was another famous actress who frequently collaborated with Adrian in her movies. For “Queen Christina” (1933), the below 17th-century Style Court suit designed by Adrian was worn by John Gilbert:

…and this 17th-century Style Court Ensemble was worn by Garbo in the same film:

Edited from the accompanying info:

“Each picture I designed for her [Garbo] involved extraordinary precision. My imagination was never quiet when I approached her pictures. Ideas poured into my head with a liquid easy. I soared, because I knew she would be equal to anything I could conceive and that she would more than do it justice. This she did. No one on the screen has worn regal costumes with more authority or evening gowns with more ease. To put her into the costumes with the madness of my “Mata Hari,” the grandness of “Queen Christina,” or the elegance of “Camille” was a stimulating experience.”

Still more Adrian to come!

See more Los Angeles photos at my main website.

Temple Tuesday: The Blue Bird at The Metro Theatre

2026-09-29T09:23:56.219-07:00

In the 1930s and 40s, my father was living in a small bungalow in the Hillcrest neighborhood of San Diego, cramped with his Italian immigrant family. To escape that existence, he often spent his time in a darkened theater, watching “Flash Gordon” serials, Charlie Chaplin, The Marx Brothers, or other popular fare. Years later, I remember his astonishment when he was perusing his Time-Life 1930s/40s volume of their This Fabulous Century series. There was a photo of the movie theatre he attended as a tot, with a crowd of excited kids holding up their free prizes and the owner whom he identified as Mr. Fink. Dad’s memory was spot-on; I looked up Fink’s name and came up with this info from the Chicano Park Museum website:

Prior to the toxic-air pollution and mixed land-use patterns, Barrio Logan, once known as Logan Heights, stood strong as a healthy and thriving neighborhood. During World War II the Coronet Theater opened in the heart of the community at 1796 Logan Avenue, along with Metro Theatre (located at 25 and Imperial Avenue) & Victory Theatre. A man by the name of Mr. Fink owned all three. These three theatres became extremely popular- especially amongst the community.…Metro was great for the community because for those that did not understand English there were not many theatres for them to go to and understand, Metro Theatre was completely in Spanish. There was little money available for entertainment. Movie theaters were one of the few affordable diversions. However, these theaters also sponsored events like a dish night or a grocery night. This was in the 1930s and families welcomed the opportunity to win a bag of groceries or some dishes. The Metro Theatre Building is located in Barrio Logan, near Galleries such as La Bodega Gallery & Creative Studios, Cafes like Cafe Moto & many more. The Metro Theatre itself was built in 1915. Today however it is currently being renovated into apartments with a lower level gallery for local artists.

One movie that my dad recalled vividly was Shirley Temple’s “The Blue Bird,” released in early 1940. Specifically, he would talk about the scene set in the Land of the Unborn Children. Frank Dawson played the Roll Caller, reading off the names to the children waiting with great anticipation:

Below, Shirley poses with Thurston Hall, who portrayed Father Time:

NOBODY would want to mess around with Father Time. He made sure the children made it to the ship with silver sails that would take them down to earth to be born. No dilly-dallying, kids!

The set was impressive, as was the large ship. Shirley is at left, with Johnny Russell who portrayed her brother and Helen Ericson, who played their ethereal guide, Light.

The ship ready for departure:

Zooming in, a tall Gene Reynolds is at back and child star Dickie Moore, noted for his earlier appearances in the Our Gang comedies.

Reynolds portrayed Studious Boy, a thinly veiled character meant to represent President Abraham Lincoln. Fox producer Darryl Zanuck had no problem inserting a few political messages into his movies, and this scene with Reynolds predicting his own death is a bit chilling.

Russell and Temple as their characters survey all that’s going on in the Land of the Unborn Children:

This detailed view of the teenage couple at right shows what really yanked at my dad’s heartstrings:

PLOT SPOILERS! The young couple is separated by Father Time, who tells them that they will not be born at the same time and therefore will not be able to continue their love for each other.

Despite their tearful pleadings, Father Time turns a deaf ear and forces the young boy to join the ship.

The little girl dramatically falls to the floor, as her golden hair manages to land perfectly on the gleaming marble. I wonder how many takes this shot required?

We see both lovers, tears streaming down their faces as they imagine a life without each other.

Some thirty years after he first saw this movie, my dad would tell me about how deeply this scene affected him.

Although I have no concrete proof, this little vignette was probably inspired by the popular 1935 Mildred Cram novel Forever. Irving Thalberg at MGM purchased the rights to it for wife Norma Shearer, but died before it got off the ground.

Tyrone Power gave Judy Garland the 60-page novella as a gift; she devoured the book and hoped that she could make the film version with Power, with whom she had a huge crush. Next, it was to be a project for Power and Lana Turner, who had an intense love affair. Turner’s daughter, Cheryl Crane, later recalled:

No book ever affected Mother as much as ‘Forever’ by Mildred Cram. It’s the book she wanted to make into a movie more than any other in the world, co-starring Tyrone Power. It would have been no small miracle if a loan-out for either of these two stars to rival studios could have been arranged. Short but powerful, ‘Forever’ is a story about a love longer than life & stronger than death. In the story, Julie & Colin meet in some otherworldly land before they are born but in their adult forms. They fall in love & vow to reunite in the next world, in exactly 27 years. Memories of this magic time before they are called to life are wiped from Julie and Colin’s minds upon birth & they grow up leading very different lives; she growing up & marrying well in Philadelphia; he living a quiet life in England, going to war, & then returning to his fiancée. Drawn together by some mysterious force, Julie & Colin’s paths converge on a fateful trip to the French Alps where love, tragedy, & a haunting recollection alter the course of their lives.

See more “The Blue Bird” photos at my main website.

Amtrak Journey: Solana Beach to Los Angeles

2026-09-28T05:00:00.000-07:00

Last weekend, a one-day trip to Los Angeles found me back on a train to avoid the stress of driving and traffic. The Solana Beach station has a large parking lot which (so far) is still free. Just as I got in the car to drive to the station, Amtrak started blowing up my cellphone with delay alerts. My stomach dropped as a result of my previous Amtrak experience when the train was delayed by almost an hour. Fortunately, the delay was only about five minutes this time. Phew!

Designed by architect Rob Wellington Quigley, the Solana Beach station was built in 1994. The trip was fairly uneventful, other than two Spicoli kids who were yapping the entire time. Between the “dudes” and the “bros,” the departure at Fullerton couldn’t have come quickly enough!

Arriving at LA’s Union Station is almost like Dorothy entering Oz. Designed by the father-and-son architect team of John and Donald Parkinson, it is an impressive melding of Spanish Colonial, Mission Revival, and Art Deco architecture. The station still looks fantastic and appeared to be fairly well-monitored to keep it safe for the passengers.

When one exits the station, the fantasy begins to crumble as the smell of weed, urine, and the shouting of crackheads encourage one to keep moving briskly to avoid any trouble

On this visit, I checked out the Imperial Western Beer Company at the South Patio, formerly the Fred Harvey House restaurant, which was designed by Mary Elizabeth Jane Colter, who served as the Fred Harvey Company’s interior designer and architect. The tile floor is meant to look like a Navajo rug.

The Harvey restaurant closed in 1967 and became an event space/filming location.

And then it was time for me to make my way to my appointment, so I began hoofing it to downtown LA.

I’m not sure when this was installed, but this time I noticed this little plaque in the sidewalk about Union Station:

See more LA Union Station photos at my main website.

The Munsters Debut

2026-09-24T15:28:27.684-07:00

62 years ago today, “The Munsters” debuted on CBS Television. While “The Addams Family” was released first (just six days before on CBS), “The Munsters” is my favorite. The initial pilot was filmed in color with a different tone and characterizations than the final show that was eventually approved by the network brass.

As Phoebe, Joan Marshall’s daughter of Dracula character was more in line with Vampira and Morticia Addams.

Played as if her face had just been frozen by Botox, there was very little warmth in the Phoebe character.

Eddie, the son, was ironically portrayed by Happy Derman. This little snarling brat was anything but happy. There was zero appeal or warmth for this character. Recasting fixed both problems.

Phoebe became Lily and would be played by Hollywood star and glamour girl Yvonne DeCarlo, shown with former beau Robert Stack below:

Both Fred Gwynne (Herman) and Al Lewis (Grandpa) bristled at the thought of DeCarlo, assuming she couldn’t handle the comedy while bringing an attitude to the set. As Lewis would later admit, they were both wrong. Dead wrong! Eddie was recast with Butch Patrick, who played an ordinary little boy who just happened to have pointed ears and a werewolf for a teddy bear.

The opening credit sequence set the tone for the show; it satirized the typical “Leave It To Beaver” intro to each family member while adding a warm comedic touch. Gwynn’s characterization of Herman was more bumbling and lovable in the revamped show. The network brass decided to go with black and white instead of color, since it added about $10k per episode. It was the right choice, as the black and white cinematography fits in better with the Universal Studio monsters with which the show spoofs.

As if those changes weren’t enough, there would be one more.

As she described in the documentary “The Munsters: America’s First Family of Fright,” actress Beverley Owen was getting ready to move to New York to be with her boyfriend when she got the call for the Munsters pilot. With doubts that it would ever make it to fruition, she agreed to play the “normal” niece of Herman and Lily Munster. Desolate at being stuck on the west coast while her honey was in the east, Gwynne and Lewis helped Owen get out of her contract.

Pat Priest took over the role, with her first episode airing on December 24, 1964. Many didn’t even notice the change as the two bore a striking resemblance to each other. Another bonus of hiring Priest was that she was able to fit into Owen’s wardrobe, saving the production a fair amount of money.

Who was better? I like both of them for different reasons, but have to vote for Priest as the best choice for Marilyn. Owen’s characterization had a touch more glamour and smarts to her, making it a bit harder to believe that she isn’t aware of her beauty as Marilyn, or that her family are truly the odd looking ones not her. Priest brought a certain naiveté and genuine warmth to the role which were missing when Owen was part of the family.

By the third season, the opening theme was a bit jazzier and the credits were filmed on the porch instead of in the foyer of the gothic Munster mansion.

A popular stop on the Universal Studios tour was the Munster Home, as seen in this poorly composed shot from September 1965:

In all fairness, the trams didn’t always give the best vantage points for photos. Here’s another one showing iconic 1313 Mockingbird Lane street numbers on the exterior pillars of the home, circa March 1966:

Lasting only two seasons, the show is still remembered. TV and film reboots have failed, and I would attribute this to two things: the cast and the superior writing. The chemistry between Gwynne and Lewis is unmatched, and DeCarlo held it all together as the matriarch with a touch of Hollywood glamour. The original show also had a family warmth and appeal that is hard to reproduce. There were moral lessons that were seamlessly presented that when looked at today, are still valuable and heartwarming without being in your face or cloying. NECA has recently released 7" action figures of both Herman and Grandpa; they quickly sold out!

It is amazing how much detail is captured at this small size:

Each figure comes with a generous amount of props that will make fans of the show remember the specific episodes that inspired them:

Hey NECA; how about a Lily, Marilyn, and Eddie?

Happy Anniversary, Munsters!

See more Classic TV & Movie photos at my main website.

Temple Tuesday: Heidi Hijinks

2026-09-22T08:12:41.087-07:00

David Butler first directed Shirley in 1934’s “Bright Eyes,” where she launched a taxiing airplane with “On The Good Ship Lollipop.” No…it wasn’t a boat. In the first photo of today’s post, he visited Shirley on the set of “Heidi” (1937) and the two seemed to be having a bit of fun. It was important that the studio gave little Shirley directors who knew how to relate to children, as it made the work day for her more like play. The result yielded a more natural performance out of the talented tot, and Butler was smart enough to realize that. In 1937, Butler directed two films on the Fox lot: “Ali Baba Goes to Town” and “You’re a Sweetheart.” Based on production dates from the AFI website, “Heidi” was from May 17 to mid-July 1937; “Ali Baba” was from late July 1937 to early September 1937. “Sweetheart” was September 7 - late October 1937. If one was to guess, Butler was around for pre-production on “Ali Baba” when he visited Shirley. Below, Butler interrupts a game of checkers between Shirley and “Bright Eyes” costar James Dunn:

Apparently checkers was a favorite game for Shirley between takes; below it’s a different day during “Bright Eyes” filming, but the same activity!

Back to “Heidi”…it just wouldn’t be a Daveland post without a few rabbit holes! Another day, another visitor to “Heidi.” Not sure who the semi-goofy looking guy is, but Shirley was caught mid-blink.

Zooming in to show her costume:

I was able to see it in person at the Santa Monica History Museum before Theriault’s auctioned it off in 2015:

The obligatory detail shot:

As they often did, the studio gifted Shirley a custom-made doll using the same fabrics as her actual costume.

Another “no idea” on this set visitor with the overbite:

…or the significance of the blurry coin in her hand. At least I think it’s a coin.

This particular costume was sold off by Theriault’s, but wasn’t on display at Santa Monica. Sigh. The Theriault’s auction photo will have to do.

If you zoom into the small photo downloaded from the web, as so many shamelessly do and pass off as their own, you get bupkis on the details, and instead a fair amount of blur.

When applying AI, you get a much crisper photo, but the accuracy for the fabric and the techniques used in construction go down the toilet. AI has its uses, but can only do so much when it “guesses” about information for an existing photo. Just a cautionary tale when using this new tool!

See more Shirley Temple photos at my main website.

L.A. Confidential at the Los Angeles Theatre

2026-09-21T04:30:00.000-07:00

It only took me about three months to finally get this post done, which is actually pretty good for me these days as I often feel like I’m at least a year behind. No kidding! As part of the LA Conservancy’s Last Remaining Seats series, “L.A. Confidential” (1997) played on the big screen at the Los Angeles Theatre in downtown L.A.

From the L.A. Theatre website:

The Los Angeles Theatre was the last and most extravagant of the ornate movie palaces built on Broadway in downtown Los Angeles between 1911 and 1931. Designed by architect S. Charles Lee with a French Baroque-inspired décor, its majestic six-story main lobby and 2,200-seat auditorium of carved plaster ornamentation, mirrors, and cove-lit murals recall the glamorous days of 1930s Hollywood.

The terrazzo floor outside on the street displays a level of craftsmanship one does not typically see anymore:

The inside is jaw-dropping! Opulent and yes, a tad-bit gaudy, it still packs a wallop nearly one hundred years after it first opened for the premiere of Charlie Chaplin’s “City Lights” on January 30, 1931.

I am obsessed with the fountain area shown below. It took me quite some time to get a decent shot sans cellphone gawkers standing in my way. I don’t mind other people taking photos; just those taking numerous selfies, obliterating this beautiful area with their ego-driven faces snapping shot after shot after shot, hoping to get the perfect image for their social media, proving that they were here.

Before the film started, James Ellroy, author of the book L.A. Confidential, gave a reading from his new book, Red Sheet. Not a fan of LA, he said he only came to the city for three reasons: 1. Where he goes when he is getting a divorce 2. When he has to dry out 3. To make money. His reading of his latest novel was just as I would expect it to be from him: slightly anger, very vulgar, and somewhat hard to follow.

That killer smile of his as he signed my copy of Red Scare. I have been struggling to read through it, as his staccato/machine gun writing style takes a bit to get used to. L.A. Confidential was one of the few times where I would say I prefer the film to the novel. Ellroy has wonderful stories to tell; I’m just not a huge fann of his writing style.

Heading back to the theatre itself, I snapped (what else?!?) a light fixture or two:

The impressive stage curtain:

The detail on the ceiling. Wow. Just wow.

Ellroy spoke for a bit before the film started. He didn’t elaborate, but it was easy to read between the lines that other than the money he was paid for the film rights to his novel, he was not a fan of the adaptation.

I was pretty excited to see it up on the big screen again, especially in this grand movie palace. The print was muddy and throughout there were focus issues. Despite that, the film was still impressive. Stellar cast, stellar set design, and killer dialogue.

See more Los Angeles Theatre photos at my main website.

Temple Tuesday: Shirley the Tomboy

2026-09-15T08:19:35.752-07:00

Shirley Temple was the most popular movie star of the 1930s, but that didn’t keep 20th Century-Fox mogul Darryl Zanuck from worrying about retaining those audiences. In order to appeal to little boys, her innate tomboy characteristics were brought out in “Captain January” (1936). Set at a seaside lighthouse, Shirley gets to wear boyish naval attire through most of the movie, and is even taught how to properly spit!

In this still from a deleted scene, Shirley almost gets a tattoo from John Carradine. Spitting is fine, but no tattoos for Shirley!

The dance sequences focused on athletic and daring routines, including a memorable one staged on this spiral staircase. This closeup of Shirley and costar Guy Kibbee is also from a deleted scene:

Shirley later recalled the scene where she learned her multiplication tables while doing a tap dance routine down the lighthouse spiral staircase. From her autobiography Child Star:

Learning my solo tap dance descending a forty-five-foot-high spiral staircase in a lonely lighthouse taught me not only the routine, but also how to multiply. It was all tight steps, like a ballet, a devilishly complicated task. There were three things to do at once: the taps, move down the spiral staircase a step at a time, and synchronize multiplication tables with both taps and movements.

Shirley’s character was still a bit of a helpful Hannah, but thanks to pairing her with a thoroughly unlikeable counterpart, ably played by Jerry Tucker, the audience naturally roots for Shirley! In a deleted sequence, Shirley is shown below with Tucker, selling lobsters. The prissy little brat is obviously appalled!

In one of my favorite scenes, Tucker and Temple’s characters are tested together for their scholastic aptitude. You can see the tension building between the two before the test begins:

Motion Picture magazine reported professional jealousy on Shirley’s part:

Jerry Tucker, ten-year old ‘Captain January’ juvenile, had her attention for almost a day. That was because his line-remembering agility was a slight thorn in Shirley’s side. She learned her two pages of dialogue and leapt into it like a gazelle, not permitting Director David Butler to break it into smaller scenes and thus lessen the tax upon her memory. She’d show that Jerry Tucker (who had done his scene in only two takes) that women had good memories, too!

Below, June Lang is at right, playing the part of the pretty schoolteacher:

A detailed view of Tucker and Temple. Tucker was born Jerome Harold Schatz, and garnered his first taste of fame with the “Our Gang” comedies. His movie career ended in 1941, and he went on to serve in the U.S. Navy during World War II and the Korean War. Tucker followed his years of service with a successful career as an RCA electrical engineer, living on to the ripe old age of 91.

So as to continue the appeal for little girls, Shirley gets a cute little frock for her aptitude test, which was also sold as an outfit for the popular Ideal Toy Company Shirley Temple doll of the 1930s:

The movie also used the “Captain January” sets and costars Slim Summerville and Buddy Ebsen to promote the RCA Victor Magic Brain. Maybe this is what inspired Tucker’s later career?

From the publicity blurb on back:

Slim Summerville and Buddy Ebsen, featured players in 20th Century-Fox “Captain January” starring Shirley Temple, are seen discussing the qualities of the RCA Magic Brain Radio. Summerville and Ebsen are seafaring men in this great picture and they depend upon R.C.A. Victor Radio for their news and entertainment.

Magic Brain…sounds a bit like a pre-cursor to AI!

What a 1936 RCA Victor Magic Brain radio looks like, as seen in this photo from Facebook:

Here’s a view of what the Cunningham Radio Tubes, shown in the window, look like in color, from the Tube World Express website:

In other Shirley news, Shirley Temple expert supreme, Rita Dubas, has just released another thoroughly detailed video with EVERYTHING you could possibly want to know about the famous Shirley Temple soft drink, of which Shirley herself could not stand!

See more Shirley Temple photos at my main website.

Dolly in San Diego and Hollywood

2026-09-09T08:37:37.775-07:00

I normally don’t get too affected by celebrity deaths, but Dolly Parton was an exception. She was one of a kind who could have inspired the phrase about breaking the mold. She could sing, write, and act, and had a personality that EVERYONE adored. Somehow, she also managed to keep her private life private, holding rude interviewers at bay with a witty quip and a smile. Despite patterning her look after the town tramp, she gave off a warm approachable vibe that made people feel as if they had known her for years. Another rare quality was her ability to be positive. ALL THE TIME. Instead of complaining about politics or griping about people, she did what one should: be a good example, keep your mouth shut, and do what is humanly possible and let the rest go. Too often the armchair critics just sit back and bitch about the state of affairs without offering true help or solutions; not Dolly. She put her money where her mouth was and used it for good, creating libraries for kids, helping underprivileged neighborhoods, donating for medical research, and so many other worthwhile philanthropic efforts that have probably gone under the radar. When I was getting my haircut the other day, I was reminded that there was a Dolly Parton mural in Normal Heights, by Sharky and Hassler outside Avalon Tattoo. From the Earthly Excursions website:

Avalon Tattoo’s owner commissioned the mural because he viewed Dolly as the quintessential American success story. She was a performer who rose from poverty and humble beginnings, and remained incredibly generous, authentic, and relatable to ordinary people. He later added the eagle and stars himself as a personal tribute to her.

My first introduction to Dolly was in 1977 with her song, “Here You Come Again.” One of the rare Parton hits that she didn’t write herself, it still packed a wallop, as she conveyed the emotion of someone falling in love with the wrong kind of person but not being able to help herself. Who hasn’t gone through that?!? After that, “9 to 5” (1980) was her breakout first role in the movies, captivating audiences with her portrayal of the “dumb blonde” who was anything but dumb. Despite looking like the town tramp, Dolly was a smart businesswoman who was able to use street smarts to outwit the fools who couldn’t see beyond the stereotype.

I was fortunate enough to see Dolly perform in San Diego at Humphreys by the Bay, August 1, 2008. I was impressed that despite being tiny in height, she was still able to radiate her gigantic warm energy to the audience and make them feel like she was singing to each and every one of them.

On September 13, 2008, I was asked to be part of the Dollypop! exhibit at the World of Wonder storefront gallery on Hollywood Boulevard. I LOVED being part of these popup gallery exhibits, which typically consisted of an email, “Hey, we have an exhibit coming up about _____; want to be part of it?”

I created this 3' x 3' painting using images from the fantasty/revenge sequences of “9 to 5.” It hangs in my office to this day; entertaining serious offers if anyone is interested.

Me on the left, looking appropriately dorky at the exhibit with co-curator Steven Corfe (right) and my friend Gene (center):

Marc Malkin was the other curator:

Although Dolly didn’t attend, there was an impersonator, Lenora Claire (thanks for the memory jog, Major!):

The other painting I created for the exhibit was “Dolly of the Caribbean,” creating a mashup of two of my favorite things. 24" x 36", I think I still have this…but haven’t located it yet. If I still have it, I might retool it a bit before offering it for sale.

Dolly left many amazing projects behind to still be carried out. Most importantly, I hope her legacy of laughter, positivity, and ability to get good things done can continue to inspire others. It would be almost too easy to ask oneself, “What would Dolly do?”

See more Normal Heights/Adams Avenue photos at my main website.

Coyote in Coronado

2026-09-04T10:38:54.553-07:00

I semi-regularly check back to the Village Theater in Coronado to see what’s playing; my positive experiences at this place have gotten me back to the theater after years of rarely going to the movies in person. Just the thought of driving to a mall and navigating the mall multi-plex parking lots is enough of a deterrent to keep me away. Not so at The Village. This time, the drawing card was “Coyote vs. Acme,” a film with a stormy background that almost didn’t see the light of day.

On a side note, the popcorn is good, too, served by a very friendly staff member. The medium size would be large enough for two.

The Village has three separate screens. This time, I was able to experience #3. Like the other two, it feels magical, with murals of Balboa Park, deco styling, and CLEAN!

The movie: apparently, after it was completed, Warner decided to shelve it and use it as a tax write-off. Three years later, it finally hit the big screen. I have no idea why this film would have been buried, although usually in Hollywood at the big studios it comes down to money. I have heard it described as a cross between “Who Framed Roger Rabbit?” and “Erin Brockovich,” and I would say that’s a very good description. Pretty much all the Looney Tune characters are on hand, and I found myself laughing out loud frequently in the first half of the film. The situations in that portion are creative, well-written, and keep in line with the spirit of the original Warner cartoons. Once the courtroom portions begin, the film loses a bit of gas, and becomes a bit more predictable and preachy. I would still recommend it, but would have to give the first part an A+ and the last half closer to a C+.

My other goal of the evening was to try the Night & Day Café located just across the street. This late-night hangout closes at 10pm on Thursday nights, and I sailed in at 9:30pm. Unlike many other restaurants in town, I did not get the death look. Instead I was warmly welcomed and immediately seated at the counter.

It’s a true authentic diner. Just take a look at the counter and the grill.

I will def do this on my next visit:

It’s a tad dark in here, but it fits perfectly with the vibe, which I would say is akin to the 1942 Edward Hopper painting, Nighthawks.

My Beef Chimichanga was DELICIOUS. The large portion will serve as my lunch today!

I will definitely be returning to both places; I love neighborhoods where you can have a perfect evening without driving all over, and that definitely describes Coronado Island.

See more Coronado Island photos at my main website.

Even More Marilyn at the Academy

2026-08-26T05:30:00.000-07:00

Who would have thought that a backwoods country singer could unite the world through her love, talent, and infectious joy? That's exactly what Dolly Parton did, and while I plan on doing a tribute post for her, there was just not enough time for me this morning to do it right, so instead, you get more Marilyn Monroe from the Academy exhibit in Los Angeles. Two dresses from one of my very favorite Monroe flicks, “Some Like it Hot” (1959) were on display together.

Designed by Orry-Kelly, they both appear to be original (other than the shoes), based on the nearby placard:

Marilyn Monroe’s work in director Billy Wilder’s “Some Like It Hot” is often cited as her best. The film was controversial for its racy humor and story about two musicians (Tony Curtis and Jack Lemmon) who disguise themselves as women to evade the Mafia. But of equal scandal were the Oscar-winning costumes by Orry-Kelly for Monroe’s Sugar “Kane” Kowalczyk. These two dresses feature carefully placed beading and sequins so that when shot in black and white, Monroe appeared partially nude.

Silk, sequins, and chiffon never looked so good. Here’s a color publicity still showing Monroe in the outfit:

This one is probably my favorite outfit she wears in the film. The amount of detail in the sequins for something that would barely be able to be seen on screen is astonishing.

Marilyn wearing the dress. At the bottom of the photo, you can see my very favorite detail - a heart on her left butt cheek:

I wonder how many people who watched the movie even caught this little detail? While Monroe looked fabulous in black and white, seeing this costume in person in full color gives one an even deeper appreciation for the craftsmanship that went into it.

Monroe and Curtis between takes:

As I approached the legendary “Seven Year Itch” (1955) subway dress, I wondered…could this be the real thing? Well, kind of, but not really.

This replica was made by the original costume designer William Travilla. He often made close copies of his most iconic film looks for publicity purposes. This version has the belt secured in the middle. For the original costume, Monroe tied the belt to the side.

Tied front and center:

As seen in the film (with Tom Ewell), tied to the side. Much better! Good choice, Marilyn!

Final outfit for today is from “Bus Stop” (1956). All original EXCEPT for the shoes, tights, and gloves.

“Bus Stop” marked a turning point in Marilyn Monroe’s career. She had recently formed Marilyn Monroe Productions and signed a new contract with Twentieth Century-Fox that gave her a higher salary and more creative agency. This design by William Travilla supported Monroe’s performance as saloon singer Chérie, who dreams of one day making it big in Hollywood. Monroe learned an Arkansas accent for the role. She asked Travilla to tone down the glamour used for her costumes in previous roles to better suit Chérie.

Monroe wearing this outfit on the larger-than-life marquee in front of Grauman’s on Hollywood Boulevard:

If you haven’t seen it yet, you have until February 28, 2027. Don’t put off for tomorrow what you can do today!

See more Academy Museum photos at my main website.

Temple Tuesday: Rebecca Restored!

2026-08-25T04:30:00.000-07:00

Very quietly, it was revealed that Shirley Temple’s 1938 musical comedy, “Rebecca of Sunnybrook Farm” has been restored. Those that live near the Orinda Theatre can view it on the “big” screen on September 5 at 1pm, according to the theatre’s website:

A new chapter unfolds for cinema enthusiasts: We have secured an extraordinary partnership to showcase a Disney Restorations Series. Starting in 2026, the first Saturday of each month will bring an amazing opportunity to experience some of cinema's most treasured classics on the big screen, right here at the Historic Orinda Theatre. This series celebrates a milestone in film preservation, with the Walt Disney Studios Motion Pictures' Restoration and Library Management Department sharing their remarkable work, including restored classics from Disney, Selznick International, 20th Century-Fox, Fox Film Corp., and 20th Century Pictures. Many of these cinematic gems have been absent from theaters for years, making this year-long showcase a groundbreaking event for Northern California, with numerous premiere presentations of these restored masterpieces. We will be opening the series with the 1950 Animated Classic, Cinderella! Hosted by Film Critic, Matias Bombal

The Orinda, just under seventeen miles outside of San Francisco, was designed by architect Alexander Aimwell Cantin, are right up my alley. If only it were closer! Photos below were found online:

From the exterior signage:

The Orinda Theatre opened its doors in 1941 and is the city’s most prominent visual landmark with its signature dorsal fin marquee. It is a textbook example of Streamlined Moderne Architecture, a late type of Art Deco design inspired by structures built for the 1939-40 Golden Gate International Exposition on Treasure Island. The building includes Carrara glass and stainless steel finishes, with the interior theatre walls and foyer ceiling painted in classic murals.

Back to Shirley…I was curious what “restoration” meant in this case. No information was given as to whether the efforts sourced the original negative, a vintage print, or…? Due to “vault fires” and the natural aging of nitrate film, many of Shirley’s early films don’t look so good. “Rebecca” has always looked pretty decent in its VHS and DVD releases, so for this one to be the first chosen for a restoration effort seems like Disney (who now owns her childhood catalog) was seeking some low hanging fruit, or perhaps because it is one of Shirley’s least controversial movies. Whatever the reasoning is, I am very happy that Disney is actually doing something positive with Shirley, who has been buried since they took over the 20th Century-Fox classic catalog of films. Below, Shirley helps “Titanic” dish Gloria Stuart bake some cookies in “Rebecca”:

Kevin Schaeffer, the current Director of Restoration & Library Management for the Walt Disney Corporation, posted this on his LinkedIn account:

Incredibly proud and excited that our restoration of the Shirley Temple classic "Rebecca of Sunnybrook Farm" (1938) is premiering at the Venice International Film Festival today. Congratulations to our Restoration Manager Nikki Jee, Natalie Altounian, our partners at The Film Foundation, and the artists at Cineric Inc and Audio Mechanics for their great work.

When using AI to find more information, I learned just how faulty it can be. It apparently mixed up information for the Mary Pickford version, and also freely takes information about negative restoration and haphazardly paired it with “Rebecca.” One should ALWAYS check the sources for AI and follow-up with more questions. Below, Shirley’s “Rebecca” costars Randolph Scott and Jack Haley (best known as the Tin Man in “The Wizard of Oz”) have a discussion:

Franklin Pangborn (below) has a memorable bit towards the end of the film. Few played the prissy/fussy comedic characters like he did; he was often a foil for W. C. Fields (“International House,” “The Bank Dick,” and “Never Give a Sucker an Even Break”).

Below is a still from a deleted musical number with Shirley, Slim Summerville, Bill Robinson, and some of the other fieldhands from Sunnybrook Farm. If only this sequence survived!

In other Shirley news, it appears that the rest of her autobiography might finally see the light of day. Hollywood gossipy Deadline, quietly broke this story last October (which was briefly regurgitated this March on the official Shirley Temple website):

Marty Tudor has been working with the family estate of Shirley Temple and will have access to the rights of the child actress-turned Ghana and Czechoslovakia ambassador across streaming, film, stage and more. There are also two unpublished autobiographies by Temple which Tudor is helping the estate get published. Tudor is an industry vet, who managed the careers of Paula Abdul and Jon Cryer, and of late has been behind a series of Hologram concert shows starting in 2018 with performances by the late Maria Callas, Roy Orbison, and Whitney Houston. His Orbison-Buddy Holly hologram tour was booked for 58 dates while Houston’s was a 36-date tour in Europe. Tudor’s credits include the Cryer movie Hiding Out, the 1995 TV movie Sahara, the 2004 TV special Carol Burnett: Let’s Bump Up the Lights, and the 2005 Disney TV movie, Once Upon a Mattress starring Burnett, Zooey Deschanel and Tracey Ullman. “There’s so much more to American icon Shirley Temple’s life that people aren’t aware of. She was the U.S. delegate in the United Nations, a female Ambassador to Ghana and Czechslovakia, she was a breast cancer survivor, she fought sexism as the first female U.S. Chief of Protocol. What appeals to me, as a father of a daughter, is that Shirley continues to be an amazing inspiration and role model for young girls. We see a lot of kid actors who go the wrong way, she did not. There’s an amazing human being here with a big story who gave back as opposed to a pop star in it for the glory,” Tudor tells Deadline. The Temple Black family tells Deadline in a statement: “As the 100th anniversary of our Mom’s birthday approaches, we are so pleased at the idea of sharing with the world the lesser-known second half of her incredible life story. She often observed that ‘the Little Girl opened the door’, but then our Mom stepped through it, confident, courageous, authentic – all grown up.”

This is a curious story as Disney/Fox owns the rights to most of Shirley’s well-known childhood titles. Most likely the movies the story refers to are her Baby Burlesks and the 1950s/1960s Storybook anthology television series. Below, a 32 year old Shirley plays a little girl magically transformed into a boy in “The Land of Oz” (1960) segment of “The Shirley Temple Show.” She is shown with Jonathan Winters:

A brave Shirley even tackled the role of “The Little Mermaid” on her series. In a bad blonde wig, Shirley was very miscast in this part. Below, Shirley and costar Torin Thatcher:

The one comment left on the Deadline story was hilarious:

They’re gonna AI Shirley age 10.

A hologram concert with Shirley? Oh my…

See more photos at my main website.

Trio of Change

2026-08-19T06:26:25.483-07:00

Change is inevitable, and no matter how much we resist it, it typically manages to beat us over the head at some point. “They” say bad news comes in threes, so I am hoping that when it comes to favorite restaurant closures, this is it for a while. This spring, longtime favorite Hob Nob Hill closed down for good, after struggling for a year under the poor choices of the new owners. The place I originally fell in love with was fairly priced, large portions, great service, and made-from-scratch meals that tasted like mom made ’em. It was one of those staples that I ate at often, and my friends all dug it, too. No more Cincinnati Chili:

…and no more group gatherings where you didn’t feel like you needed to be ushered out. Nothing but good times, good food, and good memories.

Nearly every trip to LA featured a lunchtime stop at Mauro Cafe on Melrose, in the now defunct West Hollywood Fred Segal shopping center.

Every friend I took there raved; with both indoor and outdoor seating, you could guarantee that there would be fun people watching (and a celeb or two), delicious food, and servers who looked like they just stepped off the runway.

It was also Willis approved.

They had a lemonade slushee that was tart as could be and I LOVED it. On my most recent trip to LA, I was going to stop at the recently moved Mauro, but ran out of time. Oh well, I’ll catch it next time, I reasoned to myself. Next time is now never. It has permanently closed. Don’t put off for tomorrow what you can do today. So many adages today.

Yesterday, I learned that local favorite Madison in University Heights is also closing down, to replaced by who knows what.

This was another place that I typically took out-of-town guests to, including my mom. It got her stamp of approval, which is no small feat; Tony is one tough customer.

The drinks were a tasty precursor to the meal, which was followed by their awesome desserts. Presentation was a hallmark of this place:

The barrel ceiling and mod design were unique, pairing perfectly with Madison’s vibe.

Many a special occasion was celebrated here, including a birthday or two.

Good friend Mona and her husband Patrick recently went there for a belated birthday celebration. We had no idea it would be our last time there. Had I known I would have brought my camera. Another lesson - never leave the camera at home.

The moral of the story: if there are places you want to go to, or a restaurant you enjoy dining at, get your ass there. Support it. Don’t let it languish. Like anything in life, nothing lasts forever, except maybe the sting of regret.

See more San Diego photos at my main website.

Temple Tuesday: Shirley in Color!

2026-08-18T04:30:00.000-07:00

Shirley Temple had very few films that were made in Technicolor; the brief list includes a short sequence at the end of “The Little Colonel” (1935), “The Little Princess” (1939), “The Blue Bird” (1940), and “The Story of Seabiscuit” (1949). Even though color was becoming more of a thing by the 1940s, Shirley’s teen films were typically low budget, relying on her former starpower to bring in the bacon. “Honeymoon” (1947) was an RKO black and white comedy (which is debatable!) that just misses the mark. Joseph Cotten went on suspension for backing out of the production and was replaced by Franchot Tone. Probably the best move of Cotten’s career! While the movie wasn’t filmed in color, the fan magazines were documenting Shirley in all her Technicolor beauty! In attempting to get a marriage license in Mexico, Shirley (with Guy Madison) wore this stylish outfit with a hood designed by Edward Stevenson:

Thanks to this image taken in her dressing room, we can see it and her lovely auburn locks in full color! Yes, she knits! And check out the heels on those slingback shoes!

This simple suit was also designed by Stevenson:

It stayed in Shirley’s personal collection until it was auctioned off in 2015, one year after she died. From the catalog description:

Teal Woolen Suit with Silver Buttons Worn by Shirley Temple in the 1947 Film "Honeymoon"

Description: The two-piece suit includes a silk-lined jacket with dart shaping and long sleeves, ruffled white cuffs and collar, and with 10 silver buttons with chain design; along with matching skirt. The ensemble was worn by Shirley Temple in the 1947 film “Honeymoon.” Sold: $1,100

The September issue of Photoplay magazine deemed it pattern of the month. Those interested in sewing their own could purchase the pattern for just 35¢!

I tried oh so hard to find the pattern itself, even joining a number of vintage pattern groups on Facebook. Alas, to no avail. Here is what the cover of the Advance Pattern #4659 looked like:

In this costume, Shirley’s character states that it’s her boyfriend’s favorite color. That piece of the script is wasted on a black and white movie!

However, thanks to this image from her 18th birthday party held on set, we can see what that color looked like. The burning of the little red school house signified Shirley was now an adult!

If you think you can reveal the colors of a film by looking at vintage lobby cards and poster art, think again. They are all pretty much colorized by the artists of the day, who used a lot of creativity (?) in assigning colors to the promotional ephemera. Would Guy Madison still like this one if it was pink and blue?

Another simple suit by Stevenson was featured in this scene with Tone and Madison; Shirley is the rose between two thorns:

Once again, a dressing room shot reveals that this one is beige in color; Shirley poses with then-husband, John Agar:

See more Sbirley Temple photos at my main website.

Top Gun in Oceanside

2026-08-17T06:26:29.665-07:00

If the house above looks familiar, then you’re probably an 80s filmgoer who liked one of the biggest box office blockbusters of all time, “Top Gun” (1986). From the plaque in front of the quaint little home:

From the plaque in front: Built in 1887 by Dr. Henry Graves as a vacation home, The Graves House is an oceanfront Queen Anne Cottage and is now recognized as the “last best” existing such house in San Diego county. This house is best known by most people as The Top Gun House because of its prominent role in the movie of the same name. Scenes between Tom Cruise and Kelly McGillis were filmed here in 1985 and the popular movie was released in 1986. In 2022 the house was fully restored in conjunction with the grand opening of Mission Pacific Hotel and The Seabird Resort.

Above and below are two screencaps from the movie showing this Oceanside home:

Edited from the visitoceanside website:

In 1886 Dr. Henry Graves of Riverside came to Oceanside and while here bought a portion of a lot on North Pacific Street for just $1.00. The following year Graves purchased two more lots, one of which was on the northwest corner of Pacific and First Streets (now Seagaze Drive). Lot 7 on Block 16 was purchased for $1050.00 and would be the site of a new summer home for himself and his wife Sarah. The ornate Victorian cottage was built as a vacation home, Dr. and Mrs. Graves would “summer” in Oceanside and return to Riverside. The Graves sold their Oceanside home in March of 1905 for $1800, to Charles H. and Lillian Burlock. Dr. Henry Graves died on October 20, 1905, in Riverside at the age of 78. In 1921 the home was purchased by F. C. Janssen who was active in Oceanside real estate. The cottage was sold in 1926 to B. C. and Margaret Beers, the former being the President of the First National Bank of Oceanside and the developer of the Plumosa Heights subdivision on Alberta, Leonard and West Streets. The cottage was sold again to Edward and Edith Deggendorf in 1928, who promptly sold it to Angeline G. Morgan who also purchased a house and lot behind the Graves house on Lot 6. Angeline Morgan enlarged the former Graves cottage in 1929. She rented out the house until 1936 when she came to live there herself for a period of about five or six years until returning to San Bernardino to be nearer to her son. She relocated again by 1950 and her son, William M. Morgan, rented the house to the rear (112 First Street) for he and his family. By 1966 Morgan had moved to Encinitas and the cottage was purchased by the owner of the beach amusement park, Pacific Holidayland.

The Graves house reverted again to a rental property and over the years became dilapidated. Lynn and William Rego of West Covina, however, saw a diamond in the rough, and purchased the house in December of 1975 for $75,000. Much like Dr. and Mrs. Graves, they spent their summers in Oceanside looking over the blue waters of the Pacific Ocean and renting it out the remainder of the year. In 1985 the Regos were contacted by Paramount Pictures looking for a beach cottage for a film location. Paramount rented the house (including the property at 112 First Street) in June for two weeks. The crew prepped the perimeter of the property by removing parking and street signs and covering the curbs with sand. The movie being filmed was “Top Gun”, which became a blockbuster upon its release in 1986. In 2001 the City of Oceanside acquired the Graves house through eminent domain to control future development of the oceanfront block in hopes of securing a resort project. Save Our Heritage Organization (SOHO) recognized the significance of the Graves house in 2001 and included it on their Most Endangered List of Historic Resources, saying: “This sweet Victorian era seaside cottage was built for Doctor Graves from Riverside. It is the oldest and last best beachfront cottage in Oceanside. Featured in the movie Top Gun, it has consequently been known as the Top Gun Cottage. The site is threatened by the huge hotel development proposed by Manchester Resort Hotels and the City of Oceanside. The cottage is on a corner of the property and could easily be integrated into the development and used as an adjunct facility to the hotel. Right now, it appears it will be moved off site, out of context, with its use yet to be determined.” The Manchester project, a twelve-story, 475-room hotel failed, leaving Oceanside without its desired resort hotel overlooking the Oceanside Pier. However, two blocks fronting Pacific Street were cleared in anticipation of a new hotel project. Block 16 on which the Top Gun house was located, had four other historic homes.

The house known as the Pishon house, located on the southwest corner of Mission and Pacific Streets was moved to a location on Maxson Street. Three other historic houses were demolished, including the house behind the Graves house, at 112 First Street (now Seagaze) which was used in the “Top Gun” movie. By 2010 the “Top Gun” house was the only structure remaining on the block and seemed to be in the “Danger Zone.” In 2018 S. D. Malkin Properties, Inc. announced two new resort projects by developer Jeremy Cohen. Many wondered what would become of the “Top Gun” house. With the support and influence of Save Our Heritage Organization and the Oceanside Historical Society, the Graves house aka “Top Gun” house would be restored by S. D. Malkin and used as the “centerpiece of Oceanside’s much anticipated new oceanfront resort.” Groundbreaking ceremonies for the new hotels were held in February of 2019. The cottage was relocated one block away for structural restoration. Afterward much of the work had been completed, it was moved one block north of its original location in front of the beautiful new Mission Pacific Hotel. The cottage is still situated on North Pacific Street, facing the ocean, which was important in preserving its historical integrity and setting. Architectural Digest reported: “Among the projects were restoring the wood cladding and front windows, dismantling the original chimney, and rebuilding it with the same historic bricks, and bringing back gingerbread details. Both porches had also been damaged and were restored.” In May 2026, the story levels up. An’s Gelato is set to take over the iconic space with its bold new “Gate D5” concept- bringing an aviation-inspired vibe, creative flavors, and a fresh wave of energy to the coast. It’s the perfect next chapter for a place that’s always captured imaginations- bigger, brighter, and ready for takeoff.

Whew, that’s a lot of background! In front is another “prop” from the movie. Well, kind of, as the sign describes:

This Kawasaki Ninja ZX900 is an exact replica of the motorcycle made famous in the movie “Top Gun.” Lt. Pete “Maverick” Mitchell, played by Tom Cruise, rode it to visit his love interest, Charloe “Charlie” Blackwood, played by Kelly McGillis, who in the movie lived in this very house.

An’s Gelato was not open for biz yet, thus the lockbox on the door still:

I had to give Tom Cruise a run for his money, posing on the cycle with dear friend Mona (the only person I would go to Oceanside for!). Although it has since expired, yes, I once had a license to drive a motorcycle. Back then, this would have been referred to as a “crotch rocket.”

See more Oceanside photos at my main website.

Monday at The Pearl

2026-08-10T06:22:02.370-07:00

Today’s post takes us to a little midcentury gem in the Point Loma area of San Diego, The Pearl Hotel. This retro beauty made the list of St. Louis Style for being one of nine “Unforgettable Retro Hotels in the USA.” From The Pearl's website:

Originally designed by local architect Robert Platt in 1959 and operated as a Sportsman’s Lodge throughout the 1960s by resident husband and wife duo, Charles and Dinorah.

Fast forward to The Pearl Hotel as you know it today. The mid-century modern motel and gem of San Diego’s Point Loma neighborhood was thoughtfully renovated with hospitality brand Casetta Group at the helm. The interiors are outfitted in a contemporary aesthetic and unique vintage decor, while maintaining the integrity of its original architectural features. The 23 unique guest rooms surround the art moderne oyster-shaped pool, which flows into the onsite cocktail bar and restaurant Ponyboy. ‍

As a nod to the hotel’s name, the in-room artwork pays homage to the remarkable female Japanese pearl divers, called Ama, known to hold their breath underwater for extended periods of time while harvesting oysters.

I would classify it as a retro gem that is competitively priced in a decent location…if you are wanting to explore the Point Loma area. It’s far enough down Rosecrans Drive that you would find it difficult to navigate the stop-start-bottleneck traffic if you wanted to head downtown or explore the other beaches of San Diego. On the flip-side, Point Loma does have enough fare on its own to keep a tourist semi-busy and well-fed. If the lobby area looks unattended, it kind of was on the day I visited. The lone person on staff seemed very disinterested…when he could be found. It felt like a one-person show and I am sure he was stretched thin doing his duties (and his face showed it).

The lobby seating area with a gorgeous (!) view of Rosecrans:

The bar/restaurant area:

The pool, which is cute in a retro way but if this place approached anything near full-occupancy would be a very tight situation:

The room itself was clean and spacious, and very well appointed:

Large bathroom that was pretty, but definitely avoided any of the retro homage touches:

The “vintage touches” were reserved for the reading materials and other decor touches:

The view from the shared balcony won’t take your breath away, but I’ve definitely seen worse:

Would I recommend this place? Sure, but I can’t say it’s one that draws me in like the Lafayette in North Park. Both places are a bit out of the way for the typical San Diego tourist, but the Lafayette at least has a “wow” factor that is much higher than The Pearl.

See more photos of The Pearl in Point Loma at my main website.

A Whole New World, 2015

2026-08-07T08:02:08.234-07:00

Thanks to the miracle of Adobe Lightroom, I have been able to go back to some of my earlier photos and reprocess them, bringing out more details and enhancing the lighting. In so doing, I discovered I had an entire stash of unprocessed shots from the December 13, 2015 performance of “Aladdin: A Musical Spectacular” at the Hyperion Theatre in Disney California Adventure. Over 250 images to be exact! This condensed 45 minute version of the 1992 animated Disney classic was included in the price of admission for the Park. This was back in the day when value-added at the Disney Parks went above and beyond. Truly worthy of a Broadway stage, this musical delighted audiences daily for almost thirteen years. It never failed to impress guests with its musical talent, innovative set design, and breathtaking special effects.

Ushers assisted guests into their seats (which was pretty much a free-for-all; none were assigned) before the purple curtain rose.

This was one of my favorite sets; truly impressive. The show began with the narrator in front of yet another poor soul who lost his life in an attempt to get the evil Jafar the magic lamp.

We first meet Aladdin on a cart in the market. The one negative I could say about this show is the wigs. They were awful; we know the budget didn’t cover those! A small quibble, especially when to most eyes in the audience they went unnoticed.

Aladdin returns to the Cave of Wonders, with Iago the parrot at left. The show used puppeteers to work the animals in the show. Very effective!

The Genie was the true star of the show. Ad libs were part of the attraction to guests returning, as the jokes stayed topical and were rarely the same.

The musical numbers were expertly staged and wow…the sets and lighting!

Other than during mechanical mishaps, the magic carpet actually flew over the audience!

A gigantic serpent scared the kiddies:

Naturally, a large production number with the entire cast was part of the happy ending/grand finale.

If you never got a chance to see it, this YouTube video does a good job of showing what you missed:

See more “Aladdin: A Musical Spectacular” photos at my main website.

These Boots Were Made For Moonwalking

2026-08-03T06:12:13.197-07:00

I always get a bit excited when I acquire a “new” image of the Disneyland Tomorrowland Space Couple; this July 1967 shot is no exception. My favorite part is the little boy looking at the Spaceman’s silver painted work shoes. Even he knows something ain’t right here! The boy in the red cap is guarding his Disneyland Popcorn box with his life. If he knew how much that might fetch him in 2026, he would be holding it even closer.

Any idea what the window in the background is showing? I’m in too much of a hurry this morning to check!

See more Disneyland Space Couple photos at my main website.

Toy Story 5 at The Village

2026-07-29T05:53:37.394-07:00

Last night I went to the semi-recently reopened Village Theater in Coronado. I had discovered it just before its temporary shutdown and transition to new owners. It was good to be back! This little gem is a treasure that far outshines the other theaters that are located at the overpopulated malls.

The Village first opened in 1947 and was a lively entertainment center for Coronado until the birth of the multiplex dampened its popularity. In 2011, the theater was revamped by designer Joseph Musil (the genius behind the restoration of Hollywood’s El Capitan Theatre).

From the Coronado History Page:

In 2011, the revamped Coronado Village Theater opened with the premiere of the film “Cars 2”. It retains its original Art Deco theme on the interior. While the original theater featured one room and sat 600 people, the renovated theater has three showing rooms, with its main room seating 215. The main room features artistic renditions of both the Coronado and San Diego Skyline, as well as other landmarks such as the Bay Bridge and the Hotel del Coronado. The other two rooms have 38 seats, respectively, and showcase murals of the famed San Diego Exposition of 1915 as well as San Diego’s Balboa Park. The murals were hand painted by Bill Anderson, a Disney muralist. Both new residents and locals who remember the original, quaint theater greatly appreciate the Coronado Village Theater as a lively source of activity and entertainment on the island.

I love the art deco styling inside, which still has a modern feeling to it.

I skipped over “The Odyssey” and “Moana” (!) and went right for “Toy Story 5,” which was playing in the Balboa Room theater.

The saturated colors in the smaller theater were right up my alley.

On either side of the screen were murals that represented San Diego’s Balboa Park; on the left were buildings from the 1935 Exposition in Balboa Park:

…and the Casa del Prado:

And the movie? I LOVED the first “Toy Story,” but each time a sequel was announced, I thought, “Why do they need to go back?” Each time, I have been pleasantly surprised. Somehow, Pixar has managed to keep this franchise fresh and innovative. This time, Jessie (voiced by Joan Cusack) is the lead, ably supported by her faithful horse, Bullseye.

Navigating the hot topic of what “devices” have done to kids (and our society), the film tugs at heartstrings, challenges the way we live, and also makes you laugh. What more can you ask for in a film? In a time when people have shut off their brains for AI, it is refreshing to see this movie tackle the controversy and attempt to remind the audience that all of these “devices” are tools, not substitutes for intelligence and creative thinking…and most importantly, play!

On the way out, I noticed the Night & Day Cafe, which stays open until midnight. It looked like a scene straight out of Edward Hopper’s Nighthawks. I need to go back here!

See more Coronado Island photos at my main website.

Mini Run For The Border

2026-07-27T05:00:00.000-07:00

Just when I thought I’d seen everything wacky in San Diego Dept.…

Near San Diego State University exists a miniature Taco Bell, as seen above. Yesterday I had to see this one for myself. I couldn’t believe my eyes. I’m so glad I made the short trek to see it, as these days, some moron will eventually spray paint it or vandalize it. As to the backstory, I found this on Roadside America website:

Faithful reproduction of the Mission-style first Taco Bell in San Diego, which stood from 1965 to 2008. This mini-version is across from a new Taco Bell's drive-thru. This miniature Taco Bell appears to be a utility box of some sort, faithfully decorated to commemorate the first Taco Bell in San Diego. It's adjacent to the drive-thru of the more recently remodeled Taco Bell that still stands at the corner of College and University Avenues. San Diego's original Taco Bell was built in 1965 and stood for over 40 years.

This little plaque gives a thanks to Glen and Marty Bell:

Turns out Glen Bell is the Taco Bell founder and Marty was his second wife. Edited from his obituary on newspapers.com:

Glen W. Bell Jr., the innovator and entrepreneur who tapped an unsated hunger for Mexican fare as Americans discovered fast food, creating Taco Tia, El Taco and in 1962 his signature Taco Bell, has died. He was 86. “We changed the eating habits of an entire nation,” Bell said in his 1999 biography, “Taco Titan: The Glen Bell Story.” When post-World War II Americans began to realize they could no longer survive without cheaply purchased, quickly delivered hamburgers, the Southern California born-and-bred Bell looked for another simple staple for the masses. He chose the taco, which he first sold in 1951 for 19 cents each at a drive-in in San Bernardino. Eventually, Bell coaxed multiethnic palates across the country into salivating for his tacos and later additions of burritos, tostadas, frijoles and chili burgers. PepsiCo purchased Taco Bell in 1978 for $125 million and eventually spun off its restaurants into Tricon Global Restaurants Inc., now known as Yum Brands. Taco Bell serves more than 36 million customers each week in more than 5,600 U.S. locations. Over the decades, Bell developed what he called his “recipes for success” -- some 60 homilies outlined in his biography. His first three rules were the formula for his restaurant chains: * You build a business one customer at a time; * Find the right product, then find a way to mass-produce it; * An innovative product will set you apart. “I’m an entrepreneur, not an administrator,” he said. “Taco Bell prospered because I recognized my limitations, hired professional managers to make up for them, and knew when to let go.”

If only this thing lit up at night…

The details are mind blowing. Somebody spent some time on this thing:

For a sense of scale, you can see the existing restaurant behind it, which was doing a steady business while I was there:

I’ve never been a big Taco Bell diner; I’d like to say I have fond memories of eating there, but the majority of times I was drunk and it was 3am. Yes, back in my college era. I think the last time I ate there was with Little Miss Sunshine back in 1994.

On the way home, I passed the Tower Bar in City Heights. What an interesting piece of architecture. Art Deco meets Andy Warhol.

…and this Rodney Dangerfield mural:

It pays to get off the couch and explore!

See more San Diego photos at my main website.

The Point Loma Lighthouse & Cabrillo Monument

2026-07-22T04:30:00.000-07:00

This image from an August 1960 slide shows the Old Point Loma Lighthouse in San Diego, with the Cabrillo monument on the background. I am happy to report that both are still around, visited by tourists seeking that soul satisfying selfie.

Part of the National Register of Historic Places, the Old Point Loma Lighthouse was built in 1854 and one of the first eight lighthouses on the Pacific Coast. The new Pelican Point Lighthouse replaced it in 1891. During World War II the Navy used it as a signal tower. Below is the Cabrillo Monument, which commemorates the 1542 landing of Juan Rodríguez Cabrillo, the first European to step foot on the West Coast.

The Portuguese government commissioned sculptor Alvaro DeBree to carve the 14' high statue in 1939 as a gift for the Golden Gate International Exposition in San Francisco. It was later moved to its permanent home at the southern tip of the Point Loma peninsula, which was established as a monument by President Woodrow Wilson in 1913. The statue suffered through years of erosion and was eventually moved to Ensenada, Mexico, to be replaced in 1988 by a replica carved by Portuguese sculptor Joas Chartes Almeida.

The views from this area are off the charts. You can see downtown San Diego as well as Coronado Island:

Back to the lighthouse…

The lighthouse lens once sent its light out more than 20 miles to identify locations and warn of hazards. That’s a lot of mileage! Made in France, it weighs 1,985 pounds and stands 5'2" tall. It was the lighthouse keeper’s job to maintain the lens and lamps in good working condition.

Visitors can tour inside the lighthouse. LOVE this spiral staircase!

The view from inside:

The rooms where the lighthouse keeper and family lived are very modest:

Outside is a garden; garlic anyone?

See more Point Loma photos at my main website.