For author Tere Tereba, mobster Mickey Cohen is the ultimate anti-hero and the story of Los Angeles

Of America’s many grand and gaudy cities, Los Angeles has long been the ultimate siren.

This is the noir metropolis, both sunny and sordid, that gangster Mickey Cohen made completely his own. Brooklyn-born and LA-raised, Cohen as a young adult was uneducated, illiterate and had difficulty counting. But he was smart, tough, ambitious, ruthless, immoral and wildly lucky.

Model/designer/author Tere Tereba shot by Moshe Brakha

He was also the ne plus ultra dreamer, lured by seemingly limitless opportunity to reinvent himself by acquiring staggering amounts of money and clout. It’s hard to imagine his rise from grubby paper boy to one of the most prominent figures in the underworld taking place anywhere but the City of Angels.

Indeed for author Tere Tereba, Cohen is Los Angeles. Her book “Mickey Cohen: The Life and Crimes of L.A.’s Notorious Mobster” (ECW, $16.95 paperback/$29.95 hardcover) outlines the history of the man and the city, from Prohibition to the mid ’70s. “He was LA’s top mobster for a generation,” Tereba recently told me over a glass of iced tea in her elegant living room.

“He terrorized, captivated and corrupted Los Angeles. He’s about to be introduced to the American public through ‘Gangster Squad’ (the upcoming movie in which Sean Penn plays Cohen) and people don’t know who Mickey Cohen really was.”

Tereba, an award-winning fashion designer and journalist, is a quintessential Angelino. Born in Warren, Ohio, she has lived here since childhood. As a teenager, Tereba frequently saw bands at Sunset Strip clubs and connected with Jim Morrison’s girlfriend, Pamela Courson, who jump-started her design career.

Tere Tereba shot by George Hurrell

Tereba’s account of Morrison in Paris was selected by The Doors to appear in their book, The Doors: An Illustrated History. In addition to her creative talent, Tereba’s classic features and stop-and-stare bone structure drew much attention, from the likes of famed Hollywood photographer George Hurrell for whom she modeled and Andy Warhol, who cast her in his 1977 black comedy “Bad.” Warhol described Tereba as looking like Hedy Lamarr and acting like Lucille Ball.

The day I met her, she wore a chic black dress, a vintage shrimp-pin and zebra-stripe pumps. “I could put on one of my Irene suits, if you want,” she offered, with a laugh.

Tereba’s book renders a portrait of a complex and compelling man in a city ripe with chances to strike it big, especially for unscrupulous players. Of Cohen’s return to the West Coast in 1937 after a stint in Cleveland and Chicago, Tereba writes: “He found Los Angeles to still be a big small town. The underworld setup, the 23-year-old learned, was not the eastern system.” Or as Cohen put it, “Gambling and everything … was completely run by cops and stool pigeons.”

Fast forward to the fall of 1955, when Cohen, 42, was released from McNeil Island Federal Penitentiary. Tereba describes Cohen’s turf this way: “The land of perpetual summer, carnal delights, and blue-sky ennui still captured the imagination of dreamers everywhere. But L.A. had changed. Bigger and bolder than ever, freeways linked the suburban sprawl. Hollywood’s old guard had lost their luster; a new and different breed was on the horizon.”

Tere Tereba shot by Paul Jasmin

Speaking of Hollywood, Tereba’s book explores the intersection between mafia characters and the Tinseltown elite, such as the 1958 fatal stabbing of Johnny Stompanato by Lana Turner’s daughter, Cheryl Crane.

Until Cohen’s death on July 29, 1976 (he died in his sleep, having survived 11 assassination attempts over the years), the brawny former boxer lived each moment intensely, often courting publicity and flaunting his power.

Said Tereba during our interview: “He was the ultimate anti-hero because he did what he wanted to do. He went against the cops, he fought city hall. He did all the things you’re not supposed to do and everybody’s afraid to do.

“You don’t get more outrageous and brazen than Mickey Cohen. Even his showy style of doing business. He dressed the way he wanted to, in a semi-Zoot suit. He knew what he liked and he followed it.”

Some facts are already well known. In setting the scene, Tereba reminds the reader: “After the [1938] scandal decimated the LAPD, the city of Los Angeles was closed to underworld activity. But Los Angeles County remained wide open.

Tere Tereba shot by Moshe Brakha

“Sheriff Eugene Biscailuz’s mighty domain stretched from Lancaster in the north to Catalina Island, 26 miles off the coast, south to Orange County, and east to San Bernadino County – from the desert to the mountains to the sea.

“Geographically the largest county in the country, at more than 4,000 square miles, it was bigger than many eastern states and made up 43 percent of the state’s population.”

She also reveals never-before-released documents and information, such as the anxiety disorder Cohen struggled with for most of his life, his wife LaVonne’s unsavory background and his relationships with women after he and LaVonne divorced in 1958.

Much has been written, speculated, invented and whitewashed about Cohen and his city. Tereba spent more than 10 years researching and writing her book; she tells Cohen’s story swiftly and assuredly. Her page-turning and entertaining narrative neither glamorizes nor judges its subject.

Mickey Cohen

By the time “Gangster Squad” hits screens this fall and plants Mickey Cohen firmly in the spotlight (which he would have loved) Tereba’s readers will have already pierced through the shadows that have shrouded him for decades.

Tereba will discuss and sign her book at 7:30 p.m. on Thursday, June 14, at Skylight Books, 1818 N. Vermont Ave., Los Angeles, 90027.

Director Maïwenn on working with the actors of ‘Polisse’

“Polisse,” a French cop drama, features truly outstanding performances, ones that linger in your memory long after the credits roll.

“When I felt that the kids were too much pushed by their parents, I wouldn’t take them,” said director/writer/actor Maïwenn.

How did director and co-writer Maïwenn (she also played Melissa the photographer) get this stunning work from her cast?

At a recent press conference in Beverly Hills, after first saying she was simply lucky, Maïwenn elaborated on her collaboration with actors. She said the key was to keep it simple and true. “I think the secret is the way you [the actors] listen to me, the way you listen to the script. All the cases were true, based on real cases.”

As for working with the children, Maïwenn said she was extremely careful to shield the kids from any negative impact that might result from playing characters in such traumatic situations. This included involvement from a French child-protection agency and a psychologist.

And recognizing their limits. “When the kids were on the set, we had to go fast. They want to have it fun so it has to be short. Otherwise, if they have to wait too much, they’re getting bored.

Additionally, she put much thought and effort into casting the children. “I am a mother so I’m used to talking with kids and I knew them a long time before the shoot and I met their parents. … When I felt that the kids were too much pushed by their parents, I wouldn’t take them. I was an actress child and my mother was pushing me too much. … I chose the kids when they were authentic and when they were not too much actors. … The kids I loved, when I asked them, ‘Why do you want to do this movie?’ they said because it’s true cases.”

Maïwenn discovered that fine-tuning the script to minimize lewd words and the suggestion of acts involving the kids improved the storytelling. “I discovered that the less you show, the more it’s powerful.”

Happy birthday, Jimmy Stewart

Remembering Jimmy Stewart: May 20, 1908 – July 2, 1997. What’s your favorite JS movie?

Robert Bresson retrospective starts tonight at the Aero

The Poetry of Precision: A Robert Bresson Retrospective starts tonight at the Aero Theatre in Santa Monica. Starting the series is a new 35 mm print of a superb prison drama based on actual events: “A Man Escaped” (1956). François Truffaut called Bresson’s work, upon its release, “the most important film of the last 10 years.”

Though Bresson, known for his spare, unflinching vision and for addressing religious and spiritual themes, is not a film noir director, several of his movies deal with crime, fate, entrapment and damnation. These include: “Les anges du péché” (1943), “Les dames du Bois de Boulogne” (1945), “Pickpocket” (1959), “Une femme douce”/“A Gentle Woman” (1969), “Le diable probablement”/“The Devil, Probably” (1977) and “L’Argent” (1983) – all of which are showing at the Aero. Bresson died on Dec. 18, 1999; he was 98.

The series runs through May 20. It is presented by the American Cinematheque in collaboration with the French Embassy, the Institut Français, and the French Film and TV Office of the French Consulate in Los Angeles. All films are in French with English subtitles.

The Aero Theatre is at 1328 Montana Ave., Santa Monica, 90403.

Dita Von Teese and Strip Strip Hooray! return to Los Angeles

Dita Von Teese

Dita Von Teese and Burlesque: Strip Strip Hooray! return to the West Coast, starting in Los Angeles on Friday, May 11, at the House of Blues. The 90-minute revue also features MC Murray Hill and burlesque acts Dirty Martini, Catherine D’Lish, Selene Luna, Monsieur Romeo, Lada and Perle Noire.

Other stops on the tour include San Diego, Las Vegas, San Francisco, Seattle, Portland and Orange County. I went to her show last year and it’s terrific. Dita and I chatted via email last year; you can read my interview here and see a preview of the show here.

Additionally, on May 1, Dita launched her signature fragrance at Liberty of London and hosted a dinner at the Arts Club where she celebrated with guests, including Christian Louboutin, Roland Mouret and Jenny Packham.

The Dita Von Teese fragrance recently won the award for Best Lifestyle Fragrance at the German Fragrance Foundation‘s Duftstar awards. Her fragrance was up against fellow nominees Christina Aguilera, Bruce Willis and S Oliver.

Watch Dita on CNN’s “Quest Means Business” here:

Noir City’s final weekend: Pre-code ‘Maltese Falcon,’ Gary Cooper and a special appearance by Marsha Hunt

Gary Cooper

FNB shot by Halstan Williams; www.halstan.com

Noir City at the American Cinematheque’s Egyptian Theatre wraps up this weekend with a first-rate slate of films. Tonight is the Dashiell Hammett double feature, starting with the 1931 (pre-code) version of “The Maltese Falcon,” starring Ricardo Cortez and Bebe Daniels, directed by Roy Del Ruth. In “City Streets” (1931, Rouben Mamoulian) a young Gary Cooper goes crooked in order to free his love (Sylvia Sidney) from prison. It should be great looking, given that the cinematographer is Lee Garmes.

The Saturday matinee is the noir classic “The Postman Always Rings Twice” (1946, Tay Garnett), starring Lana Turner as one of the all-time best femmes fatales opposite a smoldering John Garfield; based on James M. Cain’s novel. Before the film, Denise Hamilton, noir novelist and editor of the Edgar-winning Los Angeles Noir short story anthologies, will discuss the genesis of film noir and the cross-pollination between Hollywood and its noir bards.

John Garfield

Lana Turner

Saturday night is a terrific pick: two films from the underrated director Jean Negulesco. First, “Three Strangers” (1946) tells the cynical tale of a trio bonded by fate and a winning lottery ticket: Sydney Greenstreet, Peter Lorre and Geraldine Fitzgerald. To read more about this film, I recommend this piece by my friend, writer/producer Barry Grey.

Fitzgerald also stars in 1946’s “Nobody Lives Forever,” scripted by W. R. Burnett. Here, she’s a war widow getting conned by scheming ex-GI John Garfield. There will be a discussion between films with Fitzgerald’s son, Michael Lindsay-Hogg. At 6:30 p.m., in the Egyptian lobby, Lindsay-Hogg will sign his book “Luck and Circumstance: A Coming of Age in Hollywood, New York, and Points Beyond.”

Geraldine Fitzgerald

Marsha Hunt

Next up is the Sunday matinee: “Circumstantial Evidence” (1945, John Larkin) a father-son noir starring Lloyd Nolan and Michael O’Shea. This will pair with “Sign of the Ram” (1948, John Sturges).

Says the program: This unusual film was fashioned as a vehicle for star Susan Peters, who plays a sociopathic, paraplegic matriarch bent on destroying her family. Peters, injured the year before in a hunting accident, gives a remarkable performance – all the more haunting for the fact that her paralysis is real. Hitchcock collaborator Charles Bennett wrote the screenplay.

And closing the fest is a special appearance by actress Marsha Hunt. The films shown are an ultra-rare B, “Mary Ryan, Detective” (1949, Abby Berlin), and “Kid Glove Killer” (1942, Fred Zinnemann) in which Hunt plays a police forensics expert juggling a cop (Van Heflin) and a gangster (Lee Bowman). Scripted by John C. Higgins, “Kid Glove Killer” is Zinnemann’s feature film debut. Ava Gardner plays a car hop.

On the radar: a new Marilyn book, Met show, ‘Bernie’ bound

There will surely be much fanfare to mark the 50th anniversary of Marilyn Monroe’s death, Aug. 5, 1962. For starters, there’s a new book, “Marilyn by Magnum” (Prestel Publishing, $29.95). The Magnum photographic cooperative was founded in 1947 by Robert Capa, Henri Cartier-Bresson, George Rodger and David “Chim” Seymour.

In the book, we see the work of Cartier-Bresson, Elliott Erwitt, Eve Arnold, Inge Morath, Philippe Halsman, Bruce Davidson, Dennis Stock, Bob Henriques, Erich Hartmann and others.

The images range from glamorous portraits to intimate candids to Marilyn working on movies. Says Magnum: “In richly toned black and white as well as lustrous color, these photographs reveal Marilyn’s uncanny ease in front of the camera.”

Marilyn Monroe, 1952. By Philippe Halsman; copyright Philippe Halsman/Magnum Photos

 

Marilyn in her apartment, 1952. The photo on the desk is of Italian actress Eleonora Duse, whom Marilyn admired. Copyright Philippe Halsman/Magnum Photos

Yves Montand, Simone Signoret, Marilyn Monroe and Arthur Miller in Hollywood, Calif., 1960. Photo by Bruce Davidson; copyright Bruce Davidson/Magnum Photos

Talking shop: The Met’s Spring 2012 Costume Institute exhibition, Schiaparelli and Prada: Impossible Conversations, explores the striking affinities between Elsa Schiaparelli and Miuccia Prada, two Italian designers from different eras. Baz Luhrmann directed videos of simulated conversations between Schiaparelli and Prada.

Screenworthy: Richard Linklater’s black comedy “Bernie,” starring Jack Black, Shirley MacLaine and Matthew McConaughey, looks well worth seeing. I missed screenings because of all the festivals in town but am hoping to catch it asap.

Sunnyside Upton: Kate Upton goes retro glam with an Old-Hollywood inspired photo shoot at the Beverly Hills Hotel in this month’s Harper’s Bazaar.

Silver and Ursini reflect on the mighty influence of film noir

Alain Silver (left) and James Ursini discuss their book, “Film Noir: The Directors.”

Historians/authors/editors Alain Silver and James Ursini discussed and signed their new work, “Film Noir: The Directors” (Limelight Editions, $24.99, multiple contributors) on Saturday afternoon at Larry Edmunds Bookshop in Hollywood.

James Ursini

Ursini maintains that film noir is the most important artistic movement Hollywood has produced, and one that’s perfectly capable of jumping genres from Westerns to sci-fi to the traditional women’s picture.

Said Ursini: “Film noir is the overwhelming influence on directors today, in film, TV, comic books … in America and worldwide. Though it went into a sort of remission in the late ’50s, by the ’70s it was back and it never stopped. It’s an incredibly vibrant movement that’s as influential today as it was in the ’40s and ’50s.”

Though appreciated by French critics, most film noir titles (especially low-budget B movies) were widely snubbed by America’s cinematic elite. Ursini recalled that as a UCLA film-school student in the late ’60s, he had to push hard to be allowed to write a paper on director Henry Hathaway.

Alain Silver

Silver pointed out that though the two most frequently cited factors in film noir’s development are the exodus of European filmmaking talent to the U.S. starting in the 1930s and the canon of hard-boiled American literature by authors such as James M. Cain, Dashiell Hammett and Raymond Chandler, the real story is more complicated.

Specifically, it’s hard to pinpoint exactly what inspired these very different directors (the book covers 30) to pursue this unique aesthetic, often self-consciously borrowing and sharing ideas. One certainty, though: Billy Wilder’s “Double Indemnity” (1944) was the prototype for the genre.

He added that because of World War II, the production code loosened and the American public developed a taste for realism. Were audiences of the ’40s and ’50s shocked by these cynical, gritty, fateful stories on the screen? It’s hard to say. Silver said the most interesting contextual endeavor now would be to compare the audiences’ expectations against their reactions.

Photos copyright of Film Noir Blonde

Non-stop film noir on the big screen in Los Angeles

The enduring appeal of film noir shows no signs of waning – there are scads of noir screenings in and around LA over the next several weeks.

Noir City Hollywood continues at the Egyptian Theatre through May 6. Tonight, actress Julie Adams will talk with Alan K. Rode between the films 1957’s “Slaughter on Tenth Avenue” (in which Adams co-stars with Richard Egan, Jan Sterling, Dan Duryea, Walter Matthau and Charles McGraw) and “Edge of the City” (1957).

And a must-see for me: Ida Lupino in “Private Hell 36” (1954) by director Don Siegel. Lupino also co-wrote this flick, which runs on Wednesday, May 2, after “Shield for Murder” (1954), co-directed by Howard Koch and star Edmond O’Brien.

In conjunction with the Herb Ritts: L.A. Style exhibition, running through Aug. 26 at the Getty Museum, a companion (free!) film series starts today. Ritts (1952–2002) was a top 1980s photographer and his preference for outdoor locations such as the desert and the beach helped to distinguish his work from his New York-based peers.

Admittedly, “Gilda” is the only true noir on the roster, but Ritts’ work taps retro Hollywood glamour. As the Getty puts it: “Ritts’ relationship with his subjects echoes certain director-actor relationships dating from the silent era and the eight films in this series showcase this special relationship.”

On Friday, May 4, the New Beverly Cinema is showing John Frankenheimer’s sci-fi neo-noir from 1966 “Seconds,” which stars Rock Hudson; cinematography by James Wong Howe. “Seconds” is paired with 1997’s “Face/Off” by director John Woo starring John Travolta, Nicolas Cage, Joan Allen, Dominique Swain and Nick Cassavetes. Screenwriters Mike Werb and Michael Colleary are scheduled to appear in person.

Also worth a watch: Universal Pictures celebrates its centennial with a series of screenings (“The Black Cat” and “The Birds” caught my eye) at UCLA’s Billy Wilder Theater in Westwood from May 4 to June 24.

You’ll certainly get a full-on noir lineup at the 12th annual Arthur Lyons Film Noir Festival, which runs in Palm Springs from May 10-13.

Van Heflin and Joan Crawford star in “Possessed” from 1947.

Festival programmer and film historian Alan K. Rode has selected a great lineup, including Fritz Lang’s “The Big Heat” (1953), starring Glenn Ford, and “Possessed” (1947) by Curtis Bernhardt.

Ford’s son Peter will attend “The Big Heat” screening. “Possessed” earned Joan Crawford her second Oscar nom (she won for 1945’s “Mildred Pierce”); co-starring are Van Heflin, Raymond Massey and Geraldine Brooks.

Other titles, screened from new 35 mm prints, include: “Shield for Murder” (1954), “I Love Trouble” (1948), “Slaughter on Tenth Avenue” (1957) and “The Face Behind the Mask” (1941), starring Peter Lorre.

I’m also very much looking forward to The Sun Sets in the West: Mid-Century California Noir at the Los Angeles County Museum of Art (LACMA), from May 18-26.

Says LACMA: “Experience the dark side of modern living with this series of mid-century film noirs. Shot on location and set amid the bustle of major cities such as Los Angeles and San Francisco – as well as their sun-soaked periphery, beach cities, and desert oases – these 10 films inject the Golden State’s benign climate with a heady dose of postwar angst.”

The titles in the series are: “Kiss Me Deadly” (1955, by director Robert Aldrich); “The Crimson Kimono” (1959, Sam Fuller) “Experiment in Terror (1962, Blake Edwards); “Criss Cross” (1949, Robert Siodmak); “M” (1951, Joseph Losey); “The Damned Don’t Cry” (1950, Vincent Sherman); “Slightly Scarlet” (1956, Allan Dwan); “Murder by Contract” (1958, Irving Lerner); “Nightfall” (1957, Jacques Tourneur) and “The Prowler” (1951, Joseph Losey).

The one and only Bogart

Additionally, UCLA’s Film & Television Archive and the Million Dollar Theater are presenting three interesting double bills in downtown Los Angeles:

Brian De Palma in the 1970s (“Sisters,” his first Hitchcockian thriller, and “Phantom of the Paradise”) on Wednesday, May 2.

“The hunted and the hunter” film-noir night, featuring “Mickey One” (1965, Arthur Penn) and “Blast of Silence (1961, Allen Baron) on Wednesday, May 16.

Nicholas Ray directs Humphrey Bogart in “Knock on Any Door” (1949) and “In a Lonely Place” (1950) on Wednesday, May 23.

Book these dates with noir authors in Hollywood

5 p.m. Saturday, April 28, at Larry Edmunds Bookshop, 6644 Hollywood Blvd.
Noir historians Alain Silver and James Ursini will discuss and sign their book “Film Noir: The Directors” (Limelight Editions, $24.99).

A number of authors have contributed to this work and there are chapters on: Robert Aldrich, John Brahm, Jules Dassin, André de Toth, Edward Dmytryk, John Farrow, Felix Feist, Sam Fuller, Henry Hathaway, Alfred Hitchcock, John Huston, Fritz Lang, Joseph H. Lewis, Joseph Losey, Ida Lupino, Anthony Mann, Max Ophuls, Gerd Oswald, Otto Preminger, Nicholas Ray, Don Siegel, Robert Siodmak, Jacques Tourneur, Edgar G. Ulmer, Raoul Walsh, Orson Welles, Billy Wilder and Robert Wise. The book also features more than 500 photographs.

Given the inclusion of Ophuls (“Letter from an Unknown Woman”), it seems really odd that Howard Hawks, Richard Fleischer and Stanley Kubrick were excluded. That’s one for the Q&A with the authors.

6:30 p.m. Saturday, April 28, at the Egyptian Theatre, 6712 Hollywood Blvd.
Actress Julie Adams who will sign “Reflections from the Black Lagoon” (Hollywood Adventures, $29.95) in the lobby prior to that evening’s Noir City Hollywood double bill of “Slaughter on Tenth Avenue” (in which she stars) and “Edge of the City.” There will be a Q&A with Adams, 85, between the films.

6 -11 p.m. Monday, April 30, at Musso & Frank Grill, 6667 Hollywood Blvd.
The Los Angeles Visionaries Association and Esotouric Tours are hosting a literary salon featuring author John Buntin and his 2009 book, “L.A. Noir: The Struggle for the Soul of America’s Most Seductive City” (Price varies by format, starting at about $10).

Buntin’s book interweaves two stories, that of gangster Mickey Cohen and police chief William Parker. Tickets to the salon are $100 and include a three-course meal. TNT is developing a new series based on this book.

Additionally, I just got my review copy of “Mickey Cohen: The Life and Crimes of L.A.’s Most Notorious Mobster” by Tere Tereba (ECW Press, $16.95). Looking forward to reading this and interviewing the author.