With more and more filmmakers taking advantage of its rich and varied settings, New Orleans has earned star-studded status as the 'Hollywood of the South'. From the big-screen adaptation of the stage classic A Streetcar Named Desire to the Elvis Presley musical King Creole, many well-known films have a special connection with the Big Easy, and this user-friendly guide explores the integral role of New Orleans in American film history.
World Film Locations: New Orleans features essays that reflect on the city's long-standing relationship with the film industry. Among the topics discussed are popular depictions of Hurricane Katrina on film, the prevalence of the supernatural in New Orleans cinema and recent changes to city ordinances that have made New Orleans even more popular as a film destination. As the most frequently filmed area of New Orleans, the French Quarter is given particular attention in this volume with synopses of scenes shot or set there, including The Big Easy, Interview with the Vampire and the much-loved Bond film Live and Let Die. Additional synopses highlight numerous other film scenes spanning the city, and all are accompanied by evocative full-colour stills. The historic neighbourhoods and landmarks of New Orleans have provided the backdrop for some of the most memorable moments in film history, and this book offers fans a guided tour of the many films that made the city their home.
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1. JEZEBEL (1938) (A Hollywood recreation of) St Louis Hotel, some of which was incorporated into The Royal Orleans Hotel, 621 Saint Louis Street, LA 70140 page 10
2. MODERN NEW ORLEANS (1940) The Huey P. Long Bridge, over the Mississippi River, Jeferson Parish 3. page 12
3. SARATOGA TRUNK (1945) (A Hollywood re-creation of) The French Opera House, now The Inn on Bourbon, 541 Bourbon Street, LA 70130 page 14
4. NEW ORLEANS (1947) (A fictionalised recreation of) Basin Street, Storyville page16
5. PANIC IN THE STREETS (1950) Lafayette Square, 500 Saint Charles Avenue, LA 70130 page 18
6. A STREETCAR NAMED DESIRE (1953) The Louisville and Nashville Train Station, at the foot of Canal Street page 20
7. THE BUCCANEER (1958) (A Hollywood recreation of) Chalmete Batlefield, 8606 W St Bernard Hwy, Chalmete, LA 70043 page 22
8. KING CREOLE (1958) Balcony of 1018 Royal Street, LA 70116 page 24
JEZEBEL(1938)
(A Hollywood recreation of) St Louis Hotel, some of which was incorporated into The Royal Orleans Hotel, 621 Saint Louis Street, LA 70140
EVEN IF HE HAD WANTED TO, William Wyler couldn’t shoot on location in the St Louis Hotel for his Jezebel. Afer all, the St Louis Hotel – once a shimmering landmark of 19th Century New Orleans – had decayed and crumbled decades before Wyler started filming; it was the victim of a hurricane in 1915. But no mater. The reconstruction that was built on a studio back lot captured the hotel’s old opulence in spades. Its staircases sweep, its chandeliers glisten, and its bar goes on and on and on. Besides, there is something about the real-life decline of the St Louis that is thematically suited to Wyler’s film. In early scenes, the hotel is shown as a decorous place for a decorous society. Men wander around upright and top-hatted, and resolve their disputes with very proper duels. But later, as yellow fever descends upon the city, it is a site of disorder and devastation. The top hats are now clustered and confused, almost a visual representation of contagion. The men beneath them are sweaty and afraid. And into this steps Preston Dillard, played by Henry Fonda. Is it any wonder that he collapses before the scene is through? Is it any wonder that nobody, but one friend, rushes to help him? Propriety died with the fever.
Directed by William Wyler Scene description: Fear, disorder and yellow fever at the St Louis Hotel Time code for scene: 1:24:14 – 1:27:19
MODERN NEW ORLEANS (1940)
The Huey P. Long Bridge, over the Mississippi River, Jefferson Parish,
____________
THIS EIGHT-MINUTE documentary short, designed – as its title suggests – to showcase New Orleans’s vibrant modernity, is one of the famous ‘Traveltalks’ made by James ‘The Voice of the Globe’ Fitzpatrick and distributed by MGM. It opens with an astonishing Technicolor shot of a bridge curving towards the camera, a steam train forcing out a stream of smoke as it approaches. ‘En route to New Orleans,’ intones Fitzpatrick. ‘ We cross the Mississippi River, by way of this magnificent 13 million dollar structure, named the Huey Long Bridge in honour of the late Huey P. Long, former governor of Louisiana, to whom New Orleans is largely indebted for this wonder of modern engineering, which characterises the indomitable spirit of the people of Louisiana and indicates the great strides that are being made in that state for economic recovery.’ The music, urgent and hopeful, works in the chug of a train, as the locomotive snakes out of shot, an obvious image of America emerging from the ravages of the Great Depression. The bridge was only five years old at the time and remained unchanged for another 46 years, until 2006, when a massive widening project designed to turn its two nine-foot lanes into three eleven-foot lanes began. When that project is complete (which, at time of writi...
Table of contents
Cover
Title Page
Copyright Page
Contents
Scenes 1-8: 1938 - 1958
Scenes 9-16: 1962 - 1973
Scenes 17-24: 1975 - 1989
Scenes 25-32: 1990 - 2001
Scenes 33-39: 2003 - 2009
Scenes 40-46: 2009 - 2011
New Orleans: City of the Imagination: Jonathan Ray and Scot Jordan Harris
All That Jazz: New Orleans Jazz Onscreen Marcelline Block
New Orleans: A Supernatural City: Elisabeth Rappe
Easy Does It: Mapping the Moral Lapses of New Orleans Noir: John Berra
Hollywood South: Scot Jordan Harris
Afer The Levees Broke: Hurricane Katrina Onscreen: Peter Hoskin
Pleasure Palaces: A Brief History of New Orleans’s Historic Cinemas: Pamela C. Scorzin
