When superstar film distributor Michael Schlesinger introduced 1934’s “Bulldog Drummond Strikes Back” at TCM Fest 2016 as the greatest movie we in the audience had never seen, I was inclined to be skeptical. After all, as a lifelong film geek, I’ve heard that one a lot. I was there because I’d long been curious about Drummond, an early pulpy prototype for James Bond created by one H. C. McNeile, aka “Sapper.” I was expecting a historically interesting movie but not one that was likely to become a huge personal favorite.
Imagine my surprise when the movie turned out to be about as good as Mr. Schlesinger had suggested. Indeed, while I remember a theatrical spoof I saw as a young teen, “Bullshot Crummond,” being very funny, it’s hard to imagine it being half as amusing as the film, directed by the highly prolific Roy del Ruth, and co-written by the almost as prolific and incredibly witty and versatile Nunnally Johnson (who also co-wrote last week’s beverage-inspiring “The Keys of the Kingdom“and was a close personal friend of my childhood hero, Groucho Marx).
“Bullshot Drummond Strikes Back” is filled with enough self-referential comedy and wit to play beautifully in the post-“Austin Powers” era, and it’s blessed with top-drawer pacing and a borderline superhuman lead performance by the always super-suave Ronald Colman. In this film, Colman seems to exist in a sort of alternate universe of perfect confidence in the face of numerous socially awkward misadventures as he continuously stumbles over dead bodies, while constantly interrupting the sleep of an increasingly apoplectic Scotland Yard colonel (C. Aubrey Smith) and the wedding night of his hilariously stolid sidekick (Charles Butterworth).
Booze and the movies go way back. From the self-medicating part-time hooker heroine of 1931’s “Safe in Hell” — a highlight of 2013’s Turner Classic Movies Festival — to the lovable dipsomaniacs of “The Thin Man” and “Harvey” and on into more recent times with such frequently soused superheros as James Bond and Tony Stark, the movies have glamorized alcohol. When the movies wanted to, they could make habitual drunkenness charming, funny, and, of course, sexy.
While the movies once celebrated cigarette smoking as well, modern day Hollywood Boulevard makes it tricky for smokers to indulge in their passion, give or take some hookah bars and a medical marijuana “clinic.” Booze, however can be obtained with great ease. All you need is plenty of ready cash to afford the inflated prices or a clean credit card or two and you can have your fill of cocktails.
And that’s exactly what I did between classic, near classic, and merely really interesting movies the weekend of the 2013 TCM Fest. What follows is a (relatively) brief journal of the drinks I found going up and down the boulevard we call Hollywood the final weekend of April.
Now, I should add that this listing is my no means exhaustive and is, with one exception, limited to cocktails one can purchase on Hollywood Boulevard proper, no side streets allowed. They can all be obtained within a fairly easy walk of Sid Grauman’s old Chinese and Egyptian Theaters and the legendary Hollywood Roosevelt Hotel, the heart of Hollywood and the home base of the TCM Fest.
And so we begin our journey across the street from the Egyptian at what is still Los Angeles’s most famous bar.