Red Carpet Season is well underway, and if you watched the Golden Globes last night, wasn’t it nice to glimpse a bit of classic Hollywood glamour?
Here at the Skirball, we’re approaching the halfway mark of our own homage to the Golden Age of American filmmaking, Light & Noir: Exiles and Emigres in Hollywood, 1933-1950. As KCRW’s Edward Goldman says, “From the get-go, it’s a winner.” With only about seven weeks to go until the proverbial credits roll on the show, I sat down with curator Doris Berger, who conceived of the exhibition and worked tirelessly on it for more than two years before its October “premiere.”
Is there one particular object in the exhibition that moves you especially deeply?
There are so many objects that move me in this exhibition. It was really hard to decide sometimes what to include and what to leave out. The correspondence of Carl Laemmle, the founder of Universal Pictures, to his extended family in 1938 is incredibly affecting—full of humility and conviction to help others. In a letter to his nephew William Wyler, Laemmle pleads for him to do everything he possibly can to help other refugees. Here’s a quote from that letter: “The Jewish situation in Germany has been getting on my nerves for a long, long time. I feel that these poor, unfortunate people need help the worst way. … If you want to do something really big—something that will give you an immense amount of pleasure—issue one or more affidavits, as many as your means permit. … I feel that every person in America, Jew or non-Jew, with a heart, should do his bit, and thereby get an immense amount of satisfaction and possibly save one or more lives.”
Laemmle also wrote a simple Christmas card to other family members on which he writes, Continue reading