Evolution, Revolution and Good Old Fashioned American Fun

On Santa Monica Blvd., toward the end of old Route 66 there stands an establishment that opened in 1920 called Barney’s Beanery. For ninety years they’ve served some of the second best chili in Los Angeles. Since it’s humble beginnings in a bungalow at the edge of a Poinsettia field Barney’s has outlasted the golden age of Hollywood, the revolutionary changes of the sixties and seventies and has emerged unscathed into the computer age of the new millennium (as of today they’ve been friended 999 times on Facebook and they Tweet). Like everything that endures over time Barney's history is not all good, not all bad, but somewhere in the middle with colorful stories of human frailties and successes, the famous, the infamous and the everyday, evolving rather than remaining static. They advertise “A good meal for a fair price, terrific service and some genuinely friendly conversation” and every time I have been there, refreshingly without fail, this has turned out to be true.

They also advertise “If we don’t have it – you don’t need it.” And considering there are over 1,000 items listed on the menu this could actually be true. During the Depression customers couldn’t always pay for their chili so Barney’s would take their license plate in exchange and give it back when the tab was paid, considering the today’s economy it seems somehow fitting they will still give you a bowl of chili if you give them your license plate for collateral.

Beer has been served at Barney’s since Prohibition was repelled and with eighty-seven imports including Jamaica Red Stripe, Wychwood Hobgoblin, Young Double Chocolate Stout, and Pendle Witches Brew. The sixty-five domestic beers served include Iron City, Seadog Blueberry Ale, Micky’s Malt Liquor (whatever would Walt say!), Rogue Dead Guy Ale, Dogfish Head, Moose Drool, three kinds of Flying Dog Poggie Style, Liquid Sunshine Blond and Speakeasy Big Daddy. The twenty-nine brands on tape include Barney’s Own Brew, Blue Moon and Fat Tire. All in all they pretty much have something suited to everyone’s taste including four non-alcoholic brands. (Twin Fin and Dom Perignon are also available for those whose palettes are a little more finicky.)

Breakfast is served all day and I kinda like their idea of breakfast: “A giant chili cheese dog with choice of side and a bottle of Dom Perignon.” Of course the menu has two whole pages of other breakfast offerings but this one tickles me pink.

Surrounded by office buildings and high rise apartments Barney’s has stayed loyal to their roots, it’s unpretentious character surviving intact over the years while change occurred all around. On the porch stands an old traffic signal that was once used to signal chauffeurs that their owners were ready to leave or that a table had opened for them. John Barrymore, Jean Harlow, Bette Davis, Clark Gable, Errol Flynn, Judy Garland, Lou Costello, Norma Jean Mortenson, Shelly Winters, Desi Arnez, William Frawley, Steve McQueen, Peter Faulk (Colombo often ate at Barney’s), Marlon Brando, Jack Nicholson, Bette Midler, Elliot Gould, Dennis Hooper, Mel Gibson, Adam Sandler, Emilio Estevez, Rob Lowe, Keefer Sutherland, Charlie Sheen, and John Cusack have all been known to stop by. Drew Carey participated in a cigarette smoking sit-in at Barney’s in 1999,  and Quentin Tarantino worked on Pulp Fiction while hanging out there.

Regulars included Janis Joplin, Jim Morrison and Jimi Hendrix. There is even a small plaque embedded in the bar saying “Jim Morrison sat here” although it should probably run the length of the bar saying: and here and here and here and here… Janis Joplin’s album Cheap Thrills cover art by R. Crumb featured Barney’s Beanery at the bottom right and the tabletop that she signed hangs from the ceiling. The members of Led Zeppelin have stopped in, as well as Janes Addiction, Red Hot Chili Peppers, Bob Dylan and Liza Minnelli.

The walls and ceilings are covered with movie and music posters from Easy Rider to the Foo Fighters to Muhammad Ali with the Beatles.  Neon beer signs, license plates, graffiti, framed newspaper and magazine clippings and street signs also adorn the walls and ceilings. The plates commemorate Route 66 in white and green checks as does a street sign on the ceiling. Watercolor sketches hang from cross beams. The seats in the booths have crayon colored stripes, red Coors lamps hanging above and the tabletops boast collages culled from Hollywood gossip magazines. “Thunder Road” low rider motorcycles hold up the ceiling dividing the rows of booths. Pool tables, video games (PacMan) and TVs make up the entertainment as Hendricks plays on the sound system. You can watch basketball, football and cartoons at the same time as a vibrating Fruit Loops commercial plays and Toucan Sam bursts out of a bowl of loops to the sound of Kiss singing “I want to rock and roll and party every day.” Not to mention that for the first time in memory the blow dryer in the lady’s room actually had the ability to completely dry hands (20 psi?).

While the scene has tamed down some from the notorious days when Dezi Arnez told William Farowly to clean up his act there, when Janis Joplin socked Jim Morrison in the face, when Morrison peed on the bar, when the Beanery was picketed because of a homophobic sign hanging behind the bar, when starving writers came in for a bowl of chili, if you go to Barney’s all American roadhouse today, you can still get your kicks on Route 66 along with excellent service, a generous helping of chili nachos and awesome burgers.

Inglourious Basterds

QT revved up and on a roll, strutted to the front of the house, his comments geared to his demographic who ate it up and gave a standing ovation. Inglorious Basterds however is a must see, feel good, film of the year for everyone. The movie is intense, romantic, funny, fabulous and above all entertaining. It may not be what’s real but it’s what we all wish were real. Opening like a Spaghetti Western, a French twist is soon established and we’re gonna kill us some Nazi’s! Taking the typical film noir of machine guns and moles, murderers and madmen Inglorious Basterds takes a humorous look at serious subject matter.

When it comes to the human condition nothing is ever as simple as stereotypes make it out to be however, by simplifying and dividing a whole person simultaneously into their component parts, each one dimensional character exemplifying specific character traits of the whole, a comparison can be made. Not every person makes the same life decisions to survive yet every choice has its own unique set of consequences. The true horror of the Nazi regime was its ability to break otherwise honorable human beings in the name of survival by giving them impossible choices. Not every ally was a hero and not every Nazi was a villain. Tarantino takes great pleasure in turning stereotypes on their heads.

Everyone starts out idealistic and young, with nationalistic pride unquestioned. Growth however, is often twisted by survival, rationalization and reality. We can all see ourselves in these situations. We can relate. We want to be the tough guy who fights back, who immediately sees right from wrong, but more often then not we aren’t. Blind to reality, compromises are made. We rationalize. Above all we make choices. We can deny our decisions or we can own the consequences, be honest with ourselves or fabricate a reality we can live with.

Refreshingly honest about the brutalities of war, every time we flinch and cringe with horror, a disarming alternative is humorously provided allowing us to laugh at the insanity. Helter skelter violence that is graphic rather than gratuitous tells a story of human choices between country and honor, survival and innocence. Humanity burnt away, empty husks filled with immense intense anger and myopic goals that no longer fit into rational, peaceful society remain. People who have participated in horror are permanently scarred, not just the villains but also the heroes. Life would be so much easier if the scars we carry on the inside were reflected on the outside. If like the picture of Dorian Grey, we wore our choices, our decisions like marks of Cain or scarlet letters on our foreheads and faces just think how much of a deterrent it would be.

Not since Cat People has a Bowie song been used to such classic effect, with such intensity or romanticism. The lady in red, the tragic heroine, sweeps us up in a rollercoaster ride of thrills, chills and glorious retribution. There is a God after all.

Brad Pitt’s southerner doesn’t have the polish and sophistication of a Selznick hero but then it wouldn’t work half as well if he did. Attention to detail: champagne glasses, scars, pipes, fountain pens, color schemes, poodles and cats add depth and perspective. Little actions promote disgust or compassion. Close ups of eyes speak volumes. Subtle references through similarity of actions, facial features and situations abound.

The French are not the only ones who respect great directors. Quentin Tarantino said, “I think… I hope I deliver.” And he does.