Waugh, Evelyn. The loved one: an Anglo-American tragedy, London : Methuen, 1979.

In this short novel the master English satirist Evelyn Waugh turns his gaze on Los Angeles, the studio system and the funeral industry.  As an outsider, he had explored these subjects in a visit to Hollywood made shortly after WW2. Waugh subsequently became fascinated by Forest Lawn cemetery and its bizarre practices; the attitude towards death in general, in a city he viewed as practically a pagan place. 

The satire is mostly directed at the excesses of Whispering Glades (a fictional Forest Lawn), the euphemistic protocols, and philosophy of that institution, where death is given the “Hollywood” treatment.  As a Catholic writer, Waugh sublimates his sense of outrage at the degradation of the body (and presumably, soul) into mild but annihilating humour.

There is a sense that at 128 pages, The Loved One, is a minor work from this author, and while it was well received in 1951, the satire may seem somewhat tame by the standards of today.  The novel was published with a Preface by the author, the entire work having appeared in a single issue of the English literary magazine, Horizon.  The novel had a further incarnation when it was filmed, to a lukewarm critical reception, in 1965.

VIDEO: Excerpt from The Love One (1965)

Tolkin, Michael. The player, New York : Atlantic Monthly, 1988.

This satiric novel is essentially an exploration into a man's skewered psyche.  Along the way author Michael Tolkin enjoys taking Hollywood apart...folly by folly.  A portrait of Tinseltown emerges and one that is very dark.  Griffin Mills, a top studio executive - a player indeed - finds himself stalked by a disgruntled screenwriter and is soon caught in a web that results in murder.

The noir aspect of The Player is defined by interior monologues, a staple of Hollywood B-movies.  But this book is all class with an intriguing plot and well drawn characters. 

As so often happens, Tolkin was invited to adapt The Player for the screen.  Robert Altman directed and a who's-who's cast of stars ensured a world-wide hit in 1992.

Tolkin continues to write.  A sequel, Return of the Player, was published in 2006.  It has yet to be filmed.

Mamet, David. Speed-the-plow, London : Methuen, 2002.

It is a pleasure to include a play in this blog.  Speed-the-Plow is usually described as a black comedy, a genre of dramatic literature that Mamet has made his own.  It's interesting to see how one of America's leading playwrights interprets Hollywood; and here he explores the art of the movie deal, the crass shenanigans of movie executives and the eternal dilemma of art versus commerce.  Speed-the-Plow, which has only three characters, premiered in 1988 on Broadway.  The production gained immense publicity because one of the characters - Karen - was performed by pop singer, Madonna.

This is a play of snappy one-liners yet the dialogue reveals a sub text of angst and corruption of the soul.

In truth, the play did not set the world alight but nor did the play diminish its author's  reputation. Mamet (born 1947) is regarded as one of America's elite playwrights: his output has been prolific and he writes for both stage and screen.  One of his most famous plays is Glengarry Glen Ross, which was awarded the Pulitzer prize for Drama in 1984 and filmed in 1992  Speed-the-Plow has yet to be adapted for the screen.