Asterisk denotes entries on real places.
Stahr’s studio. The film studio is Stahr’s true home, much more so than the house he is having built in Santa Monica or the lonely Bel Air home in which he currently is living. The studio is the place he knows better than any other, where he works and often where he sleeps, as well as the place where he meets Kathleen. Chapter 3 sketches out his typical working day at the studio; it consists of little of the “glamour” typically depicted in old Hollywood films about Hollywood. Instead, it depicts Stahr attending to his business: discussing filmmaking with a discouraged writer, acting as therapist to an impotent actor, holding a story conference with writers and directors, hosting a visiting Danish prince, defending his desire to make “quality pictures” to the studio’s cautious money men, helping the blacklisted cameraman, and using all his resources to discover the identity of the attractive young woman whom he glimpsed the night before. The studio is a place of business, a company engaged in the manufacture of dreams, and Stahr, for all that he is a dreamer, is also a businessman. At one point he compares himself to a chief clerk who knows where everything is. However, the truest picture of Stahr’s place in his world may be the scene following an earthquake in chapter 2, when Stahr walks through the studio and is hailed by workers on the set who regard him as a hero, “the last of the princes.”
*Hermitage. Former home of Andrew Jackson, the seventh president of the United States, a Greek Revival mansion near Nashville, Tennessee, where Manny Schwartz kills himself at dawn. The pilgrimage that Cecelia, Wylie White, and Schwartz make to the Hermitage begins as a joke, a spur-of-the-moment side trip when their cross-country flight is grounded by a storm. However, Fitzgerald uses the visit to contrast an older frontier America with the dream-America Stahr and the film industry are creating in Hollywood. Cecelia notices the green of the woodland trees and the real cows (her first glimpse of farm animals was a herd of sheep on a movie lot). Andrew Jackson, a self-made man like Stahr, is evoked as a heroic figure from America’s past (like the actor costumed as Abraham Lincoln in the studio commissary), admired if not quite understood by those engaged in creating the present.
*Santa Monica. Seaside community in Southern California where Stahr is having a new home built. He takes Kathleen to the unfinished, roofless house, which has a quality similar to that of a movie set. Stahr even speaks of having grass brought in as a prop. The house’s incomplete state, with some rooms finished, others not yet built, reflects Stahr himself. He has devoted himself only to work for such a long time that the domestic side of his character, symbolized by the house, is underdeveloped. It is here that he forges a tentative relationship with Kathleen, whom he takes to the beach for the running of the grunion. The image of the small silver fish coming in with the tides, “as they had come before Sir Francis Drake” (who visited California in 1579), evokes an unspoiled world already lost to the fickle and impermanent structures of human civilization.