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After architect Rudolph Schindler came to California in the 1920s to oversee construction of Frank Lloyd Wright's Hollyhock House, he designed his residence in West Hollywood. Some say it was the first modern house to respond to California's unique climate, serving as the prototype for the distinctive California style that developed in the early twentieth century. Architect Richard Neutra's private residence in Silver Lake seemed radical at the time, a glass house with rooftop and balcony gardens. It housed his office and two families on a small 60 x 70-foot lot.
Frank Gehry House
Today, they're open to the public - and well worth a visit. Script problems aside, The House On Pine Street definitely deserves the praise that it’s gotten. Wonderful acting by Goss and a delightfully disturbing atmosphere really make this film one of the best indie fare to be seen this year.
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There are so many different ways that we are spoiled in Southern California but the incredible variety of homes that we can visit is truly something special. Please note that not all of the homes on this list are open to the public but I will make sure to specify which ones are available for you to visit vs which ones you can drive by. You've seen this iconic mid-century house and its view countless times in films, advertisements, and magazines. It's one of my favorite places to go in LA and especially beautiful at twlight. The house is open for guided tours without appointment most Saturdays.
A quick primer on Los Angeles architectural styles
Whether it’s the neighbour’s mute twins, Lucy and Claire, or Lauren’s toddler, Brad, the Keeling Brothers are able to use them to generate that disturbed feeling many of us feel when we’re around kids. Slow but deliberate movements maximize the tension, while creating an atmosphere that builds that tension. The framing of the actors in the scene draw you into the film’s world, making it seem like you’re right there to experience the happenings. I also love it when directors get right the “rollercoaster” of building that energy, releasing it, and then immediately hitting the audience again for a quick bump. It’s not something you want to go for all the time, but used sparingly, it’s very effective.
It’s that alienation and isolation on multiple levels that repeatedly hits the right button for sympathizing with a character. What makes it even more fascinating is that you yourself start to question her sanity. Goss really nails all of this, makes it feel incredibly genuine, and communicates it as such to the audience. Shot in an 1840 house that purportedly came with its own ghostly lore, “Pine Street” is nicely atmospheric without succumbing to the usual cliches of spooky production design or false gotcha scares. The performers ably walk a line in which their potential malevolence or insanity can be considered without it being too clumsily portended. Suffice to say there are a couple satisfying twists to wait for, though their arrival might not fully placate those horror fans expecting a bloodier and/or more fantastical turn of events.
This house is in an area of the Silver Lake neighborhood called The Colony, where you'll find a number of Neutra designs on and around Neutra Place. You can see them from the outside by touring off Earl Street between Silver Lake Boulevard and Glendale Boulevard. This International style residence predates the mid-century modern styles that followed it, but it feels like it could have been part of the case study movement of the late 1940s and 1950s. The house is a private neighborhood, and there's no parking at the house. Walter’s explanation near the end, moreover, delays the final couple of scenes which are very intriguing, and the perfect conclusion to the film.
In 1926 it was moved to its current location and became a private residence. I drove past the house on my way to an event and immediately turned around in order to check it out. You cannot go beyond the gate but it is truly spectacular to see. Despite the excellent framework of the story, it still boils down to the familiar “family moves into haunted house” horror cliché, which doesn’t do much different than what horror fans have seen for years, tweaks aside. Also, the film’s script felt like a case of too many people had worked on it.
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“Most likely, people will see fewer white pine cones next fall,” Livingston said. After a recent mental breakdown, Jennifer Branagan (Emily Goss) hesitantly returns to her Kansas hometown, seven month pregnant. Things appear to look up when Jennifer and Luke move into a new rental house (arranged by mom, of course). Things however turn quickly when Jennifer starts experiencing weird happenings in the house. With no one believing her, Jennifer starts to question whether she’s going crazy, or if something supernatural is in the house. Haunted house films have seemingly been a hit or miss thing with me.
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That high density can result in eastern white pine overtaking an area and excluding other trees species. A University of Maine professor explains the factors contributing to an abundance of eastern white pine cones that grew on trees last fall and dropped to the ground over the past few months. Self-guided walking tours of the exterior of Heritage Square Museum homes are currently available. I came here during the 2019 Museum of the Arroyo Day and really enjoyed it.
But when strange things start happening in their new rental home, Jennifer begins to fear that it may be haunted. Alone in her convictions, Jennifer is forced to question her sanity as she attempts to find out what, if anything, is plaguing the house. After an unexpected mental breakdown, Jennifer Branagan regretfully leaves her hometown in Kansas at seven months pregnant. Jennifer fights to regain control of her life while dealing with her anxieties about childbirth, a tense marriage with her husband Luke, and the domineering influence of her own mother Meredith. Jennifer, however, starts to worry that their rented home might be haunted when odd things start happening there.
As she tries to figure out what, if anything, is wrong with the house, Jennifer, who is alone in her beliefs, is forced to wonder if she is still sane. The Keeling Brothers bring the other part through the camera, direction and effects. There’s very little use of CGI in The House On Pine Street (smart move), and what digital effects there are in the film are used to enhance what’s already there. Of course, you don’t need CGI when it comes to kids in horror films.
I have visited the house for free on two different occasions. You can visit it for free on the Museums of the Arroyo Day or during the City of Pasadena’s ArtNight. This was one of the first homes I ever toured in LA and fell in love with learning about the history of the unique homes in the area.
This question is, of course, at the heart of both Gilman’s story and Jackson’s novel—each of which, like The House on Pine Street, focuses on a deeply disturbed female protagonist. In all cases, too, the problems of the main character are bound up with both femininity and motherhood—being a mother, having a mother, dealing with the complicated emotions of mother-daughter bonds. Jenny’s mother and husband (and even her best friend) are frequently shot together in ways that suggest they are conspiring against her, more concerned with the baby than with her. It’s precisely this lack of recognition of her autonomy—and her desires, her needs—that Jenny struggles with, and rebels against, during her pregnancy, and which may well be the true source of horror in the film. The House on Pine Street now ranks in my top 3 independent horror films of 2015, just below Karyn Kusama’s The Invitation and just above Perry Blackshear’s They Look Like People (both reviewed here). But this effectively creepy second feature from brothers Aaron and Austin Keeling should please the patient in fest play and eventual home-format exposure, with regional theatrical release a possibility.
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