Last night we attended the premiere episode of ‘I Am The Night’ at the Harmony Gold Theater.
For the cast and crew of TNT’s new mystery drama “I Am the Night,” filming in the John Sowden House was all too real. Nicknamed the “Jaws House” for its sharklike facade, the famous Los Angeles residence was once home to Dr. George Hodel, a well known Hollywood gynecologist in the 1940s and prime suspect in the Black Dahlia case.
The limited series tells the true story of Fauna Hodel, a young girl played by India Eisley who finds out that she’s Dr. Hodel’s biological granddaughter. Alongside Jay Singletary (Chris Pine), a washed up journalist obsessed with the Black Dahlia murder, the two delve into the secrets of the past and soon get twisted up in the surreal world of Dr. Hodel.
[After the premiere episode of I Am The Night at the Harmony Gold Theater] an after-party was held at the Chateau Marmont, featuring surrealist art created by Brooklyn immersive art collective Little Cinema.
Part 2 of the evening took place down the street underneath the watchful and beautiful eyes of Chris Pine… or at least his face via billboard: The recently replaced ALLY sign (A Star Is Born) on Sunset now sports an advertisement for the TNT series, perfectly placed adjacent to the scene of the crime, or at least the scene of party, the Chateau Marmont Hotel.
There is perhaps no better location for a throwback to 1965 Hollywood combined with a television show’s artsy premise than the Chateau Marmont. Enter the surrealist artists from above, mix in the interactive experiences, add an environment conducive to friendly introductions and conversations, and it became a night that not only beckoned the stars from the show but also noted attendees Regina Hall, Steve Perry, and Patricia Clarkson.
Founded by Jay Rinsky, the collective was commissioned and flown in by TNT to take over the Marmont to re-create a scene from a future episode in which Dr. Hodel hosts a surrealist art party. With an atmosphere reminiscent of old Hollywood glamour and ’60s dreamlike weirdness, one room, bathed in red light, featured a live band playing classic jazz standards. In the center of the room was a performance artist inside a cage, dancing on pointe in ballet slippers and wearing a headdress covered in butterflies. Surrealist paintings were on display throughout the event, along with several other live dancers, artists, and performers dressed in delicate, silken red and white costumes, and mime-like face paint.
Another room featured an interactive installation, called “Universal Light,” where guests could write on walls covered in white sheets, painted in black with words and phrases like “black or white,” “feel,” and “human kind” to symbolize Fauna Hodel’s journey of identity as a white-passing woman raised by a woman of color.
But upstairs in Room 29 was the real spectacle of the night. Select guests were given secret envelopes instructing them to meet in a hidden suite and “tell no one.” At the door, attendees were immersed into a guided tour of an art gallery “curated for Dr. Hodel himself,” with a Black Dahlia-inspired motif of surrealist paintings of disembodied women. Actors interacted with guests as if it were actually 1965, discussing the art over Old Fashioneds and dirty martinis. In another dark room, real daily footage from “I Am the Night” was projected onto sheer screens, behind which performers dressed in ’60s garb acted out the dialogue, beckoning guests to join them as part of the installation.