Famous Guests and The Hotel in Films and Novels
Numerous famous guests have stayed at the hotel. Claude Monet and James Whistler both stayed at the hotel and painted or drew views, from their rooms, of the River Thames. The Savoy featured prominently in guest Oscar Wilde's trial for gross indecency (he had conducted his affair with Lord Alfred Douglas in the hotel). Other celebrity guests in the hotel's early decades included the future King Edward VII, Sarah Bernhardt, Enrico Caruso, Lillie Langtry, H. G. Wells, George Bernard Shaw, Nellie Melba, Charlie Chaplin, Al Jolson, Errol Flynn, Fred Astaire, Marlene Dietrich, Lionel Barrymore, Harry Truman, Audrey Hepburn, Judy Garland, Josephine Baker, Cary Grant, Babe Ruth, Ivor Novello and Noël Coward. The hotel kept records of its guests’ preferences, so that it could provide them in advance. For Coward, the staff made history by taking the first photographs of a hotel guest's toilet articles so that they could lay them out in his bathroom exactly as he liked them. They made sure to provide a fireproof eiderdown to Barrymore, as he always smoked while reading in bed.
Bob Dylan stayed in the hotel in 1965 and filmed the video clip Subterranean Homesick Blues in an adjacent alley. Frank Sinatra, Laurence Olivier, Vivien Leigh (the last two met at the hotel), Marilyn Monroe, John Wayne, Louis Armstrong, Humphrey Bogart, Elizabeth Taylor, Richard Burton, Richard Harris (who lived at the hotel for the last several years of his life; while being carried out on a stretcher before he died, he joked, "It was the food".), Maria Callas, Coco Chanel, Christian Dior, Sophia Loren, Julie Andrews, Lena Horne, Marlon Brando, Jane Fonda, Barbra Streisand, Jimi Hendrix, The Beatles, Elton John, U2, Led Zeppelin, The Who, George Clooney, Whoopi Goldberg and Stephen Fry are just a few of the celebrities who stayed there in recent decades.
The hotel has often been used as a film location. For example, the romantic finale to the Notting Hill (1999) is set in the hotel's Lancaster Room, where Anna (Julia Roberts) and William (Hugh Grant) declare their mutual love. In 1921, the hotel was used in the film Kipps, based on the novel by H. G. Wells. It also featured in The French Lieutenant's Woman (1981) and Entrapment (1999), among others. In 2011, the hotel was used as the setting for Duran Duran's music video for their song "Girl Panic!" from their album All You Need Is Now.
Arnold Bennett wrote the novel Imperial Palace in 1930 based on his research at the hotel. The novel fictionalises the hotel's operations.
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Famous quotes containing the words famous, guests, hotel, films and/or novels:
“In a famous Middletown study of Muncie, Indiana, in 1924, mothers were asked to rank the qualities they most desire in their children. At the top of the list were conformity and strict obedience. More than fifty years later, when the Middletown survey was replicated, mothers placed autonomy and independence first. The healthiest parenting probably promotes a balance of these qualities in children.”
—Richard Louv (20th century)
“When the guests have left, the host is at peace.”
—Chinese proverb.
“...what a thing it is to lie there all day in the fine breeze, with the pine needles dropping on one, only to return to the hotel at night so hungry that the dinner, however homely, is a fete, and the menu finer reading than the best poetry in the world! Yet we are to leave all this for the glare and blaze of Nice and Monte Carlo; which is proof enough that one cannot become really acclimated to happiness.”
—Willa Cather (1876–1947)
“The cinema is not an art which films life: the cinema is something between art and life. Unlike painting and literature, the cinema both gives to life and takes from it, and I try to render this concept in my films. Literature and painting both exist as art from the very start; the cinema doesn’t.”
—Jean-Luc Godard (b. 1930)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)