45 pages • 1-hour read
The Last Tycoon
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Chapters 5-6Chapter Summaries & Analyses
Chapter 5 Summary
Cecilia excitedly prepares to meet Stahr, expressing her intention to catch his attention. She discusses her plan with Wylie, who finds it brazen. He reveals his interest in her, acknowledging her wealth as a significant factor. Cecilia, however, continues to envision a romantic encounter with Stahr, rehearsing lines and scenarios. At the studio, she straightforwardly communicates her feelings to Stahr, who politely declines saying he is “too old and tired” to contemplate marriage again (102). Stahr suggests that she consider Wylie White as a potential match. Shortly after, Miss Doolan appears, called by Stahr through “a concealed button” (103), leaving Cecilia feeling like an embarrassed kid.
At a screenwriters’ ball, Cecilia observes a girl with angelic skin and unique style. Initially forgotten, the girl gains Cecilia’s attention as Stahr approaches her. They engage in dancing and conversation, and Stahr discovers the girl, who is the friend of Edna who resembles Minna, is named Kathleen Moore. Stahr, eager to know more about Kathleen, proposes lunch or dinner, but she hesitates. Despite this, a connection forms between them, and Kathleen admits to feeling breathless around Stahr. Kathleen leaves shortly after the dance and Stahr follows her to the parking lot, determined to persuade her to go out with him. After some persistence, Kathleen reluctantly agrees to meet him in the same parking lot the next morning. Stahr then goes back to the party briefly, where he dances with Cecilia.
The next afternoon, Stahr and Kathleen meet at the same location. Kathleen questions if he waited there all night, and Stahr confirms that he did not move. They decide to go for tea, and Stahr suggests a shoreside restaurant in Santa Monica. As they drive, Kathleen acknowledges his gentle demeanor and playfully questions why people are afraid of him. Arriving at Santa Monica, during their meal, Stahr reveals he is constructing a house in the vicinity. Intrigued, Kathleen expresses a desire to see it, prompting Stahr to drive them there. The incomplete house already has a furnished room and a small grassy area, although it lacks a roof. The conversation turns personal as Kathleen shares a past experience of living in a house without a roof, explaining a prolonged mistake in a relationship. Stahr listens without judgment, gaining insight into Kathleen’s past. As the wind begins to rise, Stahr decides to leave and takes out his car keys. However, the sound of a telephone interrupts his departure. Stahr and Kathleen search for the ringing phone and discover it in a tool shack by the tennis court. Stahr answers the call, anticipating a conversation with the President, only to find “an orang-outang” on the line, and after a brief conversation, realizes it’s a prank call. Despite the interruption, Stahr and Kathleen continue their time together, exploring the shore.
Later, Stahr drives Kathleen home, making a brief stop at a drugstore for a quick meal. Upon reaching her doorstep, Stahr is eager to kiss her, but Kathleen hesitates. Unexpectedly, she implores him to return to the house in Santa Monica. Once there, they make love. Later, their conversation delves into Minna’s resemblance and Kathleen’s lover in England. On the way back to Kathleen’s house, she sifts through the car, searching for a misplaced letter. Stahr inquires about its importance, but she dismisses any concern. At her doorstep, Kathleen addresses him formally as Mr. Stahr and declines a goodnight kiss. When Stahr returns home, his butler hands him a letter discovered in the car. The letter, specifically addressed to Stahr, reveals Kathleen’s engagement and her choice to end their interactions. Feeling a sense of rejection and having been used, Stahr retires to bed, his thoughts preoccupied with memories of Minna. He contemplates that perhaps it is a favorable outcome, recognizing that his initial interest in Kathleen stemmed from her likeness to Minna.
Cecilia expresses her keen interest in the mysterious girl who was at Martha Dodd’s, an unemployed actress, table at the ball. Wylie, sent by Cecilia to investigate, fails to identify the girl, increasing Cecilia’s curiosity. She decides to approach Jane Meloney, a writer and acquaintance, seeking information. Jane, knowing the girl through her nephew Ned, reveals that the girl is Kathleen. Cecilia, driven by her fascination, convinces Jane to arrange a lunch meeting with Martha. Martha, once affluent, shares her past and struggles. Cecilia, initially motivated by curiosity, begins to contemplate Hollywood’s neglect of forgotten talents. After lunch, Cecilia plans to involve her father in helping Martha. However, her plans take an unexpected turn when she discovers Birdy Peters, her father’s secretary, naked in her father’s closet. Shocked, Cecilia hurries out with Martha. Disturbed by the encounter with Birdy, she reflects on Hollywood’s darker side and its secretive nature. Martha, unprompted, offers to visit Kathleen’s house with Cecilia. However, they do not meet her as she is out searching for a job.
Stahr engages in a conversation with Boxley, an English writer. Stahr explains the concept of finding inspiration for movies in everyday life occurrences, using the scenario of being in a drugstore as an example. Boxley expresses frustration with the mass production approach in Hollywood, and Stahr takes him to the office of assistant producer Jacques La Borwitz to witness a chaotic writing session. In the office, writers and a supervisor engage in a coin-tossing game to determine story elements. Boxley criticizes the lack of substance and suggests more characters. Stahr encourages this idea, and the writers enthusiastically embrace the new approach. Later, Stahr undergoes a medical checkup with Dr. Baer. The doctor expresses concern about Stahr’s health, revealing a heart ailment. The prognosis is dire—Stahr has less than six months to live unless he eases his workload. Despite the warning, Stahr remains resolute in his determination to continue working at his current pace.
Stahr receives a call from Kathleen, who seeks his company, and they spend an evening driving around Los Angeles. Kathleen shares her tumultuous life story involving a failed relationship with a man she refers to as “The Man” and her upcoming reunion with “The American” who rescued her from the man (153). Stahr, torn between desire and restraint, suggests a weekend getaway to Kathleen. They plan to go to the mountains, but Kathleen hesitates, feeling uncertain about her own identity. Stahr grapples with the decision to reveal his true feelings, but both acknowledge a sense of confusion. The chapter concludes with a telegram informing Stahr that Kathleen has married, leaving him in shock and uncertainty about his own emotions.
Chapter 6 Summary
Stahr’s negotiations with the Writer’s Guild, ongoing for over a year, are reaching a dead end. Cecilia contemplates Stahr’s rationalist mindset and his unwillingness to let go of an imaginary past. Stahr requests Cecilia to arrange a meeting with a “Communist Party” (162) member, expressing a keen interest in meeting one of their organizers from New York, emphasizing the need for secrecy. The meeting takes place at Cecilia’s house. Stahr, appearing pale and nervous, reveals his interest in understanding the Communist Party’s perspective. The conversation between Stahr and Brimmer, the Community Party member, unfolds, touching upon topics like the Writers’ Guild, the film industry, and Stahr’s personal philosophy. Cecilia observes the tension between the two men as Stahr shares anecdotes about the film industry and Brimmer questions the industry’s reluctance to support the anti-Nazi League.
The conversation continues, delving into Stahr’s views on writers, their role in the industry, and his approach to leadership, with Brimmer subtly challenging Stahr’s perspective. As the meeting progresses, tensions rise, leading to a confrontation between Stahr and Brimmer. Stahr drinks uncharacteristically heavily, leading to a physical altercation with Brimmer. Stahr mistakenly associates Brimmer with Kathleen’s new husband and threatens him, resulting in Brimmer knocking him unconscious. Cecilia intervenes, persuading Brimmer to leave, and assists Stahr back into the house. Upon regaining sobriety, Stahr expresses remorse for his actions. Cecilia informs him that he struck Brimmer, and Stahr assumes that Brimmer retaliated in self-defense. Following this revelation, Stahr invites Cecilia to accompany him to Doug Fairbanks’s ranch that night, initiating a two-week relationship between the two.
Fitzgerald’s friend and fellow writer, Edmund Wilson, provides a summary of the remaining novel based on Fitzgerald’s notes: Following the encounter with Brimmer, Stahr faces business challenges in Hollywood. He travels to the East to negotiate with stockholders amid the threat of a studio wage-cut. However, he falls ill in Washington, unable to explore the city as intended. During Stahr’s illness, Brady seizes the chance to “put through a fifty percent pay-cut” (177). Stahr, who has consistently advocated for the well-being of lower-paid employees, is displeased with this decision. Struggling with both the union’s and Brady’s tactics, Stahr reluctantly considers setting up a company union. Simultaneously, personal relationships complicate matters. Stahr’s romance with Cecilia falters due to Brady’s interference and revelations about Stahr’s continued connection with Kathleen. Kathleen’s husband, a union activist, becomes a pawn in Brady’s plan to harm Stahr. The specifics of the threat are unclear, ranging from murder attempts to legal action. Despite his declining condition, Stahr engages in a passionate affair with Kathleen. Upon discovering Brady’s murderous threats, he decides to hire someone to murder Brady. However, during a flight to New York, Stahr has a change of heart and attempts to call off the plan. The plane crashes before Stahr can intervene, mirroring the ominous warning in the suicide note from Schwartz in the story’s opening chapter. Stahr’s funeral becomes a star-studded spectacle, described as an “orgy of Hollywood servility and hypocrisy” (180). In contrast, Brady’s death unfolds quietly. Cecilia, devastated by Stahr’s death and her father’s murder, has a mental health crisis; she also develops tuberculosis and enters a sanitorium. The final glimpse of Kathleen shows her standing outside the studio, separated from her husband and forever distanced from the industry’s inner workings.
Chapters 5-6 Analysis
This section illustrates the evolving dynamics and changing attitudes of the 1930s, particularly concerning women. Fitzgerald depicts women who can be assertive, take initiative, and lead in romantic endeavors. Cecilia’s assertion that “we don’t take abuse like our mothers would have” highlights a shift toward vocal resistance and a refusal to accept mistreatment (98). Cecilia’s approach to confessing her feelings to Stahr exemplifies women taking the initiative in romantic interactions. Cecilia’s plan to “walk right up to him as if [she] was either going to walk through him or kiss him on the mouth” reflects a directness and confidence uncommon in traditional gender roles (101). Additionally, her straightforward invitation to Stahr, “Will you go with me to the ball tonight?” (101), emphasizes women’s agency in romantic endeavors. Kathleen is also a woman who takes the lead in shaping her romantic narrative. When suggesting a return to Stahr’s house on the beach, she not only proposes the idea but also sets the tone for her desire clearly, stating, “Don’t let’s talk. I just want to ride” (122). The subsequent scene, where Kathleen and Stahr have intercourse, further illustrates her assertiveness. In a narrative landscape where women are often relegated to passive roles, Kathleen’s and Cecilia’s assertiveness stand out as a symbol of changing dynamics and evolving attitudes toward gender roles during a turning point in US history.
Fitzgerald’s portrayal of Hollywood unveils its deceptive glamor and internal hierarchies, continuing to shed light on the pervasive loneliness that coexists with its extravagance. Stahr’s observation of Beverly Hills reflects the city’s economic zoning, providing a contrast between the outward opulence and the emptiness within. In the executive section, described as a “fancy lot of pastry” (101), the veneer of beauty masks the underlying isolation and lack of genuine connection. This duality serves as a commentary on The Deception Behind Hollywood Glamor, where external appearances often belie the internal emotional landscapes of its inhabitants. Despite being surrounded by the hustle and bustle of the film industry, Stahr confesses to Cecilia that he is “lonesome as hell” (102). The juxtaposition of his yearning for companionship with the acknowledgment of being “too old and tired to undertake anything” emphasizes the toll that the Hollywood lifestyle takes on personal relationships (102). His admission, “Pictures are my girl. I haven’t got much time for myself” (102), further reveals a sense of alienation masked by the demanding nature of his career. The metaphorical association of films as a romantic partner underscores the extent to which his professional commitment consumes his personal life. Even the home Stahr is building in Santa Monica is incomplete, lacking a roof just like a film set.
Fitzgerald explores unrequited love and the bittersweet realities that accompany it, developing the theme of Desire, Love, and the Pain of Loss. Cecilia’s description of the pivotal moment when she realizes Stahr has turned her down signifies “the end of the childhood” and the loss of innocence associated with her romantic daydream(103). Stahr’s confession to Kathleen that he “feel[s] like a fool” (107), mirrors Cecilia’s experience, creating a parallel between the two characters. Cecilia and Stahr confront the harsh reality that their romantic aspirations may be futile. However, both Kathleen and Cecilia express concern for Stahr’s well-being. Kathleen’s advice for him to “try not to work so hard” (120) and her suggestion of marriage evidence her caring nature. Cecilia also shows persistent dedication to Stahr. Despite Stahr’s rejection, she goes out of her way to arrange a meeting for him with Brimmer, undermining her own father. When Stahr, in a drunken state, behaves strangely and is knocked down by Brimmer, Cecilia not only tends to him but also desires to preserve Brimmer’s perception of Stahr as a normally hardworking individual and a “technological virtuoso” (172). This dedication is underscored by Cecilia’s admission, “I loved him, and what he said didn’t change that” (172). In this context, Cecilia’s actions reveal deeper affection for Stahr, coupled with a desire to protect his professional image amidst challenging circumstances.
As Fitzgerald explores the theme of love in Hollywood, he also questions its authenticity within the glamorous yet problematic world of filmmaking. The description of Kathleen’s physical beauty reflects Stahr’s detached yet critical perspective on love within Hollywood. The producer in Stahr “judged her as he would a shot in a picture” (113), exposing the industry’s high standards and expectations for relationships. In this way, Fitzgerald delves into the performative nature of love in Hollywood, where relationships are viewed through the lens of cinematic aesthetics, demanding a carefully curated portrayal that aligns with industry expectations of “balance, delicacy and proportion” (113). Moreover, Stahr’s romantic involvement with both Cecilia and Kathleen in the aftermath of Kathleen’s marriage reflects the fleeting, duplicitous, and capricious nature of love within the Hollywood context. The description of Stahr’s and Kathleen’s meetings as “one last fling” (179) accentuates the transient nature of their connections. Stahr’s difficulty in accepting Kathleen as a permanent part of his life unveils deeper societal biases and class-based judgments. The characterization of Kathleen as “poor, unfortunate, and tagged with a middle-class exterior” highlights the role of social status in shaping romantic perceptions within Hollywood and the prevalent vanity and superficiality (179).
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