45 pages • 1-hour read
The Last Tycoon
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Symbols & Motifs
Hollywood Studio
The Hollywood studio emerges as a multifaceted symbol, representing not only a physical space but also a figurative intersection of personal and professional lives. The Hollywood studio, portrayed by F. Scott Fitzgerald as a bustling entity, functions as a microcosm echoing the ceaseless rhythm and appetite of the entertainment industry. The author captures the perpetual activity within the studio, emphasizing that “there is never a time when a studio is absolutely quiet” (37). The constant presence of technicians and maintenance staff sustains an ongoing hum.
Stahr’s daily routine, which “begin[s] often enough right in the studio” (197), symbolizes the Hollywood studio’s profound significance in Stahr’s life. The studio, traditionally a workplace for filmmaking, transforms into a surrogate home for Stahr. This is epitomized by Stahr’s decision to sleep there regularly, taking advantage of the studio’s amenities, including a bath and dressing-room. The studio becomes a versatile and adaptive environment, catering to the needs of those, like Stahr, who seek comfort and efficiency within its confines. It also symbolizes the blurring of Stahr’s personal and professional worlds and intimates that career success like Stahr’s is not possible without this lack of separation.
The studio also serves as an extension of Stahr’s identity and a sanctuary from the complex challenges of his personal life. Stahr’s deliberate avoidance of returning home, motivated by the painful memory of his wife’s death and haunting loneliness, underscores the studio’s pivotal role in offering solace and purpose. Kathleen’s probing question to Stahr, “You always talk about showing me the studio and taking me around. Don’t you ever stay alone?” (108), peels back another layer of the studio’s symbolism. It emerges not only as a backdrop for Stahr’s professional prowess but also as a dynamic space where Stahr grapples with his past and navigates the complex interplay of emotions and ambitions that define his life. Stahr’s assertion, “The studio is really home” (116), encapsulates the profound impacts of Hollywood’s demands on personal lives, hinting at how the industry demands both professional and personal dedication.
Earthquake
The earthquake symbolizes the beginning of change in the characters’ lives; it is a metaphorical tremor that disrupts the status quo. The first earthquake in the narrative becomes a catalyst for change, creating a seismic shift that ripples through the characters’ personal and professional spheres. Cecilia’s attempt to bring her father home for his birthday becomes a pivotal moment as “the earth quake[s] under” them (39). This natural event is not merely a plot device; it serves as a narrative earthquake, shaking the foundation of their plans and setting the stage for subsequent events.
The vivid and evocative language used in the depiction of the earthquake conveys the intense and unsettling nature of the event. Fitzgerald uses metaphorical language to capture the profound and disconcerting impact of the earthquake on both physical and existential levels: “For a full minute our bowels were one with the bowels of the earth—like some nightmare attempt to attach our navel cords again and jerk us back to the womb of creation” (39). The bodily references add a nightmarish quality and foreshadow the fatal events set in motion. Almost “all the lights [go] out” (39) after the earthquake, encapsulating the chaos and disarray that follows such a calamity. It also symbolizes a pivotal loss of stability and order, while the “cries and calls” (39) evoke a sense of panic and vulnerability.
The Plane
A turbulent plane trip begins the novel and a deadly plane trip ends it, making the plane a motif for unexpected danger in The Last Tycoon. The turbulence of the first plane trip throws Cecilia into her father’s Hollywood circle and begins her relationship with Stahr. It also foreshadows the events of the deadly plane trip at the end of the novel. Both plane trips offer characters a wider perspective on life. On the first plane trip, Cecilia’s eyes are opened to the adult world of Hollywood, and on the second plane trip, Stahr rethinks his decision to have Brady killed. However, Stahr’s decision to cancel the assassination of Mr. Brady, a critical moment in the plot, becomes moot with the fateful plane crash. This accentuates the inevitability and unpredictability of life’s course, underscoring the fragility of human agency in the face of unforeseen events.
The plane crash that “plunged Stahr and all its occupants into a white darkness” (204) serves as a dramatic turning point, disrupting the carefully orchestrated plans of the characters and punctuating the narrative with a sense of inevitability. Stahr, having navigated the intricacies of the Hollywood power struggles and personal dilemmas, meets an unexpected end. This twist not only solidifies the novel as a tragedy but also underscores the theme of fate and the capricious nature of life. Stahr’s belief that he can control everything, even Brady’s fate, is a tragic flaw, and his hubris is revealed by the more powerful crash.
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