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The greatest trees of Los Angeles

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The greatest trees of Los Angeles

There is a sycamore in the front yard of my grandparents’ house, the house where my father grew up. It is a giant, towering over the home, the yard, the whole neighborhood. Last spring, when my grandmother was fading and the tree was coming into leaf, I stood under the sycamore for a long while, listening to the wind rustling its new growth. It was a delicate sound that, every so often, turned into a tremendous roar as the breeze went gusty.

My grandmother died a few weeks later. She was 101. The tree must be at least as old. Several months after she died, once the house was ready to sell, we all fell into a minor panic about the future of our beloved sycamore. Surely, anyone buying this small, old house would be developing the lot, and would take down the tree.

A sycamore tree in Griffith Park.

(Devin Oktar Yalkin / For The Times)

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But a day or two later, we learned that it is rather difficult — and also, illegal — to cut down a very old, still-alive sycamore, oak, California bay or black walnut in Los Angeles. It turns out the city has an entire department — its urban forestry division, and specifically its tree czar, Rachel Malarich — responsible for, among other things, saving such trees. All it took was alerting the office to the location and existence of our sycamore and the division would, if it hadn’t already, add it to its ever-growing list of trees it aims to protect.

I wrote “our sycamore” above, but great trees defy possessives. They are home to bees and birds and squirrels and ants and countless other critters. They are often older than all of us, older than the sidewalks, the streets, the parks. Older, sometimes, than the city itself.

These trees, belonging to no one, are for everyone.

The old sycamore was on my mind when, a few months ago, I got the idea to find and visit the greatest trees in all of Los Angeles. The idea wasn’t entirely my own — I was cribbing it from a tree of the year “contest” held in the United Kingdom, which, I came to learn, was itself part of a larger, European-wide tree of the year contest that includes at least 15 other nations, and began in the Czech Republic more than a decade ago.

Like the judges of these contests, I was interested in old, big trees — the sort of trees that tree pros and tree enthusiasts like to call specimens. I started my search for specimens by talking to many, many tree people: arborists, landscape architects, gardeners and garden nerds, historians and activists, tree-heads all. Like Jorge Ochoa, a horticulture professor at Long Beach City College, who suggested the tree he gets asked to identify most: a huge araucaria, also known as a bunya-bunya, that appears in the film “Blood In, Blood Out” and is an icon of East L.A. Or Jenny Jones, a landscape architect at Terremoto, who mentioned a “profoundly beautiful” mulberry in the Elysian Heights Elementary school garden. Leigh Jerrard, at Greywater Corps, said his favorite tree in L.A. was a valley oak on Chesebro Road in Agoura Hills, but then he caught himself. Had it survived the Woolsey fire a few years back? He wasn’t sure. He texted me a few days later. Nope. It was no longer alive.

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A camphor tree, Cinnamomum camphora, at Evergreen Cemetery.

(Devin Oktar Yalkin / For The Times)

Giant avocado tree in Atwater, near the L.A. River. (Devin Oktar Yalkin / For The Times)

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A floss silk tree towers over the Yamaguchi Bonsai Nursery. (Devin Oktar Yalkin / For The Times)

This was the case with a lot of legendarily great L.A. trees: They were now dead. A few different tree-heads mentioned the gigantic silk floss that was once at the Hotel Bel-Air, and many more suggested the Encino Oak, which by some estimates was already 500 years old when the first Spanish expedition through California camped under it. But Jeff Perry, who knows fallen trees, told me that the greatest L.A. tree of all once stood on what is now Commercial Street at the 101 Freeway, not a half-mile from Angel City Lumber, which Perry runs.

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“This tree is so important,” he told me. “It was the centerpiece of the Tongva village here. It stood when the pueblo was established, when Mexican occupation took over, when American occupation took over.” A winemaker shaded his casks under its limbs, then German immigrants bought the winery and turned it into a brewery. Eventually the tree, which had long been known as El Aliso — Spanish for sycamore — was turned into firewood. “The point,” Perry said, “is that this was a tree that witnessed multiple layers of colonization.” Today, on the corner by the freeway onramp, there is a small plaque about El Aliso, the great tree that stood there for so long, and saw so much.

Another, more recently dead great tree that I kept hearing about was the Eagle Tree, another huge sycamore and an old Compton landmark. Its trunk has been saved, and there are now plans to distribute young clones of the Eagle Tree throughout the Southland, thanks in large part to the work of Kim Cooper and Richard Schave, preservationists who run the L.A. tour company Esotouric. There were many other trees Cooper and Schave mentioned — East L.A.’s El Pino, an old queen palm on Bunker Hill called Sunshine, some more very old bunya-bunyas at Rancho Los Amigos — and several other trees out there to save and celebrate before they expire. But before all that, they told me, I simply had to speak to Don Hodel.

This was not the first nor the last I would hear of Hodel. In fact, pretty much every other tree-head I spoke to mentioned him either right off or in closing, or followed up a day or two later with something along the lines of what Cooper and Schave had said: that if I was looking for great trees, the best trees, the trees worth celebrating, I really ought to be talking to Don.

The prickly surface of the floss silk tree near Yamaguchi Bonsai Nursery.

(Devin Oktar Yalkin / For The Times)

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Ficus religiosa, Lafayette Park. Commonly called bo tree, it’s famous for being the same species that the Buddha meditated under when achieving enlightenment.

(Devin Oktar Yalkin / For The Times)

Donald R. Hodel is the emeritus environmental horticulturist for the University of California Cooperative Extension in Los Angeles. In 1988, Hodel authored a book, published by the California Arboretum Foundation, titled “Exceptional Trees of Los Angeles.” It is exactly what its title describes: a book of very good — or, I’m sorry, exceptional L.A. trees. It is long out of print, but I found a copy, and was thumbing through it when we spoke.

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I told Hodel about my plan, which had, after several weeks among the tree-heads, plus some scouting missions, been refined a touch. I was after, I’d decided, only the most public of trees, which meant simply: the more accessible, the better. Sure, there was a California buckeye I adored at Descanso Gardens, but any place you had to pay to see a tree was out. As were trees in private backyards, or high-fenced front yards. The tree had to be highly visible, enjoyable and not a tree you had to hike too far to see. If it was in a public park, then at most it might require a minor walk, ideally not even uphill. If it was the sort of tree someone (someone who was not yet a tree-head) might drive by all the time and not really notice, or notice but think simply, “Huh, what a large tree!” — that was perfect.

Hodel thought first of the many streets in L.A. lined with great, glorious tree plantings: the coral trees along San Vicente, the Canary Island date palms lining the entrance to Dodger Stadium, the gum myrtles on Kenilworth Avenue in Pasadena and, of course, in Altadena, the deodar cedars along Christmas Tree Lane (“a spectacular planting,” Hodel said). But when I explained that it was specimens I was after, I heard Hodel go silent a moment. He had his book out too, and was flipping through it. “Some of these trees,” he said quietly, almost to himself, “I haven’t been back to them in 30 years, and they may not be there.”

Hodel then told me about a grapefruit tree in Little Tokyo that was planted about 150 years ago by Japanese American settlers as part of the first citrus grove in Los Angeles. For decades, the tree sat behind a building in a vacant lot, until the neighborhood rallied to save it, and replanted it in the courtyard of the Japanese American Cultural Center. It was by now very likely the oldest citrus in L.A., certainly the only one left from that original grove. “Ask if it’s still standing,” Hodel told me. And, later, I did. Reader, it is.

The 150-year-old grapefruit tree in the courtyard of the Japanese American Cultural Center.

(Devin Oktar Yalkin / For The Times)

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There were also, of course — Hodel continued — the ficuses; the Moreton Bay figs in particular, which get absolutely gargantuan, and are never not notable, lining as they do La Mesa Drive in Santa Monica, or Vermont Avenue on its approach to Griffith Park, or spreading their branches out over the Pacific Ocean on Point Fermin in San Pedro, or beside the old library in South Pasadena. But one of his favorites — and mine, it turned out — was next to St. John’s Presbyterian Church, on National Boulevard, a few blocks from where the 10 Freeway crosses the 405 Freeway. This one tree takes up practically the whole block, was planted in 1875, and is the sort of specimen that can cause someone to gasp, and gawp, and long to pull over and stand beneath it for a while, just contemplating things like time and space and root systems.

Hodel had given me more than a few great trees but I was a greedy, half-tree-mad man by now. I wanted more: more trees, older trees, even better trees. He mentioned Orcutt Ranch, which, he said, had some of the oldest valley oaks around, and an even older coastal live oak, so old you could still see on it the scars from where its branches had been removed to fire the kilns that made the adobe brick that built the San Fernando Mission. “Lot of history tied up in those old oaks,” Hodel said.

About a week later, I visited the oak, which is a short walk from the parking lot to the back of the property, the last small parcel of a once-sprawling ranch that is now a public park. The tree has the look of an ancient thing — knobby and gnarled and thick, so thick and tall it appeared at times like several oaks stacked on top of one another. A tree like this is practically planetary; it creates its own ecosystem, and while we — photographer Devin Yalkin and I — stood in its silence and stillness for a spell, we also began to notice all the life within it and upon it: We counted at least two beehives, a half dozen squirrels, several California towhees and oak titmouses, many, many lesser goldfinches, huge networks of spiderwebs, plus dark holes and hollows throughout the oak that were certainly home to many more creatures we could not see. This tree, by some estimates, is at least 700 years old, which would make it a likely candidate for the oldest tree in all of L.A.

An excellent Moreton Bay fig tree at Mid-City’s Prescott School.

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(Devin Oktar Yalkin / For The Times)

Among the oldest trees in Los Angeles, a coastal live oak at Orcutt Ranch.

(Devin Oktar Yalkin / For The Times)

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But the day was young, and we still had many more trees to see, so after an hour or so, we drove across the San Fernando Valley, up and over the hills to the triangle where Cahuenga crosses Franklin, to an entirely different sort of specimen: a handsome jacaranda, not so incredibly old, not even especially big, just beloved, and beset on all sides by the city. I had heard about this tree from Nick Araya, an arborist who runs TreeCareLA. This tree, he told me, was managed by the surrounding neighborhood; they had a committee for it, even. Last year, Araya had been contacted by the neighborhood tree committee after the jacaranda in the triangle had been mysteriously vandalized. Someone, or something, had pruned a large portion of the tree. “They almost ruined it,” Araya said.

Araya sent his colleague Oscar Sanchez out to investigate, and Sanchez eventually figured out that someone, likely employed by some corporate entity (an advertising agency, perhaps), had illegally chopped the tree just to make a nearby billboard more visible. “Corporate vista pruning,” Sanchez called it. But people, Araya pointed out, obviously care more for trees than they do for billboard advertisements. And indeed, after a short time looking at the jacaranda, a man walking a small dog cautiously approached. His name was Louis Alfaro. The dog was his neighbor’s, and named Nacho. Alfaro was very worried about what we might be doing to the tree — did we work for the city? Was Devin photographing the site to take down the tree? It was one of the few patches of nice green shade, and there was already so much vandalism around it, he said. He’d lived in an apartment in the neighborhood for 11 years and visited the tree almost every day.

Wherever Araya goes in the city, tending trees, he encounters folks like Alfaro, who care deeply for specimens that are not on property they own, that are not their own trees, but they feel an ownership and responsibility for them all the same. Araya also catalogs champion trees — the largest specimens in the state or even the country — wherever his work takes him, which is all across L.A. One of his favorite specimens to send fellow arborists out to is the towering silk floss in back of Yamaguchi Bonsai Nursery on Sawtelle. He’s also particularly fond of a Moreton Bay fig that’s spilling over the muraled retaining wall of Mid-City’s Prescott School.

Among the other L.A. champions in the registry of California Big Trees is the state’s largest avocado tree, in Atwater, as well as the largest Canary Island pine, in Lawndale, and the largest deodar cedar, in Lafayette Square. These are all common trees that can be seen throughout the backyards and supermarket parking lots of Los Angeles. But these individuals have grown old and huge and worth celebrating, even if they happen to be unassuming and unexpected, situated as they are on quiet residential streets.

Dragon trees in downtown L.A.

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(Devin Oktar Yalkin / For The Times)

The oldest plant in the world of known planting date is the Ficus religiosa Sri Maha Bodhi, which was planted in Anuradhapura, Sri Lanka, in 288 BC. Today, the bo tree is revered as a symbol for prosperity, happiness, good fortune and long life. (Devin Oktar Yalkin / For The Times)

The champion rose gum tree. (Devin Oktar Yalkin / For The Times)

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Outside of the city’s parks department maintenance yards is another such champion, a rose gum, which is also known as a smooth-barked apple gum. Like many other very large trees in L.A. — the eucalyptuses, the bunya-bunyas, the Moreton Bay figs — it hails from Australia. As Devin and I were taking it in, Leon Boroditsky, the principal forester for the city’s parks department, walked out to meet us. His office is just across the street. What Boroditsky likes about this tree, beyond its pleasantly smooth bark and rosy shade, is that it’s an anonymous tree. That is, we do not know who planted it, or exactly when, or how. It is on a street corner that was once part of Griffith Park, and it’s possible that someone, long ago, simply acquired an interesting sapling of an exotic tree, had no yard in which to plant it, so planted it in what was, back then, the park. And now, here it is: a towering testament to one Angeleno’s long-ago hopes for the city’s future.

Trees are like that, existing as they do on a timescale so different from our own; they connect us to a distant past while also bearing witness to a future we will never live to see. After months spent searching for the greatest trees in L.A., I’ve come to realize that what I believe makes a tree great is not necessarily its size or its age but its ability to keep on living, especially if it has persisted despite prolonged neglect. That a tree, particularly a tree in a tree-poor part of town (of which there are, in L.A., far too many) endures is — well, it’s a very hopeful thing, isn’t it?

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Aleppo pine, the tallest pine species that grows in L.A. This one is at the top of a hill overlooking the 5 Freeway and L.A. River in Elysian Park. Someone added a swing.

(Devin Oktar Yalkin / For The Times)

I suppose this is a roundabout way of explaining why it is that quite a few of what have become my favorite trees in L.A. are not the sort of trees that judges of any tree competitions may necessarily deem great. Many are still quite young, so really what I like about them is their potential, like some of the more than 400 trees planted in and around Skid Row by folks at Industrial District Green; or the still-young coastal live oaks and black walnuts, many planted by North East Trees, which as they grow and fill in will make up a dense microforest in Ascot Hills Park; or many young trees planted throughout city parks in Long Beach, Cerritos, Lakewood and Seal Beach, many rare and cultivated by Hodel for an organization called Southeast Trees.

The other sort of trees I love are the trees that have, despite our best efforts, endured, like a red river gum eucalyptus in West Carson. This tree sat alone for years and years in an old industrial brownfield, the site of a former synthetic rubber factory, putting down its roots in poisoned earth, surrounded by scrap yards. The tree is just about the tallest feature for a mile in any direction, a lighthouse for nature that draws people to it. And now, the eucalyptus is the heart of a soon-to-open park, developed by the Los Angeles Neighborhood Land Trust, named Wishing Tree Park. That’s what a great tree can be: a witness, a wish, a beacon — hope. A great tree is the park that got built around the tree, because it held on long enough for enough of us to finally take notice.

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Do you have a favorite tree in L.A.? Tell us about it here.

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Bet on Anything, Everywhere, All at Once : Up First from NPR

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Bet on Anything, Everywhere, All at Once : Up First from NPR

Online prediction market platforms allow people to place bets on wide-ranging subjects such as sports, finance, politics and currents events.

Photo Illustration by Scott Olson/Getty Images


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Photo Illustration by Scott Olson/Getty Images

The rise of prediction markets means you can now bet on just about anything, right from your phone. Apps like Kalshi and Polymarket have grown exponentially in President Trump’s second term, as his administration has rolled back regulations designed to keep the industry in check. Billions of dollars have flooded in, and users are placing bets on everything from whether it will rain in Seattle today to whether the US will take over control of Greenland. Who’s winning big on these apps? And who is losing? NPR correspondent Bobby Allyn joins The Sunday Story to explain how these markets came to be and where they are going.

This episode was produced by Andrew Mambo. It was edited by Liana Simstrom and Brett Neely. Fact-checking by Barclay Walsh and Susie Cummings. It was engineered by Robert Rodriguez. 

We’d love to hear from you. Send us an email at TheSundayStory@npr.org.

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A secret-ish Japanese-style listening lounge just opened inside the Hollywood Palladium

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A secret-ish Japanese-style listening lounge just opened inside the Hollywood Palladium

Now you can pair your big show with dinner and a more intimate listening experience. The Hollywood Palladium, an Art Deco music venue graced by performers like Frank Sinatra, Richard Pryor, Jimi Hendrix, Lady Gaga and Jay-Z since 1940, has debuted a swanky lounge known as Vinyl Room.

Inspired by 1970s Japanese high-fidelity (hi-fi for short) listening rooms and operated by entertainment company Live Nation, it’s a space where concertgoers can have dinner, grab drinks and catch a vinyl DJ set before, during or after their ticketed event in the same venue.

With a name like Vinyl Room, you can expect to see vinyl records everywhere.

“You’re in [for] a whole night of music,” says Geni Lincoln, president of the California region for Live Nation, adding that her team put “so much thought” into the sound and design of the space, which was in development for more than two years.

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“I’ve been coming to the Palladium since I was a teenager, so it’s really special to see,” she says.

Entering Vinyl Room feels like you’re stepping into a secret speakeasy for music lovers, one with iconic music memorabilia, a thoughtful food menu and premium sound quality. Want to check it out? Here are five things to know.

Two people play cards at Vinyl Room.

Everything inside of Vinyl Room is inspired by the sounds and the musicians who’ve played at the Hollywood Palladium since 1940.

1. Vinyl Room is exclusively open to members and concertgoers with an upgraded ticket

Vinyl Room is open only on Hollywood Palladium show nights, starting 90 minutes before doors open, and remains open one hour after the concert. Admission is limited to concertgoers who purchase a ticket upgrade, which starts at $35. Early reservations are recommended.

Vinyl Room also offers annual membership packages, which start at $2,000 and come with various benefits such as complimentary guest passes to Vinyl Room, access to an exclusive menu, valet parking, table reservations inside the lounge, a dedicated private entry, complimentary coat check and concert ticket credits.

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Tip Dunn, also known as DJ tenSpeed, plays music at Vinyl Room.

Tip Dunn, also known as DJ tenSpeed, played records during opening night at Vinyl Room at the Hollywood Palladium.

2. Hi-fi is having a moment in Los Angeles — and Vinyl Room delivers on sound quality

From Common Wave Hi-Fi in Boyle Heights to Slow Jamz Gallery in the Arts District and Gold Line bar in Highland Park, hi-fi — a 1950s term used to describe the high-quality reproduction of sound — venues and experiences have been slowly popping up around L.A. over the last few years. Vinyl Room joins a short list of places where audiophiles can go to listen to music on hi-fi equipment, which many argue is the best way to experience it.

Much like the Hollywood Palladium, which is known for its top-tier sound, Vinyl Room also makes sound a priority. The lounge utilizes hi-fi sound equipment including Master Sounds Clarity-M speakers to ensure that the records sound as crisp as possible. Live DJs spin records on a set of turntables, which helps to create a richer and more analog sound that is closer to the original track than compressed versions such as MP3s.

Vintage concert posters decorate the walls at Vinyl Room.

Ruthie Embry, vice president of architecture and design at Live Nation, says the records and other memorabilia inside the space “connects you directly to the venue’s history the second you walk in the door.”

3. All of the decor ties back to music and the Hollywood Palladium’s rich history

With a name like Vinyl Room, you can expect to see vinyls everywhere. Records line most of the walls and shelves, drinks are served on vinyl-shaped coasters and tables and light fixtures are designed to the theme. There’s even vinyl wallpaper in the photo booth. In one corner of the lounge, you can dig through records under a neon sign that reads, “But have you heard it on vinyl?”

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Ruthie Embry, vice president of architecture and design at Live Nation, says the records and other memorabilia inside the space “connects you directly to the venue’s history the second you walk in the door.”

Some standout items include a Red Hot Chili Peppers show flier, a Hollywood Palladium postcard signed by late musician and host Lawrence Welk and a photo of late singers Bonnie Baker and Orrin Tucker at the venue. Even the bathroom creates a memorable photo moment: The stalls are filled with photos of musicians and an “on air” studio sign lights up when a stall is occupied.

Food served at Vinyl Room in Hollywood.

Vinyl Room’s menu, created by Chef Ryan DeRieux, is inspired by Asian flavors and includes items like the “Vinyl Roll,” which is made with spicy tuna.

4. Don’t worry about dinner plans before or after the show. Vinyl Room has got you covered

Eliminating the need to find a pre- or post-show restaurant, Vinyl Room has a full Asian-inspired menu created by Chef Ryan DeRieux.

Think sushi tots (like crispy tuna but with tater tots instead of rice), tuna poke nachos, chili crunch chicken wings and shiitake tempura burgers. There’s also a mouth-watering 10-ounce American wagyu skirt steak served with shishito peppers, pickles and charred carrots. For dessert, try the taiyaki, a popular fish-shaped Japanese street food, which is served with a delicious passion fruit cream that I wanted to take to go because I liked it so much.

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Cocktails at Vinyl Room

Signature cocktails at Vinyl Room, inspired by popular songs, include the Superfly, Escape (if you like piña coladas) and Smoke on the Water.

5. The craft cocktails aren’t just delicious — they each have a story

Vinyl Room's old-fashioned is made with Nikka Yoichi whisky, which is made in Japan.

Vinyl Room’s old-fashioned is made with Nikka Yoichi whisky, which is made in Japan.

The cocktail program, developed by third-generation bartender Sean Kenyon, is inspired by the songs created by musicians who’ve graced the Hollywood Palladium stage. A nod to the 1970s, the Superfly is a fizzy, citrus-forward play on Curtis Mayfield’s 1972 track and is made with Roku Gin and yuzu and sencha syrup. Other signature drinks include the rum-based Escape (if you like piña coladas) with coconut oolong syrup, pineapple juice and miso, and the tart yet sweet Smoke on the Water, which is reminiscent of Deep Purple’s 1972 song. The bar also offers an espresso martini (called the MT Joy), a signature old-fashioned (made with Nikka Yoichi whisky) and a Japanese whiskey highball (made with Hibiki Harmony whisky). The bar offers a number of non-alcoholic options as well.

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Found: The 19th century silent film that first captured a robot attack

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Found: The 19th century silent film that first captured a robot attack

A screenshot from George Mélière’s Gugusse et l’Automate. The pioneering French filmmaker’s 1897 short, which likely features the first known depiction of a robot on film, was thought lost until it was found among a box of old reels that had belonged to a family in Michigan and restored by the Library of Congress.

The Frisbee Collection/Library of Congress


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The Frisbee Collection/Library of Congress

The Library of Congress has found and restored a long-lost silent film by Georges Méliès.

The famed 19th century French filmmaker is best known for his groundbreaking 1902 science fiction adventure masterpiece Le Voyage dans la Lune (A Trip to the Moon).

The 45-second-long, one-reel short Gugusse et l’AutomateGugusse and the Automaton – was made nearly 130 years ago. But the subject matter still feels timely. The film, which can be viewed on the Library of Congress’ website, depicts a child-sized robot clown who grows to the size of an adult and then attacks a human clown with a stick. The human then decimates the machine with a hammer.

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In an Instagram post, Library of Congress moving image curator Jason Evans Groth said the film represents, “probably the first instance of a robot ever captured in a moving image.” (The word “robot” didn’t appear until 1921, when Czech dramatist Karel Čapek coined it in his science fiction play R.U.R..)

“Today, many of us are worried about AI and robots,” said archivist and filmmaker Rick Prelinger, in an email to NPR. “Well, people were thinking about robots in 1897. Very little is new.”

A long journey

Groth said the film arrived in a box last September from a donor in Michigan, Bill McFarland. “Bill’s great grandfather, William Frisbee, was a person who loved technology,” Groth said. “And in the late 19th century, must have bought a projector and a bunch of films and decided to drive them around in his buggy to share them with folks in Pennsylvania, Ohio, New York.”

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McFarland didn’t know what was on the 10 rusty reels he dropped off at the Library of Congress’ National Audio-Visual Conservation Center in Culpeper, Va. A Library article about the discovery describes the battered, pre-World War I artifacts as having been, “shuttled around from basements to barns to garages,” and that they, “could no longer be safely run through a projector,” owing to their delicate condition. “The nitrate film stock had crumbled to bits on some; other strips were stuck together,” the article said. It was a lab technician in Michigan who suggested McFarland contact the Library of Congress.

“The moment we set our eyes on this box of film, we knew it was something special,” said George Willeman, who heads up the Library’s nitrate film vault, in the article.

Willeman’s team carefully inspected the trove of footage, which also contained another well-known Méliès film, Nouvelles Luttes extravagantes (The Fat and Lean Wrestling Match) and parts of The Burning Stable, an early Thomas Edison work. With the help of an external expert, they identified the reel as having been created by Méliès because it features a star painted on a pedestal in the center of the screen – the logo for Méliès Star Film Company.

A pioneering filmmaker

Méliès was one of the great pioneers of cinema. The scene in which a rocket lands playfully in the eye of Méliès’ anthropomorphic moon in Le Voyage dans la Lune is one of the most famous moments in cinematic history. And he helped to popularize such special effects as multiple exposures and time-lapse photography.

This moment from George Méliès' Le Voyage dans la Lune (A Trip to the Moon) is considered to be one of the most famous in cinematic history.

This moment from George Méliès’ Le Voyage dans la Lune (A Trip to the Moon) is considered to be one of the most famous in cinematic history.

George Méliès/Public Domain

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George Méliès/Public Domain

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Presumed lost until the Library of Congress’s discovery, Gugusse et L’Automate loomed large in the imaginations of science fiction and early cinema buffs for more than a century. In their 1977 book Things to Come: An Illustrated History of the Science Fiction Film, authors Douglas Menville and R. Reginald described Gugusse as possibly being, “the first true SF [science fiction] film.”

“While it may seem that no more discoveries remain to be made, that’s not the case,” said Prelinger of the work’s reappearance. “Here’s a genuine discovery from the early days of film that no one anticipated.”

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