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In the late 1960s, West was enjoying a career resurgence. Swimming was not a consideration, but they would occasionally wade up to their ankles once the sun had dipped past the horizon. She insisted on keeping the shades drawn in the house, concerned the sunlight might compromise her pink and alabaster complexion. Novak would drive West - or “Miss West,” as everyone addressed her - to the beach house once in a while to “take the air,” as she put it. A former wrestler who worked as background beefcake in West’s Las Vegas review, Novak was later promoted to bodyguard and chauffeur he eventually became West’s lover and devoted caretaker until her death. West was rarely without her companion on her arm - Paul Novak. That was the pink room.” The house had a third bedroom, for West’s sister, Beverly, “decorated in blue because that was Beverly’s favorite color.” West’s pet monkeys - she had several over the years, with names like Bad Boy and Tricky - had the run of the place. It had a round white bed, and that was French design. One had a balcony - we called it the white room. “She had two master suites upstairs that faced the ocean. “The beach house decor was kind of eclectic,” recalls Tim Malachosky, who worked as a personal assistant to West in her later years. The house, which still stands and is currently occupied (estimated market value $17 million), was designed in 1938 by famed architect Richard Neutra for Albert Lewin, who directed The Picture of Dorian Gray. It was a beach house on the Pacific Coast Highway, a mile north of the Santa Monica Pier. West bought a second property in the mid-1950s. “I like to see how I’m doing,” West would quip. Mirrors hung everywhere, including above her bed. The theme was “naughty rococo.” Everything was gold, white and cream-colored. Her sixth-floor penthouse apartment was, like West, relatively small, and had two bedrooms, a tiny kitchen and some modest common rooms. It remained her primary residence for 48 years.
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Paramount had put West up at The Ravenswood, the studio’s art deco apartment hotel at 570 N. She stole the film - particularly thanks to a self-penned zinger, “Goodness had nothing to do with it, dearie” - and was instantly minted a superstar. But Paramount Studios had summoned her for a role in Night After Night. Then 38, West had already conquered Broadway with a string of controversial hit plays like Sex and the gay-themed The Drag. Mae West arrived in Hollywood from her native Brooklyn on Jan. From left: David Ray Johnson, Janet Lewis, James Farris, Patricia Pawlak and Jeff Redford, circa 1976.