Mack Sennett filmed his comedies in Edendale, a small town near Los Angeles which became part of Los Angeles during Sennett's tenure there from 1912 to 1928. He frequently filmed on the streets around his Edendale studio on 1712 Allesandro St. (which became Glendale Blvd. around 1922-23).

This overhead shot of the Mack Sennett studios is a composite from shots used in THE HOLLYWOOD KID (1924). This shot is taken at a southeast angle. Aaron is the street visible on the left, while Effie is the dirt road at the center. The scene shots below refer to locations on this composite.

At the center, left of the shot at the top of the page is a two-story building at the edge of the Sennett studio on Aaron St. that figures prominently in a number of Sennett comedies. The shot above is from LOVE AND DOUGHNUTS (1921), a Ben Turpin comedy. This angle looks northwest across Allesandro/Glendale to where Aaron dead ends on the other side of the hill (the community now known as Silver Lake is on the other side of this hill). Turpin later came out a window of this same building in BROKEN CHINA (1927).

This is Aaron Street today. Tree growth blocks the view of many of the houses, but many are still there in various forms today. The buildings on the corner are still there.

Here is the same above building five years later in a memorable gag from WANDERING WILLIES (1926) with Billy Bevan. This shot is facing south, and you can see part of the large Sennett stage (still standing) behind the building. Note that the brick building has now been covered with a wooden siding.	This is a photo of the Sennett studio location and existing stage in June 2000, after it was incorporated into a public storage facility.

The famous Sennett cyclorama (used to simulate background chases) was located across the street from the Sennett studios on the other side of Effie Street. Here you can see the houses across Glendale Blvd., which are the houses on the bottom right of the top aerial shot of the Sennett studio.	This is the same angle today (both shots were taken from the same staircase that ascends from Effie). The cyclorama, of course, is long gone (replaced with an industrial building), but a couple of the same houses across the street are visible through the trees.

In this shot from ON PATROL (1922) with Billy Bevan, the famous front facade of the main Sennett studio (in the top, left of the aerial shot, and seen in many Sennett comedies and even SHOW PEOPLE with Marion Davies) can be seen in the background. The cyclorama is on the other side of the fence in which the convict's arm is protruding.

Immediately across the street from the main Sennett lot was an adjunct lot with open air stages and a false front building used for window dangling scenes. This shot from NIP AND TUCK (1923), with Marvin Loback about to be tripped by a block of ice, is on Effie Street looking southeast toward the main Sennett lot across the street (the center area of the aerial shot). The building next to Loback is an open air stage.

Author's photo from 1976 shows the former Sennett studio location. The main permanent stage is the only structure still standing, though since this time it has been incorporated into a public storage facility and no longer is free-standing. A radio station (at that time called KDAY) is now located at the crest of the hill. The sidewalk by the blue truck is where Marvin Loback was standing in the NIP AND TUCK shot (note that a newer, taller telephone pole is still in the same location as the one in 1923).

Another author photo from 1976 looks at the side entrance of the stage on Effie Street. This entrance, and the one on the other side, are no longer visible as they have been attached to adjoining buildings. (Thanks to Bob Birchard for color retouches.)