Welcome to L.A. 1976
Directed by
Alan Rudolph
Made by
United Artists
Welcome to L.A. Plot Summary
Read the complete plot summary and ending explained for Welcome to L.A. (1976). From turning points to emotional moments, uncover what really happened and why it matters.
Celebrity musician Eric Wood plans to record an album of songs written by Carroll Barber, Keith Carradine who has been living in England. Viveca Lindfors as Susan Moore, Carroll’s aging manager, brings Carroll to Los Angeles for the recording sessions and rents him a house from real estate agent Ann Goode Sally Kellerman. Ann is unhappily married to furniture store owner Jack Goode [John Considine], who is pursuing their young housemaid Linda Murray [Sissy Spacek], while Linda herself harbors a crush on Ken Hood [Harvey Keitel], a married young executive.
Carroll’s arrival ignites a web of tangled relationships. He visits his wealthy father Carl Barber [Denver Pyle], who, with Ken Hood, has turned the Barber dairy into a thriving business. Carroll then embarks on a string of romantic entanglements with Jeannette Ross [Diahnne Abbott], and Nona Bruce [Lauren Hutton], revealing his notorious penchant for fleeting affairs rather than meaningful connections. The family business and the allure of Los Angeles mingle with personal desires, creating a volatile mix of ambition, appetite, and ambition’s price.
Ken works long hours at the Barber operation, neglecting his wife Karen Hood [Geraldine Chaplin], a housewife who is obsessed with taxi rides and the Greta Garbo film Camille. One night, while Carroll is driving and drinking through the city, he randomly encounters Karen and brings her to his home. When he tries to romance her, she discloses she is married and departs, though she later leaves him her telephone number, while refusing to take his subsequent calls. Linda, who has moved into Carroll’s spare room, invites Ken to visit her there, where he also meets Ann.
Just before Christmas, Ken learns that Carl has made him a partner in the business, heightening Karen’s anxiety about his growing workload. On Christmas Eve, Ken gets drunk and calls Ann, but the date goes awry as Ken cannot stop thinking about his wife. Meanwhile, Jack and Linda spend the evening together, which ends badly when Linda asks Jack for money. Jack and Ann, disappointed in their own arrangements, end up having sex.
Susan reveals to Carroll that Eric does not like his songs and that she and Carroll’s father bribed Eric to record the album in order to lure Carroll to Los Angeles. Both Susan and Carl had hoped to cultivate their own relationships with Carroll, but his lack of response thwarts those plans. Karen, the one person who seems to capture Carroll’s interest, finally arrives at his home, just as they are about to connect. Ken phones, upset and seeking his wife, and Carroll realizes Karen is Ken’s wife and mostly interested in him, so he leaves while Karen and Ken reconcile on the phone. Linda, listening in, overhears Ken’s voice and the familiar assurances he gave to Linda earlier. She quietly disconnects the line, then attempts to bond with Karen, who imitates Garbo’s Camille. In the end, Carroll goes to the recording studio and discovers that Eric Wood has decided not to finish the album, leaving the project unresolved and the characters to confront the consequences of their tangled desires.
Welcome to L.A. Timeline
Follow the complete movie timeline of Welcome to L.A. (1976) with every major event in chronological order. Great for understanding complex plots and story progression.
Carroll arrives in Los Angeles for the Eric Wood project
Celebrity musician Eric Wood plans to record an album of songs written by Carroll Barber. Susan Moore, Carroll’s aging manager, brings him to Los Angeles to oversee the sessions. The trip sets in motion a network of personal and professional entanglements around the recording project.
Carroll moves into Ann Goode’s house
Susan arranges for Carroll to stay in a house rented from Ann Goode. Carroll settles into the home, and Ann soon becomes entangled with him as a potential romantic partner. The new residence anchors several shifting loyalties around the recording efforts.
Ann and Jack’s troubled marriage; Linda enters the scene
Ann Goode is unhappy in her marriage to Jack Goode, who is pursuing their young housemaid Linda Murray. Linda’s presence promises complications for everyone, weaving her into the romantic currents among Carroll, Ann, and Ken. The household becomes a pressure cooker of longing and jealousy.
Carroll rebuffs Susan; sleeps with Ann
Susan hopes Carroll will rekindle their past affair, but he rebuffs her and instead has sex with Ann when she shows him his house. The encounter confirms Carroll’s reputation as a consummate womanizer. This moment deepens the rift between Carroll and Susan while strengthening his bond with Ann.
Ann presses on with the affair by bringing Linda over
Ann tries to sustain the affair by dropping in and bringing Linda along to help with cleaning. The dynamic keeps Carroll distracted and the menage-a-trois of motives grows more tangled. Carroll continues to seek flings while offering only momentary attention to anyone in the house.
Carroll visits his father Carl; the Barber dairy empire expands
Carroll visits his wealthy father Carl, whom he hasn’t seen in three years. Carl, with Ken Hood, has transformed the Barber family dairy into a major business. The visit underscores how familial ambition and business pressures intersect with Carroll’s personal life.
Carroll’s affairs multiply: Jeannette and Nona
Carroll begins affairs with receptionist Jeannette and his father’s photographer mistress Nona. The pattern of multiple romantic liaisons intensifies as others in the circle also chase their own desires. These connections complicate loyalties and threaten the stability of the recording project.
Ken Hood’s neglect strains Karen; she clings to Garbo
Ken Hood works long hours at the Barber business, neglecting his wife Karen. Karen becomes obsessed with taxi rides and the Greta Garbo film Camille, signaling a longing for escape and romance elsewhere. The marital strain foreshadows impending turmoil within the circle.
Carroll meets Karen after a drunken drive
While driving under the influence, Carroll randomly meets Karen and is drawn to her. He takes her to his home, but when he tries to romance her, she reveals she is married and departs. The moment highlights Carroll’s inability to form a meaningful connection and foreshadows future complications.
Linda moves in; Ken meets Ann
Linda moves into Carroll’s spare room and invites Ken to visit her there, where he ends up meeting Ann. The gathering of more players in the same space intensifies the web of relationships. Romantic tensions escalate as loyalties blur.
Just before Christmas: Ken becomes a partner
Carl makes Ken partner in the Barber business, elevating his status and increasing his workload. The promotion tightens the schedule and compounds tensions at home. The season’s approach adds pressure for everyone to perform professionally and personally.
Christmas Eve: Ken calls Ann; the night sours
On Christmas Eve, Ken gets drunk and calls Ann for a date, but the evening ends badly as he cannot stop thinking of his wife. The attempt at an extramarital moment backfires, underscoring the fragility of the relationships in play. The holiday setting heightens the emotional stakes.
Jack and Linda; money and disappointment
Jack and Linda spend the evening together while Linda asks Jack for money. The exchange reveals how financial need and sexual desire intertwine in the story’s moral economy. It further destabilizes the already fragile network of relationships.
Susan’s revelation; the Eric Wood plan collapses
Susan reveals to Carroll that Eric does not like the songs and that she and Carl bribed him to record the album in hopes of luring Carroll to Los Angeles. The ploy backfires as Carroll remains emotionally distant. The revelation marks a turning point that undermines the entire recording scheme.
Final twist: the studio verdict and the end of the album plan
Carroll goes to the recording studio and discovers that Eric Wood has decided not to finish the album. The artistic plan collapses, leaving Carroll to confront the consequences of his choices. The film closes on the ripple effects of the season’s tangled ambitions.
Welcome to L.A. Characters
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Carroll Barber (Keith Carradine)
An aging celebrity musician who moves to Los Angeles for a recording session but remains emotionally distant and self-absorbed. He moves through relationships with self-assured charm but fails to form genuine connections, making him emotionally elusive. His affairs with Ann, Jeannette, and Nona highlight a pattern of self-serving romance rather than intimacy. He remains emotionally distant and skeptical of commitment until he encounters Karen Hood.
Linda Murray (Sissy Spacek)
Linda is a young housemaid who moves into Carroll's spare room and harbors a crush on Ken Hood. She uses her position to navigate romantic possibilities and tests boundaries with her employers. She is caught in triangular dynamics and seeks affection and stability.
Ken Hood (Harvey Keitel)
A married young executive who neglects his wife and becomes entangled with Linda; He also interacts with Ann, torn between career obligations and his marriage. His actions reveal restlessness and a desire for connection that complicates his loyalty. The holiday pressures intensify his conflicts with Karen and Linda.
Ann Goode (Sally Kellerman)
Ann is a real estate agent, unhappily married to Jack, and the object of Carroll's early affections. She relishes attention and becomes involved with Carroll, while navigating a strained marriage. Her pursuit of romance and status drives much of the holiday-era drama.
Jack Goode (John Considine)
Jack is a furniture store owner and Ann’s husband, who pursues Linda. His affair with Linda and conflicted feelings reflect the era’s marital tensions and the lure of easy money and desire. He and Ann both end up returning home after disappointment, underscoring the unresolved nature of their relationships.
Karen Hood (Geraldine Chaplin)
Karen is Ken’s wife, a housewife with a habit of taxi rides and a guarded approach to romance. She seems open to Carroll at first but is drawn back into her marriage as Ken’s infidelity becomes a focal point. Her late-night calls and negotiation of desire highlight the fragility of commitment.
Susan Moore (Viveca Lindfors)
Susan is Carroll’s aging manager who orchestrates the move to Los Angeles. She stonewalls the romance while attempting to rebuild a connection with Carroll, and she reveals alliances between Eric Wood, Carl Barber, and Carroll. Her manipulation and strategic planning expose the transactional nature of the music industry.
Eric Wood (Richard Baskin)
Eric is the celebrity musician whose songs Carroll plans to record. He ultimately decides not to finish the album, a decision that derails Carroll’s career ambitions and exposes the fragile relationship between art and commerce. The subplot explores how control over creative work intersects with personal leverage.
Jeannette Ross (Diahnne Abbott)
Jeannette is the receptionist whom Carroll beds, adding to the pattern of casual, transactional affairs. Her role underscores Carroll’s pattern of seeking novelty without commitment. She serves as a catalyst in the web of romantic intrigues around the LA tour.
Nona Bruce (Lauren Hutton)
Nona is the photographer’s mistress who becomes involved with Carroll. Her presence adds another strand to Carroll’s constellation of affairs, highlighting the unstable nature of his romantic life. She embodies the glamorous, aspirational circle around the recording project.
Carl Barber (Denver Pyle)
Carl is Carroll's father and a successful dairy magnate who has built a large family business with the help of Ken Hood. His influence drives career opportunities and power dynamics within the Barber family. His ambitions intersect with the personal lives of his son and associates, shaping the plot’s stakes.
Welcome to L.A. Settings
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Time period
The events take place during the Christmas season in a contemporary Los Angeles setting. The narrative focuses on adult relationships, infidelity, and holiday social dynamics, shaping the mood around late-year gatherings and intimate encounters.
Location
Los Angeles, California
The film unfolds in Los Angeles, using the city’s studios, upscale houses, and retail spaces as a backdrop for romance and ambition. Key locations include a recording studio, Carroll Barber’s rented house, and the Barber family dairy enterprise, all connected through the central cast. The city’s entertainment culture and sun-soaked scenes heighten the contrast between glamour and personal turmoil.
Welcome to L.A. Themes
Discover the main themes in Welcome to L.A. (1976). Analyze the deeper meanings, emotional layers, and social commentary behind the film.
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Romance Betrayal
The film probes how desire clashes with commitment as Carroll pursues multiple lovers. Romantic entanglements drive most of the conflict, revealing how attention and affection can be transactional. Characters oscillate between seeking connection and escaping responsibility, leading to painful misunderstandings. The Christmas backdrop heightens the tension between idealized affection and messy reality.
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Celebrity Culture
Eric Wood’s album project exposes the leverage of fame in personal choices. Career ambitions shape relationships, with musicians, managers, and lovers maneuvering for advantage. The film critiques how stardom can distort genuine connection and turn affection into business. The Los Angeles setting amplifies this theme through studios, parties, and media perceptions.
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Family Business
The Barber family dynamics drive the plot as Carl builds a dairy empire and uses influence to shape opportunities for his son Carroll. Trust and loyalty are tested within a web of business and romance. The film places family status against individual longing, showing both cohesion and fracture. The tension between progress and personal happiness is central to the narrative.
Welcome to L.A. Spoiler-Free Summary
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In a glitter‑strewn Los Angeles that shimmers with the promise of quick fame, the city’s “one‑night‑stand” culture provides a restless backdrop for a handful of restless souls navigating the holiday season. The air is thick with a mix of ambition, yearning, and the flickering neon of endless possibility, each street corner echoing with the soft clink of champagne glasses and whispered confessions. This is a world where the bright lights of Hollywood mask a maze of fragile egos and hidden longings, especially as Christmas approaches and the veneer of celebration feels both comforting and suffocating.
Carroll Barber arrives from England with a portfolio of songs and a quiet determination to turn his music into a lasting record. He is drawn into a collaborative venture with a celebrated singer, Eric Wood, whose reputation for brilliance is matched only by his mercurial taste. Unbeknownst to Carroll, the project’s financial backing comes from a source that is both familiar and estranged: his own father, Carl Barber, a self‑made dairy magnate whose request for connection is as subtle as it is powerful. This hidden patronage adds a layer of uneasy tension to the creative process, hinting at unresolved family dynamics simmering beneath the surface.
Meanwhile, the lives of those surrounding the studio intertwine in unpredictable ways. Ann Goode, a real‑estate agent with a pragmatic edge, becomes the conduit between the glittering industry and the everyday realities of the city. In the same orbit circles Karen Hood, an eccentric housewife whose fascination with Greta Garbo and the romance of old cinema offers both comic relief and a bittersweet glimpse into the yearning for a past that feels more real than the present. Her self‑styled modern‑day Garbo persona injects a whimsical, yet poignant, contrast to the cut‑throat hustle of the music world.
Together, these characters form a delicate mosaic of desire, expectation, and the thin line between illusion and authenticity. As the holidays draw near, the film paints an atmospheric portrait of Los Angeles—equal parts dreamscape and battlefield—where every encounter carries the promise of revelation, and every whispered wish hangs in the frosty night air, waiting to be heard.
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