Edendale was known as such at least until 1940, as the Pacific Electric Railway operated an Edendale Line of its famous "red cars" that ran the course between downtown Los Angeles and the top of Edendale. The red car ran down the median of Allesandro Avenue (Glendale Blvd), which was double-tracked, and even triple-tracked between Sunset and Effie, as the tracks were also used by the interurban Glendale-Burbank Line. After 1940, the Edendale Line as such ceased, though service continued in the form of local service on the Glendale-Burbank Line. Rail service on that line ended completely in 1955, and the tracks have been abandoned.
The name Edendale is no longer used as a place name, and is little known today. Two of the few remnants of the name are the local post office (officially called Edendale Station) and a public library branch. Although many of the structures from the 1910s remain and can be identified by careful comparison with old photos, this district today is an unremarkable commercial zone called the “Glendale Boulevard Corridor” known mostly for its function as a commuter thoroughfare between the southern end of the Glendale Freeway and downtown Los Angeles. (See vintage and modern site photos)
Coy Watson, Jr., who grew up in Edendale in its heyday, recalls:
Life in Edendale was truly exciting. Mack Sennett needed to produce a two-reel comedy every week which was 12 to 15 minutes long. These were the original slapstick, belly-laugh-a-minute flickers. They made the world laugh as the dignified were made to look ridiculous. The best-dressed folks got hit in the face with the biggest pies. Fat ladies sat down on break-away chairs or fell on the funniest, littlest guy on the set.
We kids watched them shoot the first fast-moving chases with horses and wagons, automobiles, fire engines, bicycles and baby buggies running wild all over Edendale and into Echo Park Lake. The Keystone Cops rode in their little police patrol wagon skidding on the soaped streets. Dressed in ill-fitting New York policemen's uniforms, they hit fruit stands, popcorn wagons, telephone poles and chicken coops. They took pratfalls and lifted their knees high as they ran and took corners on one foot, waving their billy clubs over their heads. They were always called to restore law and order to some impossible, funny scene hurriedly created by the quick wit of Hollywood's first comedy gagmen. The director had the story line in mind, but the gags came from everywhere as the shooting progressed. When the crew learned the themes of the story, each one was encouraged to come up with a funny thought or idea that might suggest an additional gag to help the picture get yet another laugh. Each idea gave birth to another one. Those early comedy idea men set the formula for the way movies, radio and television comedy would be written for years to come. Edendale became one great big background set for comedy. Folks there watched how it was done right in their own backyards. Early film makers didn't build street sets. To save money, they just used the actual stores, shop buildings and neighborhood homes.
A 1917 article in The Moving Picture World described the Keystone Edendale studio thus:
When the Keystone once got going its rise was rapid. Today  the open air stages of the Keystone Film Company cover five acres. In addition to this are buildings of wood, brick and concrete, housing all the industries to be found in the average city of several thousand population, including a five-story planing mill and restaurant.
Another feature of the Mack Sennett Keystone studios is the big open air plunge, which is electrically heated. When not in use for pictures it is at the disposal of the actors, who may bathe in it whenever they desire. A modern cafeteria is conducted by the company. Here everybody employed at the plant may obtain the best of food at prices considerably lower than are demanded downtown.
In the planing mill is made everything from patrol wagons to the various sections of Swiss-chalet bungalows and skyscrapers. The painters supply the realistic touches, which are given finish by wall paper and designers' department. All kinds of mechanical devices are made in the machine shops, and in the big garage the scores of autos used in the Keystone's activities are housed and kept in repair. Many touches of humor are added to the comedies by the sign painters' staff. The plumbing department is kept busy providing water and sewerage connections wherever necessary.
Separate buildings are maintained for the general offices, scenario and publicity departments and for other activities allied with the manufacture of motion pictures.
The studios compose quite a city within a city, thriving with industry and giving employment to more than a thousand people, in one capacity or another.
Another famous feature of the Keystone Studios was the "cyclorama", where a background scene was painted onto a huge rotating cylinder that rotated while actors ran in place, creating the illusion that they were moving across the landscape.
After Fox moved on from Edendale, the original Polyscope lot, with its distinctive mission-style entrance, served a series of studios, including Clara Kimball Young and Garson Studios (1920), and Marshall Neilan Studios (1925). In 1930, the lot, then abandoned but with its facade still standing, was the scene of an infamous rape. Within the next year, the site was demolished. The lot has hosted various commercial buildings, most recently BertCo Graphics, but is currently empty. A historical plaque installed on the site in 1954 commemorated Mack Sennett (whose studio was actually two blocks south), but the plaque was removed in September 2007 when the BertCo Graphics building was demolished.
When Tom reigned as William Fox's biggest star in the postwar [World War I] period, he had an even more elaborate organization for the production of his pictures than with Selig. Production activities were carried on at a special studio lot covering twelve acres of ground near Edendale, California. This home of Tom's Fox pictures was appropriately called Mixville. Tom was undisputed "King of Mixville," just as he was the king of the screen cowboys.
Many of the interior scenes were made at Mixville. Almost everything pertaining to the Old West could be found tucked away somewhere in this unique little settlement; indeed, the vast lot was a miniature West in itself. There was a complete frontier town, with a dusty street, hitching rails, a saloon, Jail, bank, doctor's office, surveyor's office, and the simple frame houses typical of the early Western era. Only the signs on the buildings were changed from picture to picture, and some rearrangement of the furnishings.
There was an Indian village with several lodges nestled in a flat piece of land at the rear of the lot. From the range of plaster-of-Paris mountains surrounding the village Tom led many a convincing attack on a tribe of warriors, the whole thing looking ferociously real when the picture reached the screen.
There was a plot of simulated desert too, through which Tom and Tony wandered on many an occasion on their search for the "bad man"; for although Tom preferred actual locations, the Fox executives always held the budget over his head.
Among other things at Mixville there were a ranch house, sans any ceiling of course, a corral that would hold a hundred horses, and a great barnlike structure to hold props, such as saddles, uniforms, guns, and various items of furniture that conformed to the Old West tradition.
Tom Mix's original horse, Old Blue, was buried on the lot, which today is occupied by a couple of banks and shops in an undistinguished commercial strip at the NE corner of Glendale Blvd and Silver Lake Blvd.