A flashback recounts how Petulia and husband David Danner (Richard Chamberlain) come across a young boy, Oliver, at a bullfight in Tijuana, Mexico.
Then ... The scene opens in front of the colorful entrance of El Toreo, a popular bullring dating from the 1930s.
... and Now, the bullring is no longer there, demolished after succumbing to the competition from the newer Plaza Monumental 'Bullring By The Sea'. The photo below shows the demolition in progress in 2007.
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As they leave the bullring Oliver, a persistent street hawker, pesters them and follows them to their car.
He jumps into the back of their Silver Cloud Rolls-Royce just before they are waved across the border into the U.S. Note that free-standing 'Coffee Shop - Food To Go - Packed Free' sign just over the border ...
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Then ... They stop at Oscar's drive-in to discuss what to do with Oliver. He wants to go to San Francisco and David, who has taken a liking to the lad (hmm), agrees. There's that same sign behind them, confirming that this location was the Oscar's branch at 721 E. San Ysidro Blvd in San Ysidro just 800 feet from the border crossing.
... and Now, the recent Google street view photo (saving CitySleuth a round-trip to San Ysidro) shows that a Jack-in-the-Box now occupies the Oscar's corner site. (The founder of Oscar's, Robert Oscar Peterson, went on to found the Jack-in-the-Box chain).
A significant plot change now occurs which moves the rest of the movie's action to Los Angeles. The stricken Bigelow learns that a Eugene Philips who had an Import-Export business in the Bradbury Building in Los Angeles had been urgently trying to contact him, but had suddenly died. Bigelow suspects a link to his condition and catches the next plane south.
Then ... Bigelow enters the building. Sure enough, this is the lobby of the historic Bradbury Building at 304 Broadway and 3rd Street in downtown Los Angeles.
... and Now, the same interior today, lit by natural light from an overhead skylight.
Another recent photo (below) shows the soaring lobby in more detail. The striking interior architecture has made this building a popular location choice over the years for many other movies (Blade Runner, Disclosure, Lethal Weapon 4), TV series (77 Sunset Strip, Mission Impossible) and music videos (Janet Jackson, Genesis), to name just a few.
... and Now, Here's the exterior of the Bradbury Building today, pretty much as it has looked since the day it was built in 1893.
In Phillips' office Bigelow meets the company controller Mr. Halliday (William Ching), and his secretary Miss Foster (Beverly Garland). They tell him Philips had committed suicide but they are less than helpful, evasive even, on why Philips had called him.
Nick insists on taking a reluctant Rica out for a drink at Shorty's Bar, seen below. CitySleuth searched 1949 City records but found no mention of a Shorty's so presumably it was a fictitious movie name. The shop front below is certainly real enough - the question is ... where was it?
Two views from the interior of the bar help provide the answer. The first shows an Embarcadero pier across the street, Pier 44. (It's possible the interiors were filmed in the studio with projected window views to set the location).
In the second view, seen through the entrance doorway to Shorty's, another pier, Pier 42, is seen across the Embarcadero looking in the opposite direction. So, Shorty's was on the Embarcadero opposite and between Piers 42 and 44. Both piers were terminals for American President Lines.
How does CitySleuth know these were Piers 42 and 44? They are not there any more, but compare the shots above with the vintage photo below of these two piers (which incidentally shows the Bay Bridge under construction in 1935). They match.
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Then ... In this movie pan below, the view looks south down the Embarcadero as Nick and Rica cross the rail tracks heading for Shorty's. (This panorama links with the one at the top of this post). Pier 44 is on the left and the Embarcadero continues past Berry Street before ending at Pier 46.
... and Now, Pier 42, 44 and 46 are no longer there; they were replaced by the South Beach Marina. Instead of continuing straight on past King and Berry Streets as it used to, the Embarcadero now swings to the right into King Street alongside the San Francisco Giants ballpark. The marina is on the left, as is South Beach Park which replaced the block where Shorty's Bar used to be, between King and Berry Streets.
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If all of this is confusing, the photo and map below may help ...
Then ... this 1955 aerial photo shows piers 42 and 44 before they were removed. Shorty's bar location was in the block opposite those two piers, between King Street and Berry Street. Note also that back then Berry Sreet connected to the Embarcadero.
... and Now, The same view today courtesy of Google maps showing that the Embarcadero now swings into King Street. A section of Berry Street has been swallowed up by South Beach Park and the ballpark redevelopment project, completed in 2000. The locations where Piers 42 and 44 used to be are shown in orange and the approximate location for Shorty's bar is indicated by the asterisk, within South Beach Park.
It's fascinating to see how the director filmed Madge's apartment house. CitySleuth deduced that two different buildings on Russian Hill, several blocks apart, were used then seamlessly edited to appear as one. Studio and location footage were intermixed and one of the scenes incorporated two concurrently running background projections.
Based on a comment from Baker during their confrontation on the bluff, Parry suspects his jealous ex-girlfriend Madge Rapf (Agnes Morehead), who had testified against him in his wife's murder trial, was his friend George's killer. He confronts her in her apartment where she flies into a rage, admitting she was the one who killed his wife for taking Parry away from her. So Parry was innocent after all.
Then ... In her confused state she stumbles against the drape and falls to her death out of the apartment window. As the stunned Parry looks down we see the view from the window. This was filmed from the penthouse suite of 1090 Chestnut Street, a 1927 co-op building on the corner of Chestnut and Larkin (map), and used as a backdrop during this studio scene. The view is to the north - in the distance are Alcatraz and Angel Island and to Parry's right are the Cannery and Pier 45 at Fisherman's Wharf.
... and Now, CitySleuth was able to gain entry (with permission!) to bring you the identical view from the same penthouse.
Then ... Madge's fall was filmed from the roof of 1090 Chestnut. Directorial artistic license prevails because the window she falls through (above) faces Bay Street to the north but here we see her falling down the west side of the building to Larkin Street.
... and Now, here's the view today from the same rooftop vantage point.
The juxtaposition below matches the falling body to the west side of 1090 Chestnut. The screaming witness bottom left was leaning out of the lobby window.
Then ... ... and Now
Then ... Parry, fearful he will be accused of Madge's death, bolts to the roof, oblivious of the glorious east-facing view to Coit Tower atop Telegraph Hill. For this shot the camera was elevated to reveal more of the Telegraph Hill background.
... and Now, the view today, regrettably, is obscured by 1080 Chestnut which in 1962 was built directly against the side of its neighbor. No matter, it seems, that the architectural styles of the two buildings are as different as chalk and cheese.
Then ... The next shot of Parry climbing down the fire escape was filmed in the studio with a projected background to simulate the location. The view looks north from the same roof down to Bay Street. But check out the scene through the escape ladder opening - close inspection reveals that this street and these houses are the same ones as those above them on Bay Street. In the movie the cars on these streets passed by out of sync so as not to draw attention to the duplication. To achieve this, two concurrently-running projected images from the same footage were used for the background, a lot of work for just seconds of action but brilliantly executed.
... and Now, the same view of Bay Street. Hyde Street crosses on the right. Most of these houses are just as they were.
Readers may be interested in the following piece of historical trivia. An 1851 Swiss chalet-styled home built by respected civil engineer J. P. Manrow, was originally on the corner now occupied by the 1090 and 1080 Chestnut apartments. Known locally as 'The House Of Demons', it was, according to many first-hand accounts, haunted by several spirits ranging from the benign to the violent. Madge, now in their midst, should feel at home.
Then ... He continues down the fire escape, but this is a different building, the Tamalpais Building at 1201 Greenwich Street, a few blocks away on the corner of Hyde! (map)
... and Now, The same building, viewed from Hyde Street.
Then ... In a stroke of good fortune the next shot shows both of the buildings used to represent Madge's apartment. Filmed from across Hyde Street, Parry is climbing down 1201 Greenwich on the left and on the right is 1090 Chestnut. (The buildings are arrowed in red and blue on this map). Note too the open reservoir next to 1201 Greenwich, and Sausalito and Mount Tamalpais are clearly visible across the bay.
... and Now, the incongruity of the newer building dwarfing the classy 1090 Chestnut is plain to see from here. How on earth was that approved? The Alice Marble tennis courts at George Sterling Park have been built on top of the reservoir which is still there and in use, but safely hidden.
Then ... Finally, Parry jumps down to Hyde Street. He pauses in the middle of the road before completing his escape on a passing cable car. In this great shot the quintessential San Francisco view behind him leads the eye east down Greenwich through North Beach then up again to Telegraph Hill.
