Sheila is stressed out by the whole situation and asks her chauffeur Cobb (Ray Walston) to drive her to an appointment at Dr. Rivera's office.
Then ... While heading east down the steep block of California Street between Jones and Taylor on Nob Hill (map), Cobb asks Sheila for a salary advance, telling her he is under pressure from creditors to pay off gambling debts. Somewhat taken aback, she tells him she'll think about it.
... and Now, in the same view today the Masonic Auditorium is still there over on the far left, as too is Grace Cathedral at far right. Newer large buildings occupy the corners at Jones but the adjacent apartment buildings seen down the left side of California remain unchanged.
Then ... They continue down California Street. Below, Cobb approaches the Powell Street junction where two cable car lines cross. Note the cone-roofed cable car control booth on the far right corner. The corner building next to it was the Alta Casa Apartments - they were a featured location in the 1950 movie Woman On The Run.
... and Now, the booth continues to control that intersection but the apartments have been demolished. Way at the bottom of California where it intersects with Market Street is the Southern Pacific Building absent the huge S-P sign, visible in the Then image above, that used to proclaim from above it. The sign partially visible at far left advertises the Fairmont Hotel's Tonga Room, offering exotic food and entertainment since 1945.
... in 1968 ... Here's a capture from the 1968 movie Petulia that clearly shows the California - Powell cable car junction when the extensive Alta Casa Apartments were still there. Did they burn down? And why has that valuable lot not been built on since? CitySleuth is curious to know.
Then ... In the doctor's office Sheila tells Rivera of Cobb's predicament. Could he be the author of the blackmail note? He certainly has a motive. On the other hand, perhaps Mason, who plays golf weekly with Cabot's previous doctor near to where the blackmail note was mailed, was the one? The two lovers are becoming increasingly paranoid.
Then ... The office was a studio set but it used window views taken from a rooftop on Telegraph Hill, thereby setting its virtual location. In the view above we see Union Street climbing west up Russian Hill. The white building at the top is the La Mirada apartments at 1100 Union and the line of trees across the middle is on Washington Square. In another peek to Russian Hill, below, we see Filbert and Greenwich Streets.
... in 1958 ... Now this is very interesting - take a look at the view from Midge's apartment in the movie Vertigo, released just two years earlier. It's identical! Clearly the same Vertigo background photo was re-used in this movie. Midge's apartment building was at 296 Union Street but the interior was a studio set using this background view. The five vertically inclined streets are, from left to right, Green, Union, Filbert, Greenwich and Lombard.
... and Now, here's the same view today from near the same spot.
... and Now, the movies' window view was most likely taken from the roof of this narrow 3-story white building, taking advantage of its clear view west, on Union Street near Montgomery (map).
Rivera becomes convinced that Mason is the blackmailer and something has to be done - "Sheila, Mason is more dangerous than a fox" ... He concocts a way to lure him into a trap.
After Myra's play has become a huge hit she decides she needs a rest and catches a train to her hometown San Francisco.
Then ... She is seen off at New York's Grand Central Terminal at tracks 24/25.
... and Now, this wonderful Midtown Beaux Arts building at 42nd Street and Park Avenue (map) still operates as a rail terminal. It has hardly changed over the years, attracting tourists as well as travelers. Here are those same doorways in a recent photo.
On the train who should show up but Lester Blaine (Jack Palance) who Myra had fired for not being romantic-looking enough for her new play. For the duration of the cross-country journey Lester turns on the charm, seeming to harbor no grudge whatsoever.
Then ... They board the luxury California Zephyr at Chicago and share a quiet moment in one of the Zephyr's Vistadome viewing cars. In a great irony Myra finds herself falling for him.
But hang on ... reader CDL has informed CitySleuth that the Vistadome car seen above with square, angled windows was never used on the California Zephyr; its domes were styled with rounded windows (see below left). Next to it is the same style dome railcar as used in the movie, pictured at San Diego's ATSF Depot. Apparently the movie train scenes were filmed in Southern California using an available railcar.
... and Now, the Zephyr was inaugurated in 1949 but suffered severe passenger fall-off in the 1960s from airline and bus competition and was retired from service in 1970. The only way to enjoy it these days is to take one of the occasional nostalgia rides as did the folks below on last year's annual Feather River Express in a car matching the one used in the movie.
Then ... Speaking of the Feather River, Myra and Lester's train is seen below snaking its way through the Feather River canyon in Plumas County, Northern California, a route chosen to take advantage of a low pass through the Sierra mountains. Note the five (including the rear car) Vistadomes gleaming from the reflected light. Today only freight trains ply their way along this route.
... and Now, here's a recent photo of the scenic Feather River canyon looking in the opposite direction in late summer when the river flow was down to a trickle.
As acknowledgement of the importance of the canyon passage to the California Zephyr experience the Western Pacific engines incorporated a feather into their front logo.
Then ... Their train, pulled by Western Pacific engine number 805-D, arrives at its western terminal at the Oakland Pier, aka Oakland Mole. From here Myra and other ongoing passengers would walk to a waiting ferry to complete the journey to San Francisco.
... in 1931 ... here's an early aerial photo of the Oakland Pier terminal with three ferries awaiting passengers. It's not there any more having been demolished in the 1960s to make way for the Port of Oakland's container ship facilities.
... and Now, where was the Oakland Pier? To answer that, the aerial above has been superimposed onto the current map below at its original location- it was at the west end of 7th Street, not far south of the Bay Bridge.
To see the California Zephyr in full color check out this 1950s or 60s photo of a train pulled by Western Pacific engine number 805-A leaving the Oakland Pier.
... and Now, containers and cranes block today's view from 7th Street. The cantilever section of the Bay Bridge's eastern span can be seen in the distance in this photo taken just before it was pulled down, replaced by a new single tower suspension design.
Then ... Myra is met by friends at Oakland and can't wait to introduce Lester to them, insisting they all go dining and dancing together that evening. Note the 'To San Francisco' sign behind them with an arrow pointing to the right and the words 'Waiting Room' and 'Up Ramp' ...
... in 1957 ... Five years after Sudden Fear was filmed Frank Sinatra arrived at the Oakland Pier by train in the movie Pal Joey. In the panoramic image below from that movie we see the same sign; at far right is the referenced ramp.
Marsha despairs at Walter's trial as the prosecution builds up a compelling case. Was this a studio set or were the courtroom scenes filmed in one of the Hall of Justice's actual courtrooms at 750 Kearny Street? CitySleuth cannot find a confirming vintage photograph that matches it (unlike the courtroom used in The Lady From Shanghai, filmed two years earlier, similar in layout to this one but not the same. See it and its matching photo here).
Marsha suddenly spots the missing Su Lin, who may be able to help with his defense but is reluctant to do so, sitting in the courtroom. Alarmed at being recognized, Su Lin hastily takes off closely pursued by Marsha.
Then ... Su Lin pushes through the crowd blocking the courtroom exit where the sign outside the room reads 'Superior Court Dept. No. 11'. Through the window we can see a giant Shasta billboard on the rear wall of a building labelled the Sentinel Building.
... in 1961 ... this vintage photo of the entrance to Superior Court Dept. 11 taken in the old Hall of Justice 12 years after the movie was released has many matching features with the movie view above such as the same sign, the wall columns and the molding details. It appears to be a different doorway however because it isn't next to to the end of the corridor. CitySleuth believes that the corridor scene above was filmed at the north end of the Hall of Justice.
... in 1961 ... Check out this vintage photo of a Hall of Justice office - it looks out to the rear of the Sentinel Building, which was two blocks to the north, a confirmation that the 'Then' scene above was indeed a location shoot. By that time though there was no billboard on the building's rear wall. Coit Tower atop Telegraph Hill can also be seen in this view.
... circa 1950s ... here's the Sentinel Building, an architectural icon in North Beach since 1907, viewed from its front with the Hall of Justice, arrowed, two blocks down Kearny Street. There was an unimpeded view between the two buildings then.
... and Now, the building, also known as the Columbus Tower, is still there today on Columbus at Kearny (map). In this recent photo we see it flanked by San Francisco's two tallest buildings, the Transamerica Pyramid on the left and the Bank of America building in the background at right. The Hall of Justice is no longer there; it was demolished in the 1960s. (Update - the tallest building bragging rights moved to the Salesforce Tower when it was completed in 2018).
Then ... Su Lin rushes out of the main entrance, hoping to catch a passing cab.
... in 1961 ... we see the same entrance in this vintage photo of the Hall of Justice, taken a few years before its demolition. The Portsmouth Square plaza across Kearny was fenced off at that time (just visible at lower right) for construction of an underground garage.
... and Now, the courthouse was subsequently replaced with a Holiday Inn hotel which became today's Hilton San Francisco Financial District. Below is the matching entrance photo with the building at far right across Merchant street being the lone matching survivor.
Inspector Quine organizes a police lineup for Philip Dressler, the unwitting carrier of the heroin, in the hopes he can identify the porter who had grabbed his bag and flung it into Lefty Jenkins' cab.
Then ... The first group of porters who work for the steamship line that brought Dressler back to San Francisco file in for the lineup.
... in 1961 ... this vintage photo taken 3 years after the movie was released is the actual lineup room (the 'Show-Up Room' in police jargon) in San Francisco's old Hall of Justice. At first sight it looks like the same room, but there are differences that compel CitySleuth to conclude that the movie scene was filmed on a studio set modeled after the real room. Examples of differences - the door is narrower and closer to the corner, 6 1/2 tiles span the wall above the door versus 7 in the movie, the tile grout is dark, not light and the curve on the handrail is a larger radius. Also the fonts on the back-board differ slightly.
Then ... This view shows the whole front width of the room.
... in 1961 ... the actual Show-Up Room is very similar but not identical.
Then ... We get further clues from this view of the rear of the room.
... in 1961 ... clearly, the actual room in the Hall of Justice, below, was different. It was longer, with more benches and an indented rear wall. While it may be that the room was remodeled during those three years it is unlikely given that the Hall of Justice was slated for shutdown and demolition very shortly afterwards. Another explanation could be that there was more than one Show-Up room, again unlikely. So this location was almost certainly a studio set.