Su Lin worries that if she is called to testify at Walter's trial she may harm his case and has laid low, but when she is spotted in the courthouse she takes off, closely pursued by Marsha.
Then ... Su Lin dashes from the Hall of Justice and across Kearny to the junction with Washington Street. Portsmouth Square plaza is over to the left and we see at far left a night club advertising 'Dancing' at 720 Washington. She hustles across Washington and jumps in the cab parked outside the jewelry store.
... and Now, the night club is now the Buddha's Universal Church, the largest Buddhist church in the United States. Beginning in 1952 it was incrementally built by volunteers and congregation members over an 11 year period, paced by the availability of funds.
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Marsha pursues Su Lin through several blocks in Chinatown. As the chase unfolds in the Then and Now images below, readers can follow along using the yellow arrows on this Google satellite map (click or tap it to enlarge).
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Below, (location 1 on the map) Marsha hails a cab ... "Follow that yellow cab!" ... (haven't we all wanted to do that?) and as it turns left into Washington we again see, to the north along Kearny, the Sentinel Building sign and the Shasta billboard seen moments before from inside the Hall of Justice. In the same view today, the top of the wall that carried the billboard is just visible above newer buildings. (Click or tap these images to enlarge).
Behind Su Lin's Yellow cab on the Washington block (2 on the map) the trees of Portsmouth Square almost hide the Hall of Justice. Today, a Hilton hotel sits on the old Hall of Justice site. In both Then and Now pictures, below, the mid-span caisson of the Bay Bridge can be seen in the distance.
Marsha's DeSoto cab follows Su Lin south along the 800 block of Grant Avenue between Washington and Clay (3 on the map). The most glaring change between Then and Now ? ... the one-way traffic has been reversed.
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In the next shot (4 on the map) we see them, still on Grant, crossing a junction but this is a cut-back to Washington, the cross street behind location 3 above. The bar facing on the corner on the left in the Now image is the Buddha Lounge at 901 Grant. Rita Hayworth crossed this same junction two years earlier when she chased Orson Welles through Chinatown in The Lady From Shanghai.
Location 5 is the same block of Grant as location 3, a little closer this time to Clay. The tapered pagoda sign up on the left marked the Chinese Pagoda restaurant at 830 Grant, now the Peking Bazaar just past the Empress of China sign below right. In both Then and Now images the distinctive pagoda rooftops of the Sing Fat and Sing Chong buildings stand out against the sky two blocks down the road at California Street.
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The next shot (6 on the map) shows Su Lin's cab turning into Ross Alley from Washington Street - this chase is cutting back and forth with no regard to continuity. These pictures were taken almost 70 years apart? CitySleuth loves how Chinatown has resisted change! Too, it's commendable that folks back then picked up the trash.
Su Lin leaps out of her cab and darts up a narrow passage connecting Ross Alley to the adjacent and parallel Old Chinatown Lane (7 on the map) - for some reason a gate now blocks this handy short cut. That's a rather revealing view of Marsha in pursuit as her form-fitting suit is stretched to the limit.
They emerge from the passage and Su Lin enters 11 Old Chinatown Lane and up a flight of stairs to her apartment (8 on the map). CitySleuth can only shake his head over the graffiti in the Now image, a modern-day phenomenon not seen in the 1940s.
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Here's a closer look at 11 Old Chinatown Lane today. This is the shuttered office of Mabel Y. Kao, a long serving obstetrician in Chinatown who died in 2007 at the grand old age of 98 ... this remarkable woman was delivering babies in Chinatown in 1949 when this movie was filmed! The doorway on the right is the one Su Lin entered and through the window above it you can just make out the stairs she took to get to her apartment.
In the apartment (Su Lin's uncle's place, seen earlier in the movie) Marsha beseeches Su Lin to testify on Walter's behalf. Su Lin then remembers that Walter's wife Irene had gone out late the night that Torrence, her lover who Walter was accused of murdering, had died. This suggests Irene had pre-planned a rendezvous with Torrence, a contradiction of her evidence.
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Marsha gets Lt. Quincy to follow up on Su Lin's tip and they find supporting information which leads to Walter's release and Irene's arrest for conspiring with Torrence to kill Walter. All ends happily ever after and the audience files out fervently hoping that Walter and Marsha go on to do the right thing.
CitySleuth is more than a little bummed to reach the final location post from this, one of his all-time favorite movies. The intersecting lives of Elsa the scheming seductress and O'Hara the hapless drifter rendered in innovative high contrast black-and-white cinematography delivered entertainment of the highest order.
Then ... Inside the Crazy House O'Hara trips and falls down a long slide to the Magic Mirror Maze, a room packed with replicating and distorting mirrors. Suddenly Elsa appears, admitting she shot Grisby after he messed up her plan to do away with her husband Bannister. The mirror maze sequence, as illustrated by the composited image below, was a highlight of the movie.
... in 1949 ... Below, visitors of all ages enjoyed the real Hall of Mirrors in the Fun House at Playland-At-The-Beach (the inspiration for the movie's Crazy House). The movie however used an elaborate set built at the Columbia Ranch back lot, with more than 100 plate-glass mirrors, some of them two-way to let the camera shoot through them.
Now it's Bannister's turn to show up - he knows she was planning to have him killed and tells Elsa she would be foolish to fire her gun - "... these mirrors - it's difficult to tell - you are aiming at me aren't you? I'm aiming at you, lover!
Bullets fly and mirrors shatter as they desperately target each other's multiple images. The dramatic footage includes this chilling view of the ice-cold femme fatale.
Both Elsa and Bannister are hit. " I don't wanna die!! " she screams, but die she does. Bannister too, leaving O'Hara unscathed but in a state of numbed shock. In this scene, director Welles was unhappy with the studio's addition of crashing background music. He felt (CitySleuth agrees) that the gunfire and breaking glass alone would be more effective and realistic.
Then ... the next shot showing him leaving the Crazy House was filmed on location at the Fun House at Playland-At-The-Beach. The amusement park was open year-round in 1947 so this was likely filmed in the early morning hours before it opened.
... in 1972 ... 23 years later Playland-At the-Beach was closed down to make way for new condominiums. This photo of the Fun House, next to the Merry-Go-Round carousel, was taken on closing day.
... and Now, in the matching view today, the Ocean Beach Condominiums at 825 La Playa Street now straddle this spot (map).
Then ... The camera paints a panorama as it follows O’Hara. At far right is the Laff In The Dark ghost ride; the twin tower structure at far left is the entrance to Shoot The Chutes (a boat ride down a steep chute into a lake) alongside the Great Highway (click the image to enlarge).
... and Now, the same panorama reveals that condominiums have also replaced this northern block of the park. The Laff In The Dark location is now the end-of-line turnaround for the 5-Fulton and 31-Balboa Muni bus lines (click the image to enlarge)..
... a vintage aerial ... the dotted line in the 1940s photo below traces O'Hara's short walk during this final scene.
Then ... The camera continues to follow O'Hara as he (appropriately for a sailor) heads towards the Pacific Ocean. The rising sun behind him casts long shadows, signalling the dawn of a new day, the chance for a fresh start. His final musings close out the movie ...
"Well, everybody is somebody's fool. The only way to stay out of trouble is to grow old, so I guess I'll concentrate on that. Maybe I'll live so long that I'll forget her ... maybe I'll die tryin' ".
... and Now, The condo at 798 Great Highway has usurped the Shoot The Chutes entrance and through traffic no longer runs along this block of Cabrillo Street. The offshore Seal Rocks formation can be partially seen in both Then and Now images.
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.
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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.
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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).
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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.
