At a local police station the Chronicle’s courthouse reporter slips a cigar to the desk sergeant then seeks the quid pro quo: “Do you have anything for me today?”
Then … In a later scene we are shown where this took place - Police Station 6 (although the interior scene may have been filmed in a studio).
… a vintage photo … John Bengston’s excellent website silentlocations.com revealed the location of this police station - read his detailed post about it here. It was set in San Francisco but was filmed at 1629 N. Cahuenga Blvd in Hollywood (map). The station - it shared a building with the Fire Department’s Engine 27 - was there from 1913 to 1930 during which time it appeared in many silent movies including comedies by Charlie Chaplin and Buster Keaton.
On a trivia note this fun photo taken in 1928 in front of Station 6 provided ample evidence that a cop’s day is not all work and no play.
… and Now, the music publishing company Real Songs, readdressed as # 1635, now sits squarely on the old fire/police station site. But the 2-story hotel on the left has survived (it’s partially visible in the vintage photo of the station, above).
The reporter is in luck; he calls the Chronicle’s city editor with a scoop: the police have set their sights on Sam Blotz, a suspected bootlegger.
Then … At far right the city editor asks a young staffer to bring him everything they have on Blotz.
… and Now, this was filmed on the 3rd floor of the San Francisco Chronicle’s 901 Mission Street building where reporters continue to work 100 years later in the same, albeit modernized, space.
Then … The newspaper’s librarians dig out information on Blotz.
… a vintage photo … here’s that same library in 1924 at the San Francisco Chronicle’s 901 Mission Street building. The wall-mounted files seen above are arrayed along the side wall. Note in both images the radiator alongside the column.
The editor shows the files and photographs to Clarence Walker (Polly McDonald’s suitor), assigning him the task of writing an exposé of Sam Blotz.
Jo and Steve head over to a bar in Japantown where Chan’s daughter Jenny works. They want to find out if she has any news to share about her father’s whereabouts. This scene was filmed inside the Kyomasa Cocktail Lounge at 1705 Buchanan Street.
… a vintage photo … Citysleuth found two contemporary photos of its location which he composited into the one below. The center portion is from a 1980s photo, the sides from a 1970s photo; together they show how it looked when Chan was filmed. Marked by the arrow, the Kyomasa Lounge was on the second level, next to the better-known Kokusai Theatre.
… and Now, the theatre (referenced earlier in the movie) closed in 1987 and the space where the Kyomasa Lounge used to be was up for lease when CitySleuth recently stopped by. But the Soko Hardware store at far right is still there. Both Then and Now the Japanese-styled tower displays the sign Nihon Machi - “Japan Town”.
Then … The lounge entrance is at the top of the stairs behind the tower, above. Below, they enter from the left and climb a set of 5 steps up to the lounge.
… and Now, the most recent tenant here was the Korean karaoke bar and restaurant ‘Playground’. But the space is now under construction in preparation for a future tenant. Citysleuth noticed there’s now only 3 steps leading up, not 5. Why? … read on…
Then … They ask for Jenny. The two extra steps led to an elevated floor level that created a sunken bar effect. The lounge entrance is on the left.
… and Now, the bar is in the same spot but at a regular height because the elevated floor is gone.
Then … Jenny appears; she suggests they take a seat at a nearby table..
… in 2017 … this is the same view in Playground before it closed. The drop ceiling, above, has been removed, below.
… and Now, here it is today.
Then … Jenny doesn’t know where her father is but said he apologizes for not being able to complete the cab deal. She then gives them an envelope containing the $4,000 they had given him … “It’s all there”. Steve’s reaction? … “Goddam!”. The shoji screens covering the windows are the same ones seen from the outside in the vintage photo at the top of this post.
… and Now, these windows look down on the Japantown block of Buchanan Street named Osaka Way.
George Hamilton, the proprietor of the Chronicle (Louis Payne) decides to write a series of inspirational editorials to counter declining circulation numbers. But with pen in hand and paper in front of him inspiration is hard to find.
Then … Hands clasped behind his back, he starts pacing through the Chronicle building, seen here in the editorial room.
… and Now, 100 years later this is the same room, on the 3rd floor at 901 Mission Street, still being used by the newspaper’s reporting staff.
The editorial room was captured in this 1924 photograph. The pneumatic message delivery tubes near the partition right of center and the desk in the right foreground are the same as in the Then image above. (Photo by Gabriel Moulin).
Then … The workers at the makeup tables who set the editorial stories in text form using individual metal letters try their best to look busy when they see him pass by.
This was filmed in the Chronicle’s composing room, captured here in 1924, most likely on the 2nd floor of 901 Mission Street. CitySleuth was unable to access this space for a matching photo; it was being remodeled when he visited. (Photo by Gabriel Moulin).
Then … Next he marches through the linotype room…
… here’s that same room in 1924. (Photo by Gabriel Moulin). By converting individual letters to complete lines of text using molten alloys, mostly lead, the linotype machines increased printing efficiency significantly. In hindsight one can only shudder at the health hazards to those operators from the molten lead fumes.
Then … And here he’s in the press room passing an array of printing presses…
… the giant presses were in the basement of the Chronicle building. This is the same aisle in 1924 viewed from the opposite direction. (Photo by Gabriel Moulin).
When he overhears Tom on the other side of the press sharing inspirational advice about truth, love and duty with his young assistant, the proprietor eagerly takes it all in.
Tom is invited up to the proprietor’s office. They make strange bedfellows but when prompted to share his philosophy of life Tom is more than happy to oblige.
Later at home, Tom reads the editorial in the paper and is shocked to see his creed, based on Truth, Love and Duty, right there in print with no credit as to the source.
Then… Jo and Steve meet on the municipal pier at Aquatic Park (map), a place popular with local fishermen who enjoy the added bonus of great views in all directions. The 1400 foot-long circular pier was built in 1933; it has slowly deteriorated over the decades resulting in its recent closure to the public in 2022. That’s Pier 45 at Fisherman’s Wharf in the background at upper left, drawn in by the telephoto lens.
… and Now, the fishermen above were between the two lampposts below, near the far end of the sweeping breakwater pier. For the matching photos in this post Citysleuth found online images taken pre-closure. The cylindrical concrete structure seen ahead was meant to be a concessions stand complementing two similar ones on the shore at Aquatic Park but it never was completed.
Then… Steve wants to know why Jo refuses to go to the police about the stolen money. When Jo defends Chan, talking about his struggle to find his identity in America, Steve gets angry. In the background we see the liberty ship S.S. Jeremiah O’Brien berthed at Fort Mason, a rare survivor of the 2,710 liberty ships built to supply troops and critical materiel to Europe during WWII.
… and Now, The Jeremiah O’Brien was berthed here for many years but has since been moved to Pier 35. Note the decaying condition of the municipal pier’s concrete wall; note too the fence that was erected down the middle to exclude the public from this more dangerous seaward-facing half of the pier before it was finally closed completely.
This 1982 photo shows the Jeremiah O’Brien at its Fort Mason berth around the time Chan was filmed (compare it to the Then image above). It has been completely restored and is one of only two liberty ships still operational today. Interesting trivia - its engines were filmed for the engine room scenes in the movie Titanic.
Then… Steve lays into Jo, telling him there are no identity problems in the community any more. His voice rises … “What are you tripping on this sh-t for? The guy f-cked up man, he couldn’t cope with it”.
… and Now, in both photos we see an art deco building alongside the Aquatic Park beach at far left. Originally a bathhouse, it’s now a maritime museum.
… in 1948 … The pier and the bathhouse are seen here in 1948, nine years after the depression-era W.P.A-funded Aquatic Park project officially opened to the public (the aforementioned unfinished concessions stand is visible at the end of the pier). Designed to resemble an ocean-going ship the sleek streamline-moderne building provided swimmers with changing rooms and showers . At one time it also housed a private upscale restaurant and nightclub until outraged protests succeeded in shutting it down. Note the sidewalk waves lapping against the Beach Street entrance - a touch of whimsy.
… and Now, The bathhouse became a maritime museum right after troops who used the building during WWII handed it back. Hey, those waves are still there today!
Then… Steve gets increasingly agitated but Jo is adamant; he won’t report his friend to the police. They separate, backs turned.
… and Now, the Golden Gate bridge is but one of the many fine views from here. The pier wall was showing damage 40 plus years ago, above, but is far worse now, below.
Back at Chester’s Cafe they sit, wordless, Steve silently stewing. Chester’s was popular with workers from the cable car barn at the end of the block, some of them seen here in the background.
