You read it here first, folks. After months of searching, CitySleuth has found the location of the Bellicec Mud Baths. The only online reference he had dug up was "somewhere on Clement Street," which turns out to be close but not the case.
Then ... Jack Bellicec (Jeff Goldblum) runs a Mud Baths business with his wife Nancy (Veronica Cartwright). She greets him as he enters the reception area from the street.
... and Now, the bathhouse scenes were filmed at 5499 California Street at 17th Avenue in the Outer Richmond (map). Previously the L & E Market, it had been vacant for a couple of years before director Kaufman built a realistic movie set inside the store. The site has since 1998 been a children’s dance studio, the home of Miss Tilly's Ballet and Theater Arts.
Then ... Jack walks between two rows of massage booths towards the mud baths in the rear.
Then ... He begins to feel very tired and hardly notices the customers soaking in the baths.
... and Now, the dance studio’s original space has since been foreshortened by a new rear wall. When the movie set was built, the massage booths were on this side of the new wall; the mud baths were behind it.
Here’s the 17th Avenue side of the building in 2008, similar to how it was when the movie was filmed, compared with the building today. New apartments have been built next door encroaching into the 5499 California space and onto its roof. The dotted red lines indicate the position of the dance studio’s interior back wall Then and Now.
Jack lies down for a nap. The movie’s undercurrent of mystery is suddenly jarred into reality when Nancy comes looking for him. She screams in terror when, in one of the massage booths, she finds a hairy, slimed half-formed creature with Jack’s facial features. They don’t know it yet but his body is about to be replaced by a look-alike alien.
Then ... She finds Jack and wakes him up, unwittingly thwarting the body snatch. They call Matthew; as Nancy lets him in, the panning camera reveals two neon ‘BATHS’ signs, one in each of the store’s two front windows on either side of the central doorway (but note that the one on the right behind Matthew was not lit up during this scene - either an oversight or a setup problem).
... and Now, the entrance, previously with a double door, now has a single one. (Painters had erected temporary scaffolding outside on the day CitySleuth took this photo).
When Matthew sees the body he has a dread feeling that Elizabeth, back at her home, may also be at risk. He finds her there asleep and carries her out, on the way passing another creature, this one with the features of Elizabeth. For the second time a body snatching has been narrowly averted.
Then ... Kibner joins them all at the mud baths but Jack’s look-alike has vanished. This shot in the reception area (the front door is on the right) helped narrow CitySleuth’s search for the location because the windows beyond them meant that it had to be on a street corner.
... and Now, the wall on the left, above, has been removed and frosted glass on the side windows provide privacy from passersby.
Then ... An exterior scene filmed in front of the baths revealed more visual clues to the location: the wall detail at the corner behind Matthew, a kerbside power pole to the left and a curved arch at upper far left. The neon sign which was dark earlier (five images above) is turned on here. (The matching sign in the other window would be above Nancy’s head but is obscured by the roof of the car).
... and Now, the power pole is still there and the corner wall detail is the same. From here, trees block the view at upper far left of the adjacent space’s window arches corresponding to the curved detail above.
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.
The movie's final scenes were filmed at San Francisco's beloved amusement park Playland At The Beach, located along the Great Highway just south of Sutro Heights (map). The first ride at the site appeared as early as the 1880s and by the 1920s Playland was fully established with multiple rides and hundreds of concessions, drawing huge crowds daily from noon to midnight.
... In the 1940s ... In this vintage aerial photo Playland is seen spread over most of four blocks. At the top (north end) is the wildly popular double-ramped Shoot The Chutes attraction and at the south end the Big Dipper roller coaster. Next to it, fronting the Great Highway and the Pacific off to the left, is the circular Merry-Go-Round carousel. The northwest corner of Golden Gate Park, including one of its two windmills, is visible at the bottom.
and Now ... the amusement park, sadly, is gone, demolished in 1972 to make room for condominium complexes. In this recent Google Earth satellite view a number of the adjacent houses can still be recognized, as can the windmill in Golden Gate Park. The large white-roofed building is the Safeway supermarket at 850 La Playa.
The color and buzz of the amusement park was nicely captured in this Noal Betts watercolor.
Then ... The hapless, comatose O'Hara is carried by Elsa's servant into the Crazy House at the amusement park.
... in 1972 ... the scene above was filmed in the studio using a painted backdrop but the Crazy House was based on the Fun House at Playland. Below is a photo of the Fun House taken in 1972 shortly before the park was razed - its similarity to the painted representation above is readily apparent and the actual Fun House exterior will appear in the movie's final shot.
... In the 1940s ... here's a closeup from the aerial photo above showing exactly where the Fun House used to be. This is now the site of the Burnham Building, 825 La Playa Street, part of the Ocean Beach Condominiums.
O'Hara comes to inside the Crazy House. For these scenes Orson Welles built an elaborate set at Columbia Studios with a 125 foot long winding slide and fantastical props painted by Welles himself.
As he stumbles from one bizarre sight to the next he voice-overs his realization of the murder plan - Elsa had planned to have Grisby kill Bannister and split his money. But she also meant to double-cross Grisby later and kill him, an act accelerated by Grisby going off half-cocked by killing Broome, not part of the plan. She shot him to make sure the cops didn't get to him first which could have implicated her. "And I was the fall guy" O'Hara said, as he plunged down the slide.
