The Lumiere Theater used to be our preferred venue for seeing the Oscar-Nominated Shorts each year. We were never attracted to anything else in this neighborhood on the western side of Nob Hill. Seeing the shorts here was like a two-hour vacation from our usual orbit. I always liked the idea that its name referred to those pioneers of Cinema, August and Louis Lumiere. Since it closed, another Landmark Theater, Opera Plaza Cinema, has become the place to go for the shorts.
The building started as a firehouse and at different times housed restaurants and retail stores. It opened in 1975 as the Lumiere Theater and showed its last film in 2012. It had a room seating about 300. At different times in its history, it had a second and a third screening room according to San Francisco Theatres .
As the marquee says, it is now the Marine Layer Workshop. Marine Layer is a designer clothing label based in San Francisco. Reviews say the workshop is a combination workplace, retail outlet, and entertainment venue. Apparently they still offer popcorn and run movies on the wall as kinetic art.
You might think the apartment building on the left and its pedestrians are victims of erosion. But the nearby wall of rock has been that way since the Gold Rush days.
Starting in 1849, ships came to San Francisco (known then as Yerba Buena) from around the world bringing mining equipment and people who wanted to get rich by filling their pockets with gold nuggets.
Since the town was a small fishing village, there was nothing for the ships to carry away. Some were anchored offshore and used as housing. When more than a hundred blocked the port, some were burned.
Some of the ships managed to sail on to other ports by replacing their cargo with ballast in the form of rocks created by dynamiting Telegraph Hill, leaving it with a flat side.
So it would seem that apartment building and its pedestrians are the victims of building too close to a known hazard.
Not to worry: management has "solved" the problem but installing a sign.
Like most people, I can't say I have a single favorite movie. But, if I had to make a short list of favorites, this would be on it. Mostly I am awed by the story in the original screenplay by David Peoples.
William Munny (Clint Eastwood) hears of a bounty offered for killing two cowboys who have cut up a prostitute's face. Though he was a thief and a killer in his younger days, Munny reformed and swore to his wife he would never go back to his evil ways.
But his wife has died, he has two children to care for, and his farm is failing. Also, the cause is just: the law (Gene Hackman) has compensated the owner of the brothel but has done nothing for the prostitute. Munny decides to make one last score.
A lot goes wrong. Through it all, Munny and his friend (Morgan Freeman) prove themselves deeply flawed men who behave with honor while carrying out a mission they don't believe in. Sometimes life is like that.
A bright light flashes in the sky. Shortly after, everyone's power goes out, and cars won't start.
When the neighbors on a suburban street compare notes on what might be happening, a teenager says he read a story about aliens who take over earth by first sending spies who look like humans to live among us.
His mother says those are just silly comic books, but people start to speculate whether any of the more eccentric residents on their street could be aliens. Things do not go well after that.
"The Monsters Are Due on Maple Street" aired in 1960 as part of the first season of The Twilight Zone. Many episodes are scary. I found this one disturbing because it seems so familiar: unusual events are "explained" by a far-fetched theory and people start hunting monsters. If we re-wrote this to include social media, we would have a story from today's news reports.
This is what we call normal traffic on San Francisco's one-way streets. There are lanes for parking on either side. There are lanes for double-parking on either side. There is one traffic lane in the center.
San Francisco has pairs of one-way streets, one east bound, one westbound. The lights are timed to keep traffic moving at around twenty-five miles per hour. Used properly they would be efficient means of moving around a city with the worst traffic congestion in the USA (yes, worse than you, NYC).
They are not used properly. People try to drive forty miles per hour on them and end up creating stop-and-go traffic. And people double-park. Delivery trucks double park because alleys for making deliveries are extremely rare. Also, Uber and Lyft started here, seemed to assume they could double-park, and no one ever told them they couldn't.
When I call this "normal traffic," I am not exaggerating. Mid-day, you cannot drive more than three blocks in any direction without encountering the kind of situation shown here. Doesn't this make you want to ride an electric scooter on the sidewalk?
This is what I call a coffee shop. It has a machine for roasting coffee beans. Not surprisingly, it's called Coffee Roastery.
It doesn't look nearly as inviting as usual with the chairs and tables stored at the end of the room. When it is again safe to sit indoors together, this room will again invite patrons to linger while enjoying a cup of coffee.
Coffee Roastery has several locations around San Francisco. Each shop has its own machine to roast the beans used and sold in that shop. Does it make a difference whether the beans are roasted within hours of being brewed? It can't hurt.
Sudden Fear is classic mid-century noir. The men wear hats and suits and ties because men did back then. The women wear silk stockings and have elaborate coiffures because women did back then. People travel cross-country by train and the automobiles are enormous. It's all filmed in glorious black and white.
Joan Crawford and Jack Palance make a quirky romantic couple. She plays an heiress and successful playwright. He plays an aspiring actor. She fires him from her Broadway show. He seduces her and plots to kill her, aided by an old girlfriend played by Gloria Grahame.
Crawford's acting style recalls the silent films in which she started with close-ups that allow her facial expressions to reflect sequences of thought and emotion. Palance's style exemplifies modern realism. Grahame's acting transcends style.
Much of the film recalls Alfred Hitchcock's criticism of what happened initially when sound was added to movies: they became "photographs of people talking." However, in the final quarter of the film, when Crawford and Palance launch their deadly schemes, director David Miller and cinematographer Charles Lang put on a tour de force of visual storytelling that Hitchcock might have envied.