Down in the boiler room Red Moran, determined to avenge the Chronicle’s exposé of his boss, plies the boilerman with booze and challenges him to a coal shoveling contest, having first closed off the steam line. Tension mounts as the camera cuts repeatedly to the pressure gauge slowly moving into the danger level, an audience suspense-building technique often used later by the master of suspense, Alfred Hitchcock.
Then … His sabotage causes an explosion and fire at the Chronicle headquarters; multiple alarms summon a frantic response from the city’s fire brigade.
… a vintage photo … here’s a 1915 photo image showing the Chronicle Building as it was when the movie was filmed.
… and Now, the building, also seen earlier in the movie, is still there today at 690 Market on the corner of Kearny Street. It has since been remodeled and doubled in height to create the swanky condominiums of the Ritz-Carlton Club and Residences.
Then … Firehouses in San Francisco and in Los Angeles were filmed for the response scenes. The director jumps all over the place with random cuts between the locations but for this post shots from the same firehouse are presented together. After this first truck exits the firehouse (top left) the camera cuts to a wider view allowing us to see where it was filmed.
… in 1950 … here’s that location, unchanged even though this c. 1950 photo was taken 25 years later. The arched doorway at the bottom right corner is where the fire engine exited, top left above. In San Francisco, this is the Truck Company 1 firehouse at 418 Jessie Street, South of Market, in what’s now known as Mint Plaza (map).
… and Now, a recent view of Mint Plaza today, again mostly unchanged except the firehouse is no longer there; today it’s the restaurant Burma Love, now readdressed as 8 Mint Plaza.
Then … In this shot the building on the left looks familiar …
… and Now, that’s because we are still in Mint Plaza alongside the old Mint Building. The restaurant that replaced Truck Company 1’s firehouse is over on the right side and the building facing us is the one on the left, two images above.
Then … Inside the next firehouse a message is received on a Gamewell Punch Register (top corner) that identifies the source of the originating alarm on a ticker-tape. Firemen waste no time manning a fire engine (on the left) and a fire truck (on the right). Fire engines usually carried water; fire trucks usually did not , instead carrying a rescue ladder and other equipment such as jaws of life.
Then … As the fire engine leaves, the firehouse name is the clue to its location; this was filmed at the Engine Company 24 / Truck Company 1 firehouse in Los Angeles’ Little Tokyo district at 204 South Hewitt Street (map).
… in 1922 … here’s a vintage 1922 photo showing the station three years earlier. At that time a different truck company, No. 5, shared the building with Engine Company 24.
… and Now, the station, on the corner of S. Hewitt and E. 2nd Streets, is no longer there; the space is now a parking lot. What a waste of a fine old building.
Then … Two engines from Engine Company 2 at 460 Bush Street in San Francisco’s Financial District are the next to respond. The compact 1908 firehouse, at far left, was the first firehouse rebuilt following the 1906 earthquake. The columned building next to it was a Pacific Telephone & Telegraph Company building at 444 Bush Street.
… and Now, the classy Beaux Arts firehouse building is still there but it has been converted to office space.
Then … Clarence happens to be parked across from the police station when the police arrive; he sees them hustling Ray McDonald inside. This was filmed in Hollywood as evidenced by the stores behind him - Ford & Ford Chiropractic on the right was listed in the 1925 Los Angeles city directory at 5911 Hollywood Blvd and Star Cleaners was listed at 5913 Hollywood Blvd.
… and Now, the chiropractor’s office at 5911 is now Sparadise Massage & Spa; Star Cleaners at 5913 is now Bread and Butter lunch and coffee shop. Note the lamppost in the center - remarkably it appears to be the same one a century later as in the movie shot above.
Then … He rushes over to see what’s going on; inside he is astounded to hear that Ray is being charged with accepting a $50,000 bribe; he is helpless as Ray is manhandled, protesting the whole way, to a jail cell.
Police Station 6 appeared earlier in the movie. It’s on the right side in this vintage photo where it shared a building with LAFD’s Engine 27 from 1913 to 1930.
… and Now, what’s more, it wasn’t opposite where Clarence was parked; it was a good 7 or 8 blocks away at 1629 N. Cahuenga Blvd. Check the location now, completely rebuilt. (Note the adjacent brick building partially visible at far left, above, - it’s still there today).
As a close friend of the McDonald family Clarence can’t bring himself to call the shocking news into his newspaper, leaving it instead to the local beat reporter who doesn’t hesitate to call the city editor. With eighteen minutes to press time it’s all hands on deck to rewrite the front page in time for the day’s last edition.
Then … In the next sequence the audience gets to see step-by-step how a newspaper story is created - from its initial composition to the final printed page. It begins with the copy editor receiving the story outline from the city editor. He writes the story and sends it on to linotype machine operators who turn his words into metal ‘slugs’ - lines of text cast from molten metal as fast as the operator types them in.
This and the sequence of operations that follow were all filmed in the Chronicle’s newly built 901 Mission Street building in San Francisco’s Soma district (map); the 1920s photograph below shows the composing room where the linotype machines were filmed.
Then … The metal slugs and an etched photo plate are arranged by compositors at makeup tables (on the left, below) into a full page format (on the right). The words and images are reversed, like a negative, so that when printed they will read in normal format.
The makeup tables were in the same composing room as the linotype machines. This photograph of them also shows a linotype battery at far right.
Then … When the page is complete a sample sheet is printed out and checked for errors. A papier-mâché sheet is then beaten against the completed layout to form a mold (called a ‘flong’) which in turn is used to cast a curved metal plate (called a ‘stereotype’) which will pair with a rotary press to print the newspaper page.
Here’s a photo taken at 901 Mission Street of the same equipment being used to cast stereotype plates.
Then … With time running out the finished plate is winched down to the press room below. Tom’s supervisor grabs it and sends it along a conveyor to Tom, waiting at a press. He bolts it into place, jubilant, knowing they’ve pulled it off - the presses start rolling just in time for the day’s last edition.
This 1920s photo taken in the Chronicle’s press room looks from the opposite direction along the plate conveyor seen above. Alongside it are the massive rotary printing presses, 14 of them in a row.
Tom’s celebration is cut short when he sees the front page with a photograph of his son under a huge headline trumpeting the bribery charge.
Ed responds to Lois’s plea for help, driving over to her home - it’s seen several times throughout the movie. The address in the movie is 2370 Del Mar and indeed the front entrance is so numbered.
Then … Ed pulls into the driveway, giving us a wider view of the home’s exterior including an interesting old-style street lamp. There’s an upstairs balcony over the entrance supported by decorative metal posts, seen up close above.
… and Now, the house has hardly changed in over 70 years. Even the street lamp is still there. But it’s not in San Francisco - this is 2370 N. Vermont Avenue in Los Feliz, a hillside neighborhood in the greater Hollywood area of Los Angeles (map). Last sold in 1973 for $80,000, the home is currently valued at over $4 Million.
Then … In another scene we see the entrance from a different angle, revealing more of the house.
… and Now, from here we can see one small change: a pair of railings, matching the original posts in style, have since been added on the steps.
Lois lets him in. She’s in a tizzy as she pours out some startling news. The expansive interiors of the Frazer home were most likely filmed on a sound stage at the General Service Studio in Hollywood (in which case they did a nice job here matching the front door with its sidelites; compare it from the outside in the first image above).
O’Hara and Grayson accuse Dr. Neva, whose laundry had contained the handkerchief carrying a secret formula, of treason. She vehemently denies any knowledge of passing on secrets, admitting only of being in love with fellow top scientist Dr. von Stolb.
When von Stolb is discovered dead in his quarters of an apparent suicide by poison it didn’t take them long to work out that he had in fact been murdered. Now they wondered if perhaps somebody else might have been responsible for both the leaks and the murder.
They recheck their video of the scientist’s meeting looking for clues that might implicate one of the other attendees: director Townsend, Dr. Forrest and Dr. Allen. Once again they see nothing suspicious but later O’Hara has an ‘Aha!’ moment, recalling that Dr. Allen, on the right, had pressed the palm of his hand on the paper containing the formula that had been smuggled out.
They and the local police follow Allen to a remote house where he rendezvous with the members of the spy ring. A furious gun battle ends up with Braun, Krebs and the other spies dead and Allen in custody.
Denying everything, Allen insisted he had been kidnapped by the spies …
… but was caught in a lie when O’Hara grabs his hand and wets it with a solution that reveals the formula, still there. They finally got their man!
Then … the movie fades to black as our intrepid G-men exit an elevator and stride purposefully away as the narrator intones the stern reminder that “… those who walk the crooked miles are followed by such men as Grayson and O’Hara”. The ‘Tower Express’ signs on the elevators suggest this was filmed in Los Angeles’ classic City Hall, whose landmark art deco tower has a public viewing gallery on the 27th floor.
… and Now, indeed it was; our two heroes above are striding across the building’s 3rd floor byzantine rotunda. The 10 marble columns bordering the rotunda each have their own distinctive and colorful patterns, all of them different. In the recent matching photo, below, visitors walk past the elevators towards the rotunda, approaching the same set of columns.
… and Now, and here’s a reverse view of those columns looking back from the rotunda.
Los Angeles City Hall opened in 1928. Its architecture is a blend of styles, with an Art Deco tower and an entrance announced by elegant columned arches. It has been a popular location site for moviemakers over the years, a fitting place for the final scene of this San Francisco/Southern California based movie.
