The New Fillmore

FILM | ANDREA CHASE

The last generation or two thinks of Hal Holbrook when it comes to one-man shows about Mark Twain. Not to take anything away from Holbrook’s dry wit and perfect timing when performing Twain’s words, but Val Kilmer with Citizen Twain makes a compelling argument to join him as another master interpreter of those words. He will be presenting the piece one night only in San Francisco, December 22, at the Clay Theatre on Fillmore Street.

In Kilmer’s telling, the voice is deeper than Holbrook’s, the performance more physical, but the delivery is just as spot on. Kilmer is also more sardonic, yet finds an almost self-deprecating way with Twain’s take on humanity, making it clear that he doesn’t spare himself when passing judgment. He brings a contemporary vibe to Twain’s reminiscence about a particularly sadistic schoolteacher he enjoyed taunting, despite the teacher’s liberal use of corporal punishment, his still prescient take on politics and his unabashed love of adulation.

Distilling a lifetime of Twain’s splendid writings into a 90-minute piece cannot be easy, but Kilmer — who wrote and directed the play now filmed from a live performance for cinematic presentation — has made choices that are equally splendid, leaving viewers tickled and wanting more.

“Citizen Twain” is a thoroughly engaging reminder of why Twain is still a pleasure to revisit for both his biting satire and his uncanny insight about what makes people tick.

Instead of a general release, Kilmer is presenting his film one city at a time, hosting the screenings he calls Cinema Twain, and making himself available for a Q&A with the audience. More information about the December 22 screening at the Clay here.

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IN THE SPRING of 1985, the Clay Theatre on Fillmore hosted the premiere of the spaghetti western parody Lust in the Dust. It starred Tab Hunter, Divine and Cesar Romero, who were at the Clay for the screening.

After years of tales about the event, photographic evidence has now surfaced, courtesy of Tab Hunter’s partner, producer Allan Glaser.

Hunter and Glaser came to the Clay last year for a Q&A session about the new film, Tab Hunter Confidential: The Making of a Movie Star. When he walked through the door of the theater, Hunter said: “I was here 30 years ago — what a great place.” During the interview, Hunter spoke about the years he lived in San Francisco’s Richmond District, including a stint working at the Bull Pup enchilada stand at Playland.

Glaser remembered they had photos from the premiere of Lust in the Dust at the Clay, and recently shared the images with the theater staff. They show the crowds lining Fillmore Street as the actors arrived in a black limo. Film lovers were excited to see Tab Hunter and Divine share the screen again; they had starred together four years earlier in John Waters’ film Polyester.

After introducing the film, the actors took seats in the back row and watched the movie with the audience. Beforehand, they planted their handprints and footprints in cement outside the theater in the style of the legendary Grauman’s Chinese Theatre in Hollywood.

“We have no clue where the prints ended up,” says Michael Blythe, who works at the Clay. “We would love to find them.”

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Sundance revamped the Kabuki complex when it took over in 2007.

ACTOR-DIRECTOR-PRODUCER Robert Redford and his investors have sold their five Sundance movie houses — including the eight-screen Kabuki cinemas at Fillmore and Post.

The new owner, Carmike Cinemas, based in Columbus, Ga., is the fourth-largest theater chain in the U.S., now with 274 theaters in 41 states and ambitions to expand further. A Carmike official said no immediate changes are planned in the operation of the Kabuki cinemas.

Robert Redford at the Kabuki in 2012.

Sundance revamped the Kabuki complex when it took over in 2007, upgrading the decor, seating and sound and adding expanded food and beverage options.

“We have no intention of eliminating the popular beer, wine, cocktail and food programs offered at Sundance Kabuki,” said Brian Dobson, director of restaurant operations for Carmike. “The current arrangement works.”

Dobson said his company will continue Sundance’s reserved seating program, which allows tickets to be purchased online in advance, and will continue to show no ads before screenings. Sundance’s “custom content” messages projected before films begin will remain, said Dobson.

Ticket prices won’t change, Dobson said, but there may be more “alternative programming” — ballet, theater, opera and small indie films of the type that first put Redford’s Sundance Film Festival on the cinematic map.

Carmike bought all five Sundance theaters — the others are in West Hollywood, Seattle, Houston and Madison, Wisconsin — for $36 million in cash. Carmike will continue to operate the five theaters under the Sundance name, but may not expand the Sundance brand, according to statements both firms issued announcing the deal.

Neither local Sundance spokesperson Nancy Gribler nor Kabuki general manager Michael Spring responded to repeated requests for information about any effects of the sale on the Kabuki’s operations. Spring was said to be on a long conference call with his new bosses in Georgia.

UPDATE: Kabuki theaters sold again

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