The shah’s consulate

Built as a home, 34-- Washington was later a flashpoint for Iranian protests.

Built as a home, 3400 Washington was later a flashpoint for Iranian protests.

LANDMARKS | BRIDGET MALEY

Constructed in 1927 by insurance executive Henry Foster Dutton for his second wife, Violet, the classically inspired house at 3400 Washington Street was acquired by the Imperial Government of Iran to serve as its official San Francisco consulate in the mid-1950s.

The house was designed by architect Erle J. Osborne, who had a steady stream of wealthy clients and produced interesting houses in Presidio Terrace, St. Francis Wood and Atherton — in addition to a few Southern California commissions — throughout the ’20s and ’30s. His corner lot house for the Duttons replaced a house built there earlier by Judge James Monroe Allen.

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When the stars came out at the Clay

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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.”

New plan to revamp the Clay

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A  NEW PLAN is in the works to remodel the historic Clay Theatre on Fillmore Street by expanding the concession area in the lobby and offering additional food and beverage options, including beer and wine.

The plan abandons earlier efforts to carve the Clay into three smaller screening rooms and build townhouses above the theater and an adjacent building, with a garage excavated underneath.

“We’ve been trying to figure out a way to get the theater revitalized and bring some life back to the boulevard,” said architect Charles Kahn, who is collaborating with the owner of the building, Blagobind Jaiswal. Jaiswal also owns the building next door housing the Alice + Olivia boutique and the Cielo clothing boutique a few doors south.

“This is all about saving the theater,” Kahn said. “It’s a much more modest project than where we started.”

A public hearing on the plans will be held on Monday, January 4, at 7 p.m. in Calvin Hall of the Calvary Presbyterian Church at 2515 Fillmore.

Kahn said the new plan calls for relocating the restrooms now in the lobby to the back of the theater behind the screen. That would free up space for an expanded food and beverage operation. Seating would also be upgraded and accessibility improved.

Kahn said no changes are planned to the facade of the theater.

UPDATE: The public hearing on January 4 left local supporters of the Clay Theatre optimistic about the future of the 110-year-old movie house. The owner of the building, Blagobind Jaiswall, and his architect, Charles Kahn, said they were “absolutely committed” to renovating and continuing the theater.

Film fans at the meeting questioned plans to move the restrooms inside the theater behind the screen, but no one objected to other renovations, including an expanded concession area serving beer and wine.

“We’re trying to figure out ways to increase the hours the building is open,” Kahn said after the hearing. “I collected some very valuable information.”

Staffers from the Clay attended the meeting and offered a number of suggestions. Afterward, the head of Landmark Theatres, which operates the Clay, said he was encouraged by his talks with the owner and architect.

“So far, so good,” said Landmark CEO Ted Mundorff. “I think it’s the beginning of a plan. If we can get a better theater out of this, then it’s a great plan.”

The question remains how to pay for it.

“That’s gonna be the rub,” said Mundorff. “There’s not this big cash cow that walks in the door when you sell beer and wine.”

Kahn said he will bring detailed plans for remodeling the Clay and expanding its offerings before the city Planning Commission in the coming months.

Landmark announced in August 2010 it would close the Clay, but a last-minute deal kept the theater in operation.

EARLIER: “How the Clay dodged a bullet

Wise Sons is coming, but not yet

The cafe is delayed, but Wise Sons Bagel is already baking at 1520 Fillmore (right).

The cafe is still to come, but Wise Sons Bagel is already baking at 1520 Fillmore (right).

By CHRIS BARNETT

The Wise Sons had planned to open their new bagelry at 1520 Fillmore in December, but it didn’t happen. Now it looks as if Wise Sons Bagel won’t woo the schmear set for another two months at least.

“If I were a betting man — and I’m not — I’d say two months into 2016, possibly longer,” says co-owner Evan Bloom. “We haven’t even created our bagel yet.”

But they’re already baking in their Fillmore location. The ovens are fired up, with bakers working two shifts pumping out rugelach and Wise Sons’ signature chocolate babka dessert for their deli on 24th Street in the Mission, a cafe in the Contemporary Jewish Museum and a Ferry Building outpost staffed three days a week.

“We want to open, but we don’t want to rush it,” says Bloom. “Right now we’re trying to find good people to mix the dough, bake the bread, interface with customers, toast the bagels, mix the coffee — and get our power upgraded. We’re still trying to figure the store layout while getting the bagels rolling. We haven’t even settled on the coffee supplier yet.”

But the fundamentals are in place. The long, narrow 2,000-square-foot space with 30-foot ceilings, previously occupied by Sushi Boom, will be mostly a bagel bakery, but it will also have cafe seating for 12 to 16 in the front, including a stand-up bar, and — they hope — sidewalk seating.

Customers may be schmoozing, but they won’t be noshing on the monstrous pastrami or corned beef sandwiches slathered in mustard or other deli fare served at the 24th Street mothership.

“We’ll be more of a grab-and-go shop and less of a hangout,” Bloom says. “You’ll be able to pick up a pound of pastrami, or lox and pickles, and take it all home. We just don’t make the sandwich.”

The pressure is on. The New York Times ran a long feature story in its Sunday magazine headlined “Why Is It So Hard to Get a Great Bagel in California?” that raised hopes for a bagel from Wise Sons. Bloom and co-owner Leo Beckerman also had a cameo appearance in Deli Man, the hit indie documentary love story on the slow but steady demise nationwide of real honest-to-God Jewish delis. Wise Sons was the only deli in the Bay Area included.

Deli Man definitely helped us,” Bloom says, “and we do get recognized — which is so ridiculous — but people trickle in because of it.”

A fire wiped out their new Mission commissary, delaying plans to add bagels. Now, on Fillmore, they’re hoping to bring back some of the flavor from the days a century ago when this was a Jewish neighborhood.

The Fillmore was mostly a Jewish neighborhood circa 1900, a legacy Wise Sons will honor.

The Fillmore was mostly a Jewish neighborhood circa 1900, a legacy Wise Sons will honor.

“We’re going to keep it simple,” says Bloom, “with just five types — a plain, an ‘everything,’ sesame seed, poppy seed and salt. It’ll be a good old-fashioned bagel starting with quality ingredients, with no additives, no extenders. It’ll be boiled with a good, crunchy chew on the outside and a soft interior with a good ratio of texture and flavor.”

Until then, the two pals and business partners who both went to UC-Berkeley have plenty of schlepping to get the doors open. And they’re keeping busy clarifying what Wise Sons is all about.

“We’ve been called Jewish fusion,” Bloom says. “We’re really Jewish soul food.”

Facing the future in Japantown

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By TOMO HIRAI
Nichi Bei Weekly

At the dawn of its 110th year, San Francisco’s Japantown faces challenges in maintaining its identity as a regional hub of Japanese and Japanese American culture. About five decades since the Japan Center was built, many of the neighborhood’s longtime business owners have come of retirement age. As these businesses close, the neighborhood faces questions on how it should promote itself and preserve its legacy.

Read more: “The state of Japantown’s businesses

When the P.O. was on Post

The neighborhood post office was located at 1949 Post Street circa 1950.

The neighborhood post office was located at 1949 Post Street (right) circa 1950.

FLASHBACK

Before the neighborhood post office moved to 1849 Geary, where it stands today, it was around the corner on Steiner. And before that, it was at 1949 Post. The building now houses Ace Hardware. A cleaners remains next door, but with a new name.

The 1900 block of Post Street today.

The 1900 block of Post Street today.

Ever a house of healing

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Its richly ornate Romanesque portal welcomes visitors to 1801 Bush Street.

LANDMARKS | BRIDGET MALEY

The Romanesque Revival, L-shaped building with the colorful garden courtyard at the corner of Bush and Octavia Streets was originally built nearly 90 years ago as Greens’ Eye Hospital. Doctors Aaron S. and Lewis D. Green, of Latvian heritage, came to San Francisco shortly after the 1906 earthquake to intern with Stanford Hospitals. Noted researchers, inventors and practitioners of various corneal treatments, the brothers were also active in community service, including working as ophthalmologists at San Quentin Prison.

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Sundance sells Kabuki cinemas

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

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.

Redford at the Kabuki in 2012.

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

Uncle Nick takes charge at Dino’s

Photograph of Nick Nickolas by Daniel Bahmani

Photograph of Nick Nickolas by Daniel Bahmani

By CHRIS BARNETT

Nick Nickolas could be the poster boy for a happy retirement. A tanned 78-year-old who looks and sounds 20 years younger, he built and ran a fine dining empire of 30 restaurants that stretched from Honolulu to Miami, is madly in love with his new fiancee and has all his hair and his buttons.

But he simply can’t stop working.

For the last four years, Nickolas has been managing, maitre’d-ing, setting and bussing tables at Dino & Santino’s at Fillmore and California, spelling his nephew, Dino Stavrakikis, on Thursdays and Saturdays so the single-dad owner could have time with his young son, Santino.

Now, with Santino turning 5 and heading to kindergarten, Dino might be expected to spend more time at his pizza palace, with his Uncle Nick backing off to take a cruise for two and play couples golf. But Nickolas isn’t one to sit on the sidelines.

In fact, he is taking the reins of the 28-year-old restaurant and ramping up to five days a week. Stavrakikis has given him carte blanche to change the menu, with some exceptions: Uncle Nick can’t touch “Mama’s meatballs or her spinach pie,” he says, or a few other house signature items.

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It all started with a tomato sandwich

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FIRST PERSON | JOANNE WEIR

When I was 6 years old, a feisty little thing with a mop of red hair spiraling every which way, my mom made me a simple sandwich for lunch. Not peanut butter and jelly or tuna fish salad, mind you; my mom was a professional chef, after all. Mom’s version of simple was her tomato sandwich: homemade white bread, homemade mayonnaise and a ripe sweet red tomato plucked fresh from her garden.

As Mom arranged tomato slices, still warm from the sun, atop a generous slathering of mayonnaise, she looked me in the eyes and said: “Whenever you eat or cook tomatoes, they need a sprinkle of salt. Salt brings out the sweetness and acidity.” I watched closely, tummy grumbling, as she liberally dusted the sliced tomato with kosher salt.

I didn’t think much of it at the time. I was a kid; I just wanted to eat my lunch. But looking back, I think my lifelong love affair with food may have begun in that precise moment. Little did I know how right my mom was, or how often I’d think of her sage advice while cooking or teaching. But I swear it comes up in almost every single class I teach, and I tell the tale and pass her wisdom along. Read more »