The Puzzle Within the Castro Theater's October 2013 Calendar

Some luck and some knowledge helped me decode the puzzle in the October calendar of the Castro Theater.

October 29 - I immediately recognized Elsa Lanchester from Bride of Frankenstein (1935).

October 21 - I thought the October 31 photo was a publicity shot from The Mummy (1932) or some such film as the gown the woman is wearing looks like a mummy's wrapped cloth.  I looked up The Mummy on IMDB and discovered the female lead was Zita Johann, an actress I recall from Howard Hawks' Tiger Shark (1932).  Not finding the photo on IMDB, I googled "Zita Johann The Mummy" and quickly found the photo, but not the photo on October 31 but rather the photo on October 21.  That's Zita Moran dressed in an ancient Egyptian headdress.

October 31 - Knowing Boris Karloff was in Bride of Frankenstein and The Mummy, I scoured through images of his films from the 1930s and could not find the October 31 photo.  Eventually, I gave up on the Karloff angle.

I noticed that The Monster Squad (1987) is playing at the Castro on October 19.  I remember enjoying that film when it came out and started to focus on it.  The monsters in The Monster Squad consisted of Dracula, Frankenstein's Monster, the Mummy, the Wolfman and the Creature from the Black Lagoon.  I started to believe that the woman in the photo on Halloween was associated with one of those films.  Since The Creature from the Black Lagoon was made in 1954 and the photo looks older, I focused on Dracula (1931) and The Wolfman (1941).  The female lead in Dracula was Helen Chandler.  The female lead in The Wolfman was Evelyn Ankers.  After looking at many internet photos of the two, I decided neither was the woman shown on October 31.

Riffing on Bride of Frankenstein, I started looking for sequels to Dracula and The Wolfman.  I found Dracula's Daughter (1936) and it's IMDB page made me hopeful.  The DVD cover drawing looks like the October 31 photo although the gown is wrinkling over the right shoulder on IMDB rather than the left shoulder in the photo.  I learned the lead actress in Dracula's Daughter was Gloria Holden (Marguerite Churchill from Raul Walsh's The Big Trail was also in the film).  I googled "Gloria Holden Dracula's Daughter" and the image was near the top of the search results.

Summarizing the photos in chronological order:

October 21 - Zita Johann from The Mummy (1932)

October 29 - Elsa Lanchester from Bride of Frankenstein (1935)

October 31 - Gloria Holden from Dracula's Daughter (1935)

I saw The Mummy at the Balboa several years ago during a Boris Karloff retrospective.  It's been 30 or more years since I saw Bride of Frankenstein.  I don't recall ever hearing about Dracula's Daughter much less seeing it.

I assume the clues simply point to Halloween in general or perhaps The Monster Squad.

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Speaking of creature features, this Sunday (September 29) the Castro is screening Watch Horror Films, Keep America Strong! at 2 PM.  This 2008 documentary by Tom Wyrsch has screened many times in San Francisco but I keep missing it.  Wyrsch also directed Remembering Playland at the Beach (2010), Sutro's: The Palace at Lands End (2011) and The Cliff House & Sutro Heights (2013) - all three of which I have seen at the Balboa.  Watch Horror Films is about the Saturday night television show Creature Features which ran on KTVU from 1971 to 1984 and was hosted by the late Bob Wilkins and later John Stanley (whom I saw at a fundraiser at the Balboa a few years ago).

Speaking of Saturday night television series showing horror films, I arrived home a couple Saturday nights ago and saw that Saturday Night Live was a rerun.  I flipped over to KOFY to catch Balrok and No Name on Creepy KOFY Movie Time.  Typically the films are so bad that I can't stand it.  The in-studio skits between the breaks are so bad they are good...sometimes.  Anyway, I was amazed that CKMT was showing Abel Ferrara's The Driller Killer (1979).  I've long wanted to see that film but I came in halfway through the film and the picture quality on the TV wasn't that great and they kept interrupting the film to tell stupid jokes.

Speaking of horror, I mentioned that I wanted to see Elaine May's Mikey and Nicky at the Castro last night.  I didn't make it to the film.  Instead, I was invited to Scary Sixth Street (aka Psycho Sixth Street) to dine at the recently reopened Tu Lan.  I first went to Tu Lan over 20 years ago and I don't remember the area being so rough.  I figure one of three things have happened.  1) I was young and dumb back then, 2) I'm old and scared now and/or 3) 6th St has gotten worse.  Anyway, I'm going to try to stick to visiting Tu Lan during daylight hours and even then the area is too sketchy for my comfort.

Tu Lan was the same as it ever was.  They have new furniture and the prices are up slightly but the menu hasn't changed (same numbering for the menu items), the food is still tasty and the smoke from cooking still fills up the interior space.  I can only hope their sanitation and food preparation standards have changed for the better.

I haven't been on street level for that stretch of Mid Market for awhile.  A block and a half are completely boarded up as if the buildings were condemned.  It looks like Detroit.  It must be part of the long anticipated Mid Market Redevelopment.  They were talking about that when I first visited Tu Lan in the early 1990s and it still hasn't happened.  I also noticed the Warfield Theater is being remodeled.

Castro Theater Calendar - October 2013

Blue Jasmine

I saw Woody Allen's latest film at the Balboa earlier this month.

Blue Jasmine starring Cate Blanchett; with Sally Hawkins, Alec Baldwin, Bobby Cannavale, Andrew Dice Clay, Louis C. K. & Peter Sarsgaard; directed by Woody Allen; (2013) - Official Website

Well reviewed, I'll keep my comments on Blue Jasmine short.  Jasmine (Cate Blanchett) is a disgraced New York socialite.  Her husband (Alec Baldwin) has committed suicide after being arrested for Madoff-style financial improprieties.  Jasmine is forced to relocate to San Francisco to live with her adopted sister Ginger (Sally Hawkins).  It's quite a step down the social ladder for Jasmine.  Honestly, I don't see how Ginger can afford the SOMA flat she has when she is working as a cashier in a small grocery store but let's not delve into the dynamics the San Francisco rental housing market or rent control laws.

Jasmine attempts to right herself by taking a job with a dentist and dating a diplomat with political aspirations.  However, she is plagued by these glass-eyed dissociative disorders.  She's popping Xanax like breath mints and is a barely functional alcoholic.  She has a lot to be anxious about.  As the film progresses, it jumps back and forth to Jasmine's life in New York to her life in San Francisco.  Baldwin is great as Jasmine's philandering husband.  Baldwin always plays those wealthy scumbag roles to the hilt and Blue Jasmine is no exception.

In addition to dealing with her husband, there is a lot of history between Jasmine and her sister.  A few years earlier, Ginger and her husband (Andrew Dice Clay) won the lottery.  Jasmine convinced them to invest the lottery winnings with her husband who promptly stole it.  Now divorced, Ginger lacks bitterness towards her sister; probably because she is easily and frequently manipulated by her.  Jasmine quickly sows discords into Ginger's relationship with her boyfriend (Bobby Cannavale) and Ginger takes things further by having an affair with a married audio engineer (Louis C.K.).

I'll leave the plot recap at that.  By the end of the film, we learn that Jasmine was a lot more complicit in her own misery than she commonly lets on.  With few life skills and even fewer people who care about her, her future looks bleak.

The cast is uniformly outstanding.  I've read that Clay and Cannavale portray their characters more like New Jersey Guidos than any recognizable San Francisco stereotype but fortunately they don't take up much screen time.  The scenes with Blanchett and Baldwin or Blanchett and Hawkins or Blanchett and anyone else are the ones that really grab one's attention.  Blanchett vividly portrays this pathetic woman.  I went from being annoyed with her to disliking her to pitying her to hating her to being frustrated by her to being exhausted by her which must be what it would be like to actually interact with a woman like Jasmine.  Take all of Annie Hall's idiosyncrasies and insecurities, add in copious amounts of alcohol and prescription drugs, mix with a bastard of a husband, apply to a vaguely amoral woman and you have Blue Jasmine.  A tragedy with moments of comedy, Blue Jasmine is a highwater mark for Allen's late career films.  I run hot and cold on his films but Blue Jasmine was one of the best films I've seen all year.  Cate Blanchett's performance was tremendous.

The soundtrack to Blue Jasmine was very memorable.  The song Blue Moon is repeatedly played throughout.  In addition, Allen infuses the film with his trademark love of jazz and blues which happens to roughly coincide with my taste in music.

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The Balboa's Kickstarter campaign convert to digital is quickly coming to an end.  Having surpassed their $75,000 goal by more than 20%, the Balboa has set an unofficial goal of $100,000 by the end of the campaign (September 26, 2013 at 11:59 PM PDT).  I noticed they have already put metal nameplates on the armrests of the chairs to recognize donors; that's at the $500 donation level.

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Despite an abundance of restaurants near the Balboa Theater, I've always considered the area a bit of a culinary wasteland.  Sometime I go to Little Henry's.  I have always assumed the Little Henry's in the Outer Richmond is affiliated with the Little Henry's in the Tenderloin but the food tastes much better at the Tenderloin location.  Occasionally, I'll go to Americana Grill which despite its name has a fair amount of Asian food on the menu.

On several of my past few trips to the Balboa, I have stopped by Shanghai Dumpling King on the 3300 block of Balboa Ave.  The name says it all.  An order of 10 Shanghai dumplings for $5.50!  I can't say I'm a connoisseur of Shanghainese cuisine but I've Shanghai dumplings elsewhere and SDK's are the best by far and twice as satisfying given their price.  The broth in the dumpling is delicious and not overpowering.  The only downside is there must be a fair amount of salt or MSG in it because I'm thirsty an hour or two after eating them.

Our Nixon

Thinking Our Nixon would provide some interesting glimpses behind the scenes at the Nixon White House, I went to the Roxie on August 17.

Our Nixon; documentary; directed by Penny Lane; (2013) - Official Website

Our Nixon had an interesting premise.  Apparently, Haldeman, Ehrlichman & Dwight Chapin were avid film camera enthusiasts.  They filmed Super 8 movies during their time working in the Nixon White House.  H.R. "Bob" Haldeman was Nixon's White House Chief of Staff for the first five years of his administration.  John Ehrlichman was Nixon's chief adviser on domestic affairs for the same period.  Chapin was Nixon's appointments secretary.  At the beginning of Our Nixon, it was stated that either 500 reels of Super 8 film was seized as part of the Watergate investigation.

Our Nixon eventually becomes a rehashing of the Watergate scandal and largely abandones its focus on the home movies.  Relying on network news broadcasts, second hand talking head interviews (Haldeman & Ehrlichman died more than 15 years ago) and audio from the Oval Office's voice-activated tape recording system (the one with the infamous 18½ minute gap), Our Nixon devolves into Watergate 101 for the final half of the film.  The home movies fade into the background or are used as filler material between newscasts and televised speeches.

The Watergate scandal is an infinitely fascinating subject for those who are interested in the topic.  Our Nixon plays an audio segment in which Nixon states only five people know about the recording system.  Nixon and Haldeman were two of the five.  Ehrlichman & Chapin were not among the five.  Later in the film, there is a segment where Haldeman and Nixon are having a conversation about the Watergate burglary.  Nixon states he doesn't recall discussing the burglary before.  Haldeman corrects him in a deferential manner.  Nixon hems and haws and is left dumbstruck by Haldeman's contradiction.  You have to wonder what is real and what is for show in that conversation.  Both men knew they were being recorded.  I would think Haldeman would want to get out in front of this and pass the buck to Nixon.  I would also think Nixon would want to refute Haldeman's assertion in clear and uncertain terms.  Instead the conversation is far from definitive.

Our Nixon doesn't really get into why Haldeman, et al. were so loyal to Nixon.  Ehrlichman mentions that the staff knew about Nixon's foibles and made fun of him.  Nixon's contradiction, insecurities and character flaws has filled volumes and is displayed repeatedly in Our Nixon...it's just that the home movies are not most illuminating parts of the film.

Another very intriguing episode comes when Nixon addresses the nation on Watergate scandal.  During a nationally televised speech, he announces that Haldeman and Ehrlichman were resigning.  Our Nixon shows the televised address in its entirety and when the clip is over, an audio clip is played where Nixon speaks with Haldeman after the speech.  Nixon complains that Caspar Weinberger was only cabinet member to call him in support after his speech. Despite having just announced Haldeman's resignation on national television, Nixon asks Haldeman if he could call around to get a sense of how politicians felt about the speech.  Haldeman has the good sense to decline the request and Nixon quickly backs off the idea.

The screening I went to was beset with technical problems.  Projected from a DVD, the audio and video would pause for several seconds before resuming.  The film was stopped while they restarted it but the problems persisted throughout the screening.  Our Nixon screened inside the Little Roxie which I have repeatedly called the worst venue regularly screening "films" in San Francisco.  Noise from the lobby and next door were audible in the auditorium and it's always stuffy in there.  I also have to question the choice  of Christmas lights which are strung on the inside of the auditorium.  I don't recall those lights before. They are vaguely annoying from a visual standpoint.  They turn them off during the screening but they created a halo effect during the previews.

I had never head the song accompanying closing credits.  It's called "San Clemente's Not The Same (Mr Nixon You're to Blame)" by Barbara Foster.  I liked it. I'm referring to the song; the film was a rehash of other Watergate documentaries.  I will say, it's probably good that the Watergate scandal gets a new look every few years so as not to forget it.  I recall a well made BBC produced documentary on the subject.

As for Our Nixon, I wonder if there was footage from the home movies which would have provided an insightful glimpse of Nixon which would have reinforced or contradicted his public persona.  If there was, i would have liked to have seen more of it.  If there wasn't, I wonder what the purpose of Our Nixon was.  The home movie images shown in Our Nixon were largely uninteresting to me.

Can Commercials Be Short Films?

Last year, I remember seeing a Chipotle Mexican Grill commercial before several films I attended.  It's called Back to the Start after the Willie Nelson song which it features as its soundtrack.  I can count on one hand the number of times I have been to Chipotle.  I don't believe this commercial has changed my opinion of Chipotle but I admire the artistry of the ad.



Chipotle has done it again.  This time the commercial is called The Scarecrow and the singer is Fiona Apple.  Using similar animation techniques and reinforcing their brand of "Food With Integrity," Chipotle has produced another memorable and artistically admirable commercial.  I detected references to Metropolis, Slingblade, Willy Wonka & the Chocolate Factory (where the song is from) and perhaps Modern Times and especially Star Wars Episode II: Attack of the Clones.  I particularly liked when the scarecrow's and penned cow's eyes met.



I've written before about commercials which catch my attention.  I don't think there is much difference between the skills and talent needed to make a short film and commercial.  At their best, commercials are almost self-defeating in that they focus the viewers' attention on the images and not the company being advertised.  I'm curious as to the ad agency behind these commercials.

The Lone Ranger

While visiting my father in Las Vegas over the Labor Day week, we wanted to see a film.  There really wasn't much that interested us.  I was mildly interested in Iron Man 3 but procrastinated because I knew my father would be bored (perhaps me too) with that film.  It left the discount theater on the Thursday I was there.  The next day, we decided to take potluck at the dollar theater.  Based on its showtime and reviews, I selected The Lone Ranger.

The Lone Ranger starring Johnny Depp & Armie Hammer; directed by Gore Verbinski; (2013) - Official Website

I've noticed there is a trend for major release films to clock in around the 2.5 hour mark.  I can understand for epic films but The Lone Ranger was a summer popcorn film and its runtime was listed at 149 minutes...it felt longer.

This film is has some interesting things going on but at its core, it is quite pretentious.  First, Johnny Depp is the star and he plays Tonto, the role traditionally thought of as a sidekick.  In order to give Depp screen-time commensurate with his billing, the film turns the Lone Ranger story on its head.  Of course, that assumes anyone cares or knows about the Lone Ranger story which is purely fictitious.  I am a child of the 1980s I have never scene a full episode of the Clayton Moore television version from the 1950s nor any of the films.  Frankly, I wasn't much of a fan of the Lone Ranger in my youth or today.

What I do recall was that the Lone Ranger was a rather stolid and earnest man and above all quite capable.  There was even some rules by which he lived his life and that youngsters in the 1950s could recite.  It seemed silly in the 1980s much less today.  The 2013 film turns everything I ever thought I knew about the Lone Ranger upside down.  As portrayed by Armie Hammer, he is a bumbling idealist, frequently lost without Tonto and the inferior Reid brother.  John Reid (Hammer) is an attorney who arrives in Texas to become the district attorney.  It is a return of sorts since his brother Dan (James Badge Dale) is a widely respected Texas Ranger who lives in the town and acts as the de facto sheriff.  Tonto (Depp) and the condemned Butch Cavendish (William Fichtner) are on the same train heading to Texas as John Reid.

Cavendish's gang frees him and Dan sets after him with a posse including the newly deputized John.  One of the men in the posse betrays them and Cavendish kills them all, apparently resorting to cannibalism after he kills Dan.  Tonto comes along and begins to bury them but miraculously John is still alive.  He adopts the mask because Tonto thinks it will give him an edge if Cavendish thinks he is dead.

The story goes on to incorporate a plot to capture controlling share of the first Transcontinental Railroad which is inexplicably re-routed through Texas.  I guess if the target audience didn't know who the Lone Ranger was, they didn't know about Promontory Summit.  It turned out that Butch Cavendish's brother was the President of the railroad and that Tonto had told the two brothers about silver near his tribe's land which resulted in the entire tribe being killed (except Tonto).  Dan's new widow is also the love interest for John which seems kind of unseemly to me.  Cavendish's brother also has designs on her.  Barry Pepper shows up as a US Calvary officer who is easily corrupted by the Brothers Cavendish.  I forgot to mention that the story is told in flashback from the 1930s when Tonto is an elderly man recounting his 65 year old story to a young boy.  Helena Bonham Carter showed up as a prostitute with an ivory prosthetic leg with a rifle built in.  The presence of Carter & Depp gave the film a vaguely Tim Burtonish feel.

The conventional thinking is that The Lone Ranger is a bloated, big budget action film that missed its target demographic (it's opening weekend audience had a higher ratio of over 50s than expected) and is a financial flop.  I'm not sure I would disagree.  However, throughout the film there is a criticism of "the white man's" actions and a deconstruction of the myth of the Old West.  Rather than subtle, I think it was too obvious.  There is also a fair amount of bloodshed and death which seems to get glossed over.

The Lone Ranger wants to have it both ways.  Despite this commentary on the rapaciousness of the white man and vivid depictions thereof, The Lone Ranger has several comedic scenes which I (nor anyone else in the theater) chose to laugh at.  Hammer and Depp delivered lines which fell flat.

On top of all this, many have commented about the cinematic references in the film.  Many of the exteriors were shot in Monument Valley which call to mind John Ford for anyone familiar with his films.  I also detected references to various Spaghetti Westerns, AMC's Hell on Wheels and other films.

The film was beset with budgetary and production problems.  One crew member died during the filming.  I don't know how these problems affected the final version of the film but The Lone Ranger felt muddled to me.  Perhaps not all things to all people but too many things to too many people, or as the box office indicated, too few people.

I can't say I disliked the film completely.  Given the admission price ($1.50) and alternative uses of that 2.5 hours on that specific day, I'm glad I chose The Lone Ranger but I would be hard pressed to recommend the film to anyone.  If I had seen the film in the Bay Area and without the familial obligations I have when I visit my father, I would regretted my choice.  For what it's worth, my father was largely neutral on the film; complaining mostly about its length.  Tellingly, we barely discussed the film compared to the previous films we have seen together.

Oddball Celluloid Sex

I can't stop writing on this blog.  I've been writing and writing and writing and by my count, I'm still 13 films from being caught up on this blog.

On August 16, I went to Oddball Films for the second time to see a program titled Celluloid Sex.

Among the highlights were:

Getting His Goat; silent with intertitles; (1923)
Lovemaking; directed by Scott Bartleet; (1970)
The Game; directed by George Kaczender; (1966)
Buried Treasure; animated; (1928)

I believe the programmer for the evening was Kat Shuchter.  The "official" program started late as there were a series of films screening as I entered.  The projectionist (whom I assume was Ms. Shuchter) had two projectors rolling at the same time.  One image was a nude or scantily clad woman while the other film image was a nude man, frequently exercising.  The images of the two people frequently overlapped and created interesting juxtapositions.  The films featuring the women mostly looked like strippers or burlesque dancers performing.  The films featuring the men appeared to be exercise videos.  Rather than attempting to titillate the audience like say Chippendales dancers, these young men seemed to be doing a normal calisthenics exercises...except they were nude.  Jumping jacks seemed to be the exercise of choice for the men.  I thought the dual images were fascinating; especially when the overlap of images was almost exact.  It seemed like the directors of the films had placed their cameras at the same height and distance from the subjects.

Buried Treasure is part of the vintage erotica compilation film The Good Old Naughty Days which screened annually at the Red Vic.  Buried Treasure is an animated cartoon starring Eveready Harton, a prodigiously endowed man who apparently suffers from priapism & satyriasis.  Oddball only screened a short clip but I saw the entire short film at the Red Vic.  Popeye animator Max Fleischer was rumored to have worked on the film.  The film was rumored to have been commissioned for a party honoring Winsor McCay.  By coincidence (or perhaps by design on the part of the programmer), there was a Winsor McCay presentation at this year's San Francisco Silent Film Festival.  Unfortunately, I missed that program.

Getting His Goat was purported to star Creighton Hale who appeared in D.W. Griffith's Way Down East but that claim is in dispute.  Regardless, the film is interesting for the way pornography was approached in the 1923.  In Getting His Goat, a young man comes upon three women swimming nude in the ocean.  He takes their clothes and agrees to return their clothing if they agree to have sex with him.  They agree to the act but only if the sex occurs through a hole in a tall wooden fence.  Never trust a glory hole.  As the protagonist protrudes himself through the hole (which is conveniently located at waist level), he unknowingly couples with not one of the women but rather a goat which the women have procured.  I guess the goat didn't make any noise because after the man climaxes, he proclaims it was the best sex he had ever had.  The obvious comparison is to Edward Albee's The Goat, Or Who Is Sylvia, but Albee's play (which I saw at an ACT production in 2005) was a serious drama whereas Getting His Goat is clearly a comedy.  In today's world, I doubt there is such a thing as a pornographic comedy.

Lovemaking consisted of an extreme close-up of two people having sex.  I believe it was a man and a woman but it was difficult to make out which body parts were being shown or exactly what act was being performed.  The film reminded me of biology when we would increase the power of magnification on the microscope and the image would completely change going from the original to something unrecognizable.

The Game had a plot, dialog and everyone kept their clothes on so it stuck out like a sore thumb from the rest of the evening's program.  An 11th grade boy with a reputation as a ladies man bets his friends that he can score with the class virgin.  He goes with the soft sell to charm the girl who is initially hesitant.  He eventually breaks down her defenses but his conscience gets the better of him and he cannot bring himself to deflower the girl.  He reacts with depression and frustration towards his family and friends.  I thought it was a little overwrought for what it was but then by 2013 standards, it was kind of quaint the way teenagers interacted in 1966; at least the way it was portrayed in The Game.

There were a string of television commercials which were very amusing too.  I cannot recall them all except one for a detachable shower head which all but stated it's primary purpose was for women to masturbate with in the shower.

Overall, it was another enjoyable evening at Oddball.  I wish I could make time to see more of their programs.

The Puzzle Within the Castro Theater's September Calendar

I know I wrote yesterday that I wasn't going to post for awhile but I had a "Eureka!" moment last night.

September 3 - My co-worker immediately identified Peter Falk.  I would not have been able to identify him despite having watched Columbo as a kid.  He looks a little like Dana Carvey in the photo, no?

September 30 - John Cassavetes.  No one in the office recognized him.  I racked my brain for a week and gave up.  I cheated by using an online image search.

Peter Falk & John Cassavetes - what is the connection?  Peter and John; very Catholic names.  What's happening in the Bay Area in September? New Bay Bridge, NFL season starts, America's Cup racing, SF Symphony and Opera seasons start, etc.

I gave up on this month's puzzle but I went to the Castro last night to see the Chaplin double feature.  It was the first time I had closely read the film synopses on the back of the calendar.  By the way, the trailers for the films screening at Midnites for Maniacs on September 20 looked very interesting.  The two films are Can't Hardly Wait and The Rules of Attraction; no word yet on the Roxie's portion of the triple feature.

Anyway, as I was reading the synopses while waiting for the film to start, I came across an entry on September 25 which I had previously overlooked.  Mikey and Nicky - Peter Falk and John Cassavetes ignite the screen in Elaine May's experimental drama of two childhood buddies, now low level hoods, caught up in a mob squeeze. Ned Beatty co-stars in this film of genuine power, as ragged as the Philadelphia night the characters are trapped in.

Elaine May's most famous directorial effort is the infamous Ishtar which I believe Midnites for Maniacs screened not long ago.  I was impressed by May's The Heartbreak Kid.  I saw and enjoyed most of A New Leaf on television some time ago.  Those four films represent May's entire output as a director.  The calendar clue combined with her pedigree are enticing me to attend the September 25 screening.

Castro Theater Calendar - September 2013