philharve
Joined Oct 2004
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There have been three Halls of Justice buildings in San Francisco's history and the building that appears in every episode of Ironside, which ran from 1967 to 1975, was the 'second' Hall of Justice and it is often referred to as the 'Old' Hall of Justice. It contained the city's jail, police station, courtrooms, and District Attorneys Office. Its address was 750 Kearny Street, which placed it on the east side of Kearny between Washington and Merchant.
The 'original' and 'first' Hall of Justice stood on the same spot but was destroyed in the great San Francisco earthquake on 18th April 1906 during which it burnt to the ground. The original building bore a passing resemblance to its successor except for the addition of a tall clock tower that overlooked Kearny Street.
The Old Hall of Justice was first occupied in 1912 but by 1950 it had outgrown the purpose for which it was built. A 'third' larger Hall of Justice was built about 11/2 miles distant on a new site at 850 Bryant Street, between 7th and Harriet.
The Old Hall of Justice was finally abandoned in 1961 and was subsequently gutted of its luxurious fixtures and fittings, comprising wood and marble panelling, brass door knobs and hinges, carpets, furniture and other decorative features. It was finally demolished in 1967 after standing derelict.
Stock footage of the derelict building was used to highlight the location of Ironside's office, which was on the top floor, left hand side, as viewed from the front of the building. A row of semi-circular windows adorned the top floor offices. Ironside's office, which also doubled as his apartment complete with semi-circular window, was recreated in the studio for the filming of the series.
Also seen in the same stock footage is the Coit Tower on Telegraph Hill, which is located a short distance to the north of Portsmouth Square. Portsmouth Square, which is located on Kearny between Washington and Clay, was once the centre of 'old' San Francisco and is now part of the Chinatown district of the city.
Looking eastward from Portsmouth Square prior to 1967, the frontal view of the Old Hall of Justice would have been instantly familiar to Ironside fans. Its sides and rear aspects were never filmed, presumably because they were far less attractive.
Midway along the front of the Old Hall of Justice was a street-level entrance to an underground car park. It was through this narrow entrance that Ironside's personal transporter, a grey-painted, blue-striped, supercharged police van, originally painted black, was occasionally seen to use. His subsequent transport, a sand-coloured Ford van, which was introduced into the series after the police van was destroyed in one episode, is never seen near the Old Hall of Justice because the building had been demolished and a new building was in the course of erection.
Today, the site is occupied by the 27-floor, Hilton San Francisco Financial District Hotel and the Chinese Cultural Centre, which share the same address. Behind the Hilton Hotel on Montgomery Street stands the famous Transamerica Pyramid, another of San Francisco's noteworthy landmark buildings.
There are ongoing arguments concerning the wisdom of demolishing a building such as the Old Hall of Justice and replacing it with a modern skyscraper structure. Many of San Francisco's inhabitants regard the design and appearance of the Old Hall of Justice as having more character and beauty than the edifices that replaced it.
The 'original' and 'first' Hall of Justice stood on the same spot but was destroyed in the great San Francisco earthquake on 18th April 1906 during which it burnt to the ground. The original building bore a passing resemblance to its successor except for the addition of a tall clock tower that overlooked Kearny Street.
The Old Hall of Justice was first occupied in 1912 but by 1950 it had outgrown the purpose for which it was built. A 'third' larger Hall of Justice was built about 11/2 miles distant on a new site at 850 Bryant Street, between 7th and Harriet.
The Old Hall of Justice was finally abandoned in 1961 and was subsequently gutted of its luxurious fixtures and fittings, comprising wood and marble panelling, brass door knobs and hinges, carpets, furniture and other decorative features. It was finally demolished in 1967 after standing derelict.
Stock footage of the derelict building was used to highlight the location of Ironside's office, which was on the top floor, left hand side, as viewed from the front of the building. A row of semi-circular windows adorned the top floor offices. Ironside's office, which also doubled as his apartment complete with semi-circular window, was recreated in the studio for the filming of the series.
Also seen in the same stock footage is the Coit Tower on Telegraph Hill, which is located a short distance to the north of Portsmouth Square. Portsmouth Square, which is located on Kearny between Washington and Clay, was once the centre of 'old' San Francisco and is now part of the Chinatown district of the city.
Looking eastward from Portsmouth Square prior to 1967, the frontal view of the Old Hall of Justice would have been instantly familiar to Ironside fans. Its sides and rear aspects were never filmed, presumably because they were far less attractive.
Midway along the front of the Old Hall of Justice was a street-level entrance to an underground car park. It was through this narrow entrance that Ironside's personal transporter, a grey-painted, blue-striped, supercharged police van, originally painted black, was occasionally seen to use. His subsequent transport, a sand-coloured Ford van, which was introduced into the series after the police van was destroyed in one episode, is never seen near the Old Hall of Justice because the building had been demolished and a new building was in the course of erection.
Today, the site is occupied by the 27-floor, Hilton San Francisco Financial District Hotel and the Chinese Cultural Centre, which share the same address. Behind the Hilton Hotel on Montgomery Street stands the famous Transamerica Pyramid, another of San Francisco's noteworthy landmark buildings.
There are ongoing arguments concerning the wisdom of demolishing a building such as the Old Hall of Justice and replacing it with a modern skyscraper structure. Many of San Francisco's inhabitants regard the design and appearance of the Old Hall of Justice as having more character and beauty than the edifices that replaced it.
I do love the old black & white British comedies of the 30s, 40s, 50s and early 60s and I note that Odeon Entertainment is bringing out a series of classics covering this era. I recently purchased "Double Bunk" and "It's a Grand Life" has just been added to my collection.
I cannot recall seeing this film before which dates from 1953. The top two stars are Frank Randle, whom I associate more with music hall than film, and Diana Dors who is instantly recognisable by her trademark long blonde hair. She provides the glamour/love interest.
The film is about army life and Frank Randle plays an eccentric/incompetent Private Randle who attempts to frustrate the amorous intentions of an army sergeant major, played by Michael Brennan, towards Miss Dors (Corporal Paula Clements) who only has eyes for another.
The film is very much in the style of music hall with fast dialogue and memorable one-liners. It put me in mind of another film, Arthur Askey and "Ghost Train".
There is a kind of musical 'interlude' during all the fast action when there is a rare appearance on film by Winifred Atwell who interrupts the quick-fire dialogue, which can feel just a little monotonous at times, unless you like that kind of thing. Miss Atwell plays a medley of some of her favourite tunes on the piano in a style that is uniquely her own. A highly competent, ubiquitous entertainer and fine musician in her time.
The film is described as a comedy and it will definitely appeal to a particular type of audience, probably now well past middle age. Many of the scenes will appear childish, silly and not particularly funny by modern tastes but this comedic style was popular in the 30s, 40s and early 50s. Things began to 'quieten down' in the late 50s and 60s. Remember "Carry on Sergeant"? In my opinion the first of the Carry Ons is a much better film because it explores the complex relationship between a group of new recruits with a tough army sergeant, played by William Hartnell, who is shortly to retire having never trained a top platoon. 'It's a Grand Life', by comparison, is thin on plot, relying in the main upon a series of unbelievable military situations and played in a knockabout, no-brainer style. But this form of comedy was what Frank Randle was perhaps best known. It therefore deserves to be called a classic.
I cannot recall seeing this film before which dates from 1953. The top two stars are Frank Randle, whom I associate more with music hall than film, and Diana Dors who is instantly recognisable by her trademark long blonde hair. She provides the glamour/love interest.
The film is about army life and Frank Randle plays an eccentric/incompetent Private Randle who attempts to frustrate the amorous intentions of an army sergeant major, played by Michael Brennan, towards Miss Dors (Corporal Paula Clements) who only has eyes for another.
The film is very much in the style of music hall with fast dialogue and memorable one-liners. It put me in mind of another film, Arthur Askey and "Ghost Train".
There is a kind of musical 'interlude' during all the fast action when there is a rare appearance on film by Winifred Atwell who interrupts the quick-fire dialogue, which can feel just a little monotonous at times, unless you like that kind of thing. Miss Atwell plays a medley of some of her favourite tunes on the piano in a style that is uniquely her own. A highly competent, ubiquitous entertainer and fine musician in her time.
The film is described as a comedy and it will definitely appeal to a particular type of audience, probably now well past middle age. Many of the scenes will appear childish, silly and not particularly funny by modern tastes but this comedic style was popular in the 30s, 40s and early 50s. Things began to 'quieten down' in the late 50s and 60s. Remember "Carry on Sergeant"? In my opinion the first of the Carry Ons is a much better film because it explores the complex relationship between a group of new recruits with a tough army sergeant, played by William Hartnell, who is shortly to retire having never trained a top platoon. 'It's a Grand Life', by comparison, is thin on plot, relying in the main upon a series of unbelievable military situations and played in a knockabout, no-brainer style. But this form of comedy was what Frank Randle was perhaps best known. It therefore deserves to be called a classic.
This highly popular series filmed over 8 years is probably unique in the annals of television history. I think of it as a comedy-crime drama with a pinch of documentary when Lovejoy occasionally turns to camera and makes some personal remark as if talking to an invisible friend. The viewer feels involved and reassured that despite whatever else is happening in the plot, it's all make believe.
Lovejoy, who likes to be called just 'Lovejoy', drop the Mr. - whose ever heard of 'Mr. Rembrandt' or 'Mr. Matisse' - is a Divi, an art expert but as the series develops is evidently an expect in many branches of the antique trade. He spent 4 years in prison which it is assumed he deserved because his business is clearly to make as much money as possible by any method he can, including manufacturing antiques by 'stressing' a modern piece and making it look much older. Despite this he genuinely loves and appreciates the real thing.
He has two colleagues (Major) Tinker Dill who wears outrageous chequered suits and a distinctive black flat cap. 'Tink' also shares Lovejoy's love for real art & antiques and he is highly knowledgeable in both fields and the antique trade in general. Tinker is Lovejoy's 'barker' and in fairground parlance is the equivalent of the man who shouts 'Roll up, roll up, come and see ...' to attract an audience. I suppose he's Lovejoy's advertising agent.
The other workmate is Eric Catchpole who loves motorcycles and works for Lovejoy as a kind of understudy. He is much less of expert than Lovejoy and Tinker and doesn't seem to share their love for antiquity. He does it to get money for women and motorcycles but not necessarily in that order.
The third regular is Lady Jane Felsham who sponsors (provides the money) Lovejoy in many of his money-making schemes. She both admires Lovejoy and loves him but she never forgets he likes to use women for his own ends; a kind of lovable rogue; a 'bit of rough'.
Lovejoy ought to be a millionaire with his talent but what money he 'earns' is soon lost. He seems to be constantly on the point of bankruptcy but Lady Jane is always on hand to bail him out.
Other noteworthy characters are the less-than-honest antique traders, for example, Charlie Gimbert who drives a Rolls Royce and to whom, it is assumed, Lovejoy would like to aspire. Lots of money, a big house, a Roller and a harem of female acquaintances. But Lovejoy isn't the marrying kind. If he ever did, it would probably be for the money.
Lovejoy, who likes to be called just 'Lovejoy', drop the Mr. - whose ever heard of 'Mr. Rembrandt' or 'Mr. Matisse' - is a Divi, an art expert but as the series develops is evidently an expect in many branches of the antique trade. He spent 4 years in prison which it is assumed he deserved because his business is clearly to make as much money as possible by any method he can, including manufacturing antiques by 'stressing' a modern piece and making it look much older. Despite this he genuinely loves and appreciates the real thing.
He has two colleagues (Major) Tinker Dill who wears outrageous chequered suits and a distinctive black flat cap. 'Tink' also shares Lovejoy's love for real art & antiques and he is highly knowledgeable in both fields and the antique trade in general. Tinker is Lovejoy's 'barker' and in fairground parlance is the equivalent of the man who shouts 'Roll up, roll up, come and see ...' to attract an audience. I suppose he's Lovejoy's advertising agent.
The other workmate is Eric Catchpole who loves motorcycles and works for Lovejoy as a kind of understudy. He is much less of expert than Lovejoy and Tinker and doesn't seem to share their love for antiquity. He does it to get money for women and motorcycles but not necessarily in that order.
The third regular is Lady Jane Felsham who sponsors (provides the money) Lovejoy in many of his money-making schemes. She both admires Lovejoy and loves him but she never forgets he likes to use women for his own ends; a kind of lovable rogue; a 'bit of rough'.
Lovejoy ought to be a millionaire with his talent but what money he 'earns' is soon lost. He seems to be constantly on the point of bankruptcy but Lady Jane is always on hand to bail him out.
Other noteworthy characters are the less-than-honest antique traders, for example, Charlie Gimbert who drives a Rolls Royce and to whom, it is assumed, Lovejoy would like to aspire. Lots of money, a big house, a Roller and a harem of female acquaintances. But Lovejoy isn't the marrying kind. If he ever did, it would probably be for the money.