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Canine conflict

34

news@sfbg.com

San Francisco enjoys proximity to natural beauty and recreation on a scale unlike any other major urban area in the country. The 75,000-acre Golden Gate National Recreation Area offers city dwellers almost 60 miles of rugged coastline, forested hiking trails, and scenic beaches to enjoy. In most cases, people can bring their dogs.

While the city is notoriously difficult to raise human children in, four-legged friends flourish in an environment that celebrates their existence. With a multitude of dog-friendly parks, pet hotels, and ubiquitous doggie boutiques to accommodate the estimated 120,000 dogs that call San Francisco home, the canines and their companions form their own political constituency.

So it’s only natural that GGNRA’s Draft Dog Management Plan, which restricts dog walking in the park, has the pet set howling. The plan would limit off-leash dogs to 21 different areas of the park, including some of the most popular places such as Crissy Field, Fort Funston, and Ocean Beach, and ban dogs from some areas, like Muir Beach, where they have long been welcome.

The 2,400-page plan has been in the works since 2002, created out of the need to uphold the agency’s duty to protect the sensitive wildlife and plant species in the park while accommodating a growing population of visitors. Since its unveiling in January, thousands have rallied against it, filing so many comments to the National Park Service that it has extended the public comment period until May 30.

Currently, dogs are allowed off-leash in small fraction of the GGNRA lands and on-leash throughout most of the park. The proposed plan offers six alternatives for each of the 21 areas examined, all strengthening existing — but often ignored — leashing policies and reducing areas where dogs are allowed to roam tether-free.

“This is overly restrictive and unrealistic,” said Martha Walters, chair of the Crissy Field Dog Group. “There are certainly more management measures that can be taken with signage and educational outreach to protect these environments without having to impose this plan.”

Opposition has been widespread among pet owners and groups like the SPCA and Animal Care and Control. The Board of Supervisors voted 10-1 on April 26 to adopt a resolution formally opposing the plan, although the city has no jurisdiction over the area.

“It’s one thing to make sure we protect endangered species, but this plan doesn’t just do that,” said District 8 Sup. Scott Wiener, who authored the resolution. “This is a much more extreme proposal that is a significant restriction to dogs.”

Opponents fear the plan will force more dogs into city parks where overcrowding and aggressive behavior could become problems. Dog owners and advocates stress that responsible dog guardianship can be compatible with environmental stewardship, and that the NPS should better enforce the pet policy already in place.

“This is not right for our community,” said Jennifer Scarlett, codirector of the SPCA. “I would never want to wish harm on any wildlife, but it’s a piece of land stuck in one of the most densely populated cities in the country.”

But the GGNRA is still part of NPS, although many existing national environmental policies have largely been ignored here.

“We don’t get to choose whether or not to fulfill federal mandates,” said Alexandra Picavet, public affairs specialist for the GGNRA.

The GGNRA allows leashed dogs in more places than any other national park, and is the only park in the entire NPS system that allows off-leash dogs. It achieved National Park status in 1972, but its unique position as the backyard of a major city caused it to bend the rules when it came to letting the dogs out.

“The policy was adopted by the superintendent at the time of the GGNRA, and even that wasn’t really enforced,” GGNRA spokesperson Howard Levitt told us. “This was relatively early in the parks history, and in the early days, we didn’t really understand the importance of natural resources and history in the park.”

According to NPS, GGNRA is home to more threatened and endangered species than Yellowstone, Yosemite, Sequoia, Death Valley, and Kings Canyon national parks combined. It has a higher concentration of sensitive species than all but four of the 394 parks in the system.

The new pet plan would not be implemented until late 2012, after public comment is taken and the plan is revised. For six to 12 months, monitoring areas to measure compliance with leash laws will be conducted. If 75 percent of users do not comply, further restrictions will be made.

Current regulations are broken everyday at Ocean Bean and Fort Funston. Like the lax marijuana laws that are synonymous with San Francisco, leash laws have historically been considered more of a suggestion than a rule. At Crissy Field, one of the most popular recreation spaces for off-leash dogs, NPS observed dog owners disobeying the guidelines more than 60 percent of the time.

Many people do not realize that the four-mile stretch of Ocean Beach slated for restriction currently only allows dogs from May to June, or that the Great Meadow of Upper Fort Mason has never allowed the many off leash dogs seen there every day. Dog advocates say better signage about existing rules would help.

“To me, they went this way instead of having any intermediate steps in current policy and off leash areas,” said Rebecca Katz, director of the Animal Care and Control. “I am not supportive of the alternative. This isn’t like any other national park, and we don’t want it to be.”

On a recent visit to Fort Funston, it was evident that the park was, as some environmentalists call it, a de facto off-leash area. Dozens of dogs, most off leash, romped in the windy dunes, far outnumbering dog owners and professional dog walkers. Most dogs happily jumped from car to sand without ever being put on a leash.

Longtime San Francisco resident Candy Deboer and her giant schnauzer, Leila, have been coming to the park for years after finding city parks unsatisfactory.

“Golden Gate Park? I’ve tried that and I ended up stepping over hypodermic needles,” Deboer said. “Plus, I have a dog that loves junkie poop. I grew up camping, hiking, and fishing. I know how to preserve wildlife and take care of a park.”

Many said closing Fort Funston and Ocean Beach in March during tsunami warnings resulted in horribly crowded dog parks, and felt that GGNRA’s plan would deliver more of the same.

“We are using the parks the way they are supposed to be used,” said San Francisco resident Willa Hagerty, who also spoke at some of the hearings on the plan. “If we are doing something wrong, let us know with signs or fences.”

For some, walking dogs isn’t just a means of enjoying the outdoors, it’s a source of income. “The plan would really affect a lot of jobs like mine,” said SF resident and dog walker Josh Boutelle, who impressively handled eight different dogs while on a run for SF Pup Prep. “There will be more incidents in parks when there is crowding.”

Although everyone surveyed at Fort Funston stridently opposed the plan, most supported regulations in some form, from limiting the number of dogs professional walkers can handle to requiring leashes in some parts of the park. Sup. Wiener is also in the process of devising regulations for dog walking in city parks.

But the GGNRA plan has pitted environmentalists against dog advocates. The Sierra Club and Golden Gate Audubon Society support the plan and even argue that more restrictions are needed than proposed. Those groups, along with six other organizations including the California Native Plant Society and Nature in the City, wrote a letter to the Board of Supervisors April 8 opposing Wiener’s resolution.

“The GGNRA was created in part to bring a national park-caliber experience to all Bay Area residents and visitors, not to expand recreation opportunities for dog owners,” the letter states. “Contrary to what some are saying, the proposed plan is not about keeping dogs out of the GGNRA. Rather, it is about inviting dogs into the park in a manner that is sustainable and fair to all park users.”

The Sierra Club has even used the dog debate as a big factor for its mayoral endorsement. Sen. Leland Yee has spoken in support of the plan, while mayoral candidates Sup. John Avalos and Board President David Chiu voted to oppose it.

“I’m concerned that the Sierra Club is going to use a microscope on a tiny, insignificant measure to make a decision on mayoral endorsement,” Avalos told us. “The dog policy is insignificant compared to so many other environmental issues.”

Others disagree. Michael Lynes, director of the Golden Gate Audubon society, thought Wiener’s resolution was hasty and did a disservice to the years of work NPS has put into the plan.

“They keep talking about the impacts to the city, while here they are trying to do something that impacts the National Park,” Lynes said. “The resolution is really strange. It opposes the Park Service’s effort to regulate land in a way that is sustainable and equitable.”

Opponents say evidence of dog-induced damage to wildlife and humans is unclear, but the plan gives hundreds of pages of studies and incident reports. In 2008, nearly 900 dog-related incidents were reported, including attacks on vulnerable populations such as young children, seniors, and, disabled people. In 2005, Guide Dogs for the Blind found that 89 percent of their graduates had guide dogs interfered with by off leash dogs.

Plus, as difficult as it may be for dog lovers to fathom, not everyone wants to be around dogs when enjoying the outdoors. Currently, dogs are allowed on all but one major trail in the GGRNA, and China Beach in the Presidio is the only beach where people can have a dog-free experience.

“At the end of the day,” Lynes said, “people don’t want to change their behavior.”

 

Mirkarimi running for sheriff

27

OPINION Serving as San Francisco Sheriff is a huge civic responsibility. The sheriff has 1,000 employees, more than 2,000 pretrial and sentenced prisoners daily, and management responsibility for a budget of more than $150 million. And, like all department heads, the sheriff’s involved in a lot of politics.

I believe Sup. Ross Mirkarimi is the person best prepared to serve as San Francisco’s next sheriff.

Mirkarimi has the law enforcement experience of graduating from the San Francisco Police Academy (as class president) and more than eight years of on-the-job experience as an investigator for the San Francisco District Attorney. He was the lead investigator in one of the city’s all-time biggest white collar crime cases, against Old Republic National Title Insurance Company.

As a union labor representative in the D.A.’s office, he picked up some significant experience negotiating contracts for public safety personnel under the CALPERS retirement system.

He’s no stranger to the training and discipline of a paramilitary institution, having been certified in advanced environmental crime forensics from the Federal Law Enforcement Training Center in Glynco, Ga., as well as earning an honorable discharge from the U.S. Navy for serving in the reserves.

Equally important, Mirkarimi has demonstrated the progressive values required to maintain and expand San Francisco’s outstanding track record of diversity in hiring, innovation in criminal justice, and commitment to rehabilitation San Francisco deserves in our next sheriff.

Elected supervisor in 2004, and reelected in 2008 with 77 percent of the vote, Mirkarimi has been a very effective advocate for his district and for San Francisco — especially on public safety issues.

As a member of the Budget Committee for five years and twice chair of the Public Safety Committee, he is intimately familiar with the complicated issues confronting all partners in San Francisco’s criminal justice system, whose combined budgets account for well over $1 billion.

Mirkairmi and I have worked together on many criminal justice issues, including the creation of San Francisco’s Reentry Council and an innovative community-based program that provides case management services to ex-offenders who have a history of violence. That program — the No Violence Alliance — has significantly reduced recidivism among the program’s participants. It was a risky venture to take on violent offenders as a case management study, but both Mirkarimi and I felt that it was time San Francisco expanded its approach toward effective reentry.

It is this type of thoughtful, yet courageous approach to our criminal justice challenges that leads me to endorse Ross Mirkarimi to be my successor.

The San Francisco Sheriff’s Department has many difficult challenges ahead: a diminishing budget; the governor’s “prison realignment,” which will put many state prisoners in the county jail; preserving the jail’s rehabilitation programs; and finding cost-effective ways of managing the 40,000 individuals who come through San Francisco’s jails each year.

I believe Ross Mirkarimi brings the right combination of law enforcement training, legislative experience, and political acumen to meet these challenges. I am proud to support him in his bid to become our next sheriff.

Mike Hennessey is sheriff of San Francisco.

Let counties raise taxes

2

EDITORIAL The president of the state Senate, Darrell Steinberg (D-Sacramento), has a bill that could profoundly change that way California pays for government. At lot of insiders think it’s just a ploy, a way to force Republicans to come to the table and accept some tax measures, but Steinberg appears serious. He’s presenting the bill to the Governance and Finance Committee May 4, and a simple party-line majority vote could get it to the governor’s desk.

The bill, SB653, would allow counties and school districts to approve taxes — a wide range of taxes, the type that are now entirely under the control of the state. Local governments could impose an income tax, a transactions and use tax, an oil severance tax, a vehicle license fee, or a tax on alcohol, cigarettes, or marijuana. It’s part of what Gov. Jerry Brown calls “realignment” — returning more authority to local government, which is complicated and has advantages and disadvantages. But on its own, the tax measure makes perfect sense: if the residents of San Francisco want to pay a higher car tax, or income tax, or tax on booze, and use the money for better schools and public services, why shouldn’t they be allowed to do it?

San Franciscans pay far more in state taxes than the city gets in state money. That’s one of the great ironies of California finance: the more liberal counties, where the voters support adequate public services, wind up subsidizing the more conservative areas that demand tax cuts. A certain amount of that is inevitable, and even laudable: richer areas should be helping pay for schools, police, and roads in poorer areas. It’s certainly true in the arena of public education, where the courts have, properly, ruled that that state has to make sure every school district gets adequate funding so that kids in Marin County don’t get better educational opportunities than the kids in Tulare County.

And there’s always the risk that realignment will push the state back to the days when geographic inequality was even more dramatic, that California will wind up being, as Sen. Mark Leno (D-SF) once put it: “Hollywood next to Mississippi.”

But Steinberg’s bill doesn’t cut state funding at all; in fact, he’s among the Democrats working to avoid more budget cuts. SB653, properly administered, wouldn’t mean less money for any local agency. It would just remove the ceiling.

California is becoming too big to govern effectively with the current rules — and under the state Constitution, written in a very different era with a smaller, more homogeneous population, even a tiny number of Republicans can hold the budget process hostage. That means, for better or worse, that cities like San Francisco, where residents want decent services and a credible social safety net, are on their own. And if Brown’s proposals to put more of the service burden on the counties (for example, by shifting thousands of state prisoners into county jails) move forward, local governments are going to need the ability to raise their own resources.

Unfortunately, many of the taxes that state law currently allows local government to impose (sales taxes, for example) are regressive. Taxes on income and motor vehicles are far more fair and progressive, and ought to at least be available to cities and counties.

The Democrats in Sacramento need to take this seriously and work for its passage. It’s not the entire solution to the budget crisis and to economic inequality — but it’s an excellent start.

 

Editor’s notes

0

tredmond@sfbg.com

I heard a retired Army officer, a veteran of Iraq and Afghanistan, on the radio May 2 talking about the death of Osama bin Laden. Great news, he said, with all sincerity; now we can end the wars in Iraq and Afghanistan, stop wasting all this money, and bring the troops home.

That would nice, wouldn’t it?

But don’t start counting on an end to the wars, an end to the deaths of U.S. troops, or an end to an $881 billion defense budget (up from $300 billion in 1980 and $311 billion in 2000) or a significant change in our national priorities.

The truth is, Osama bin Laden wasn’t a factor in the invasion of Iraq. He wasn’t there; Saddam Hussein didn’t like him anyway. He was probably in Afghanistan for a while, but by the time we got mired in that quagmire, he’d moved on to Pakistan, which is supposedly our ally in the war on terror. That’s where he was running his operations, and that’s where he died.

The invasion of Iraq had nothing to do with terrorism. The war in Afghanistan might at some point have been related, but it’s not any more. The U.S. did the exact worst thing you can do in a military adventure: sent in troops with no way out.

Maybe Obama will now find the courage to say what he should have said the day he took office: we no longer have any strategic or national security interest in occupying Iraq and Afghanistan. Time to cut our losses, bring the troops home, put some of that money into the civilian economy, and deal with the real threat to American democracy — the horribly uneven distribution of wealth and power in this country.

Maybe the Democrats in Washington will show some backbone and start cutting the defense budget. Let the Republicans justify a continued war that their guy, Bush the Younger, insisted was about al Qaeda. Let them explain why we have to keep troops on the ground now that the head of al Qaeda’s gone. Let them explain why that’s more important than Medicare and Social Security.

But I’m not placing any bets.

I was a strong supporter of Obama. But when I saw hundreds of people partying and dancing in the middle of Valencia Street on election night, I had a bad feeling that this was going to end with an ugly hangover.

So I’m not dancing in the streets about the death of Osama bin Laden. I’ll save that for the day when the last American soldiers leave Iraq and Afghanistan and the military budget comes back to earth.

Stage Listings

0

Stage listings are compiled by Guardian staff. Performance times may change; call venues to confirm. Reviewers are Robert Avila, Rita Felciano, and Nicole Gluckstern. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks. For complete listings, see www.sfbg.com.

THEATER

OPENING

Silk Stockings Eureka Theatre, 215 Jackson; 255-8207, www.42ndstmoon.org. $24-44. Previews Wed/4, 7pm; Thurs/5-Fri/6, 8pm. Opens Sat/7, 6pm. Runs Wed, 7pm; Thurs-Fri, 8pm; Sat, 6pm; Sun, 3pm. Through May 22. 42nd Street Moon presents a Cole Porter production.

ONGOING

Absolutely San Francisco Alcove Theater, 414 Mason; 992-8168, www.absolutelysanfrancisco.com. $32-50. Check for dates and times. Open-ended. Not Quite Opera Productions presents a musical.

*Caliente Pier 29, The Embarcadero; 438-2668, www.love.zinzanni.org. $117-145. Wed-Sat, 6pm; Sun, 5pm. Open-ended. Ricardo Salinas, cofounder of famed Mission-born radical Latino comedy trio Culture Clash, penetrates the velvet enclave of Teatro ZinZanni, taking the helm for its latest Euro-style dinner-cirque cabaret show. Under Salinas’ inspired direction, the evening plays as a revolt by brown-hued kitchen and wait staff against a ruthless takeover by, what else, a Chinese conglomerate. Multiculti clashes ensue, with the underdogs led by a brother-sister team played charmingly by ZinZanni regulars Christine Deaver and Robert Lopez, and with much expert repartee and physical humor neatly enveloping characteristically stunning feats of acrobatics and circus arts that leave forkfuls of grub hovering before slack-jawed mouths. I don’t know how many actual kitchen staffers out there can afford the ticket price (though it does come with a tasty five-course meal in addition to a first-class show), but the blend of Salinas and company’s shrewd if subdued social commentary and big-heated Latin-fueled humor—not to mention the exquisite musical numbers featuring guest star Rebekah Del Rio—lead to something altogether harmonious. (Avila)

Cancer Cells The Garage, 975 Howard; 518-1517, www.975howard.com. $15. Fri-Sat, 8pm; Sun, 2pm. Through May 22. Performers Under Stress and directors Geoff Bangs and Scott Baker offer this well-conceived program of late Pinter works, a total of nine plays and poems intelligently arranged and unevenly but in some cases vibrantly performed (especially in the case of One for the Road) in a fleet 90-minute evening. With the titular poem, written as the esteemed playwright was undergoing chemo (and recited here with somewhat unnecessary emotion by Valerie Fachman), a telling definition of cancer cells arises: “They have forgotten how to die/ And so extend their killing life.” Given the unbridled political nature of the work that follows—including the devastatingly stark (yet ever articulate to the point of being unexpected) dramatic vocabulary of Mountain Language, a compact depiction and rumination on state-sponsored genocide—those cancer cells grow out of their literal referent into a literary metaphor for the warping, perverting, and devastating consequences of supreme, unchecked power and its Olympian delusions. Pinter’s late works, written with a pronounced urgency in the face of ever-widening war and genocide, advance his shrewd and potent ability for exposing the obscenity beneath the shell games of language as deployed by power in pursuit of its imperial and totalitarian aims. (Avila)

Collected Stories Stage Werx, 533 Sutter; Z(800) 838-3006, www.brownpapertickets.com. $20-25. Fri-Sat, 8pm. Through Sat/ 7. Stage Werx presents David Margulies’ drama about art, ethics, and betrayal.

Cordelia NOHspace, 2840 Mariposa; (800) 838-3006, www.brownpapertickets.com. $18-20. Wed-Thurs, 7pm; Fri-Sat, 8pm. Through Sat/7. Theatre of Yugen presents world premiere of an abstraction of Shakespeare’s King Lear.

Devil/Fish 2781 24th St; www.cirquenoveau.com. $26. Fri-Sat, 7pm; Sun, 6pm. Through May 22. Cirque Noveau presents a story involving aerial performance, acrobatics, and more.

*Geezer Marsh, 1062 Valencia; (800) 838-3006, www.themarsh.org. $20-50. Thurs, 8pm; Sat, 5pm; Sun, 3pm. Through July 10. The Marsh presents a new solo show about aging and mortality by Geoff Hoyle.

*Killer Queen: The Story of Paco the Pink Pounder Michael the Boxer Gym and Barbershop, 96 Lafayette; (800) 838-3006, www.brownpapertickets.com. $20. Thurs-Sat, 8pm; Sun, 7pm. Through Sun/8. The boxing ring is no metaphor in Killer Queen, a vital and walloping new solo play by Peter Griggs set in a small, real-life boxing gym in SoMa (before moving to another in Los Angeles later in the run). And yet the ring—around which a privileged audience is excitingly pressed—encompasses so much of the queer American experience since the 1970s and ’80s that every punch, literary or otherwise, reverberates with wider significance and poetical precision. Griggs, as a gay youth of color who grows up to be the first openly gay title holder in his class, occupies that ring and that life with a rare and utterly persuasive intensity as he alternately cajoles, flirts with, dismisses, and even menaces his audience between a captivating narrative and highly credible boxing choreography (including a tense training scene with the gym’s Michael Onello). An effeminate boy growing up in a violently homophobic society, “Paco” (as he’s nicknamed despite not being Latino) discovers boxing—and Queen—in time to save his life, thanks to two crucial surrogate fathers. Set to the music of the seminal rock band (sometimes using original recordings, sometimes interpretations by nearby piano accompanist Stephen Mello), the music is, like the ring, anything but arbitrary, and beautifully deployed overall. There are some rough or abrupt transitions and some muddiness in the underscoring of dialogue, but these are minor and passing and hardly take away from a unique, enthralling work directed with incisive attention to emotional as well as social truths by Wolfgang Wachalovsky (cofounder of queer performance incubator THEOFFCENTER, which co-produced with Burning Monk Collective). Indeed, it’s the very rawness around the edges of this studiously developed piece—including a passionate digression concerning the current “It Gets Better” campaign pitched at queer youth—that gives it an immediate and politically-charged quality above and beyond the electricity of the setting and the pulsating athletic movement it foregrounds. Beyond the stage-ring, moreover, the play remains as serious as its site-specific setting: its development has led to the founding in LA of an Empowerment Center for disadvantaged queer youth as well as the first Gay Boxing League. (Avila)

Loveland The Marsh, 1062 Valencia; (800) 838-3006, www.themarsh.org. $20-35. Fri, 8pm; Sat, 8:30pm (also Sun/8, 7pm). Through Sun/8. Ann Rudolph’s one-woman show continues its successful run.

Party of 2 — The New Mating Musical Shelton Theater, 533 Sutter; 1-800-838-3006, www.partyof2themusical.com. $27-29. Fri, 9pm. Open-ended. A musical about relationships by Shopping! The Musical author Morris Bobrow.

Secret Identity Crisis SF Playhouse, Stage 2, 533 Sutter; 869-5384, www.un-scripted.com. $10-20. Thurs-Sat, 8pm (no show Sat/7). Through May 14. Un-Scripted Theater Company presents a story about unmasked heroes.

Shopping! The Musical Shelton Theater, 533 Sutter; (800) 838-3006, www.shoppingthemusical.com. $27-29. Sat, 8pm. Open-ended. A musical comedy revue about shopping by Morris Bobrow.

A Streetcar Named Desire Actors Theatre, 855 Bush; 345-1287, www.actorstheatresf.org. $26-38. Wed-Sat, 8pm. Through June 4. Actors Theatre of San Francisco presents the Tennessee Williams tale.

Talking With Angels Royce Gallery, 2901 Mariposa; (800) 838-3006, www.brownpapertickets.com. $21-35. Thurs-Sat, 8pm. Through May 21. A play by Shelley Mitchell set in Nazi-occupied Hungary.

Vice Palace: The Last Cockettes Musical Thrillpeddlers’ Hypnodrome, 575 10th St; (800) 838-3006, www.brownpapertickets.com. $30-35. Fri-Sat, 8pm; Sun, 7pm. Through July 31. Thrillpeddlers presents composer Scrumbly Koldewyn’s revival of the 1972 musical revue.

BAY AREA

East 14th – True Tale of a Reluctant Player The Marsh Berkeley, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $20-50. Sat, 8pm; Sun, 7pm. Through Sun/8. Don Reed’s one-man show continues.

*Eccentricities of a Nightingale Aurora Theatre, 2081 Addison; (510) 843-4822, www.auroratheatre.org. $10-55. Tues, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Through Sun/8. Bracketed literally from beginning to end by fireworks, Aurora Theatre’s production of Tennessee Williams’ The Eccentricities of a Nightingale offers some serious bang. On the surface, a tragic-comic tale of unrequited love in small-town Mississippi, Eccentricities plunges into deeper waters, exploring the ever-waged war between societal norms and its misfits — and the struggle to remain true to oneself — with a subtly layered approach. Protagonist Alma (Beth Wilmurt), the titular Nightingale, isolated by her complicated family circumstances and her own mild eccentricities, carries a long-burning torch for the boy-next-door, a rather callow young doctor (Thomas Gorrebeeck) with a terrifyingly overprotective mother (Marcia Pizzo). But Alma’s yearning, as much habit as attraction, has less to do with a dream of settling down with a nice doctor husband, but rather of freeing herself from the conventions that threaten to crush her spirit. Alma’s nervous artistic temperament hides a solidly pragmatic core, and when she has her young doctor alone in a hotel room at last, her plea for him to “give me an hour and I’ll make a lifetime of it,” rings not of desperation but of the adventure she craves. Director Tom Ross deftly brings out the gentle humor and bittersweet victory in the text via a strong cast and stellar design team. (Gluckstern)

Lady With All the Answers Center REPertory Company, Lesher Center for the Arts, Knight Stage 3 Theatre, 1601 Civic Center, Walnut Creek; (925) 943-SHOW, www.centerrep.org. $45. Thurs-Sat, 8:15pm; Sun, 2:15pm. Through May 15. Center REPpresents Kerri Shawn’s one-woman play about Ann Landers.

Not a Genuine Black Man The Marsh Berkeley, TheaterStage, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $20-50. Thurs, 7:30pm. Through Thurs/5. Brian Copeland’s one-man show continues.

Out of Sight The Marsh Berkeley, Theaterstage, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $20-50. Sat, 5pm (no show Sat/9); Sun, 3pm. Through May 8. Sara Felder’s one-woman show returns.

Passion Play Live Oak Theatre, 1301 Shattuck, Berk; (510) 649-5999, www.aeofberkeley.org. $10-15. Fri-Sat, 7pm (also Sun/8, and may 15, 2pm). Through May 21. Actors Ensemble of Berkeley presents the West Coast premiere of a time-travel play by Sarah Ruhl.

Three Sisters Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $29-73. Dates and times vary. Through May 22. Berkeley Rep presents a new version of Chekhov’s 1901 play by Sarah Ruhl (In the Next Room, Eurydice), directed by Les Waters. The language sounds generally and pleasingly modern in the mouths of the titular Prozorov sisters—Olga (Wendy Rich Stetson), Masha (Natalia Payne), and Irina (Heather Wood)—although the production is rather traditional in staging (period set by Annie Smart, and corresponding costumes by Ilona Somogyi). We follow the restless siblings and their flock of soldier-admirers through a handful of years in their provincial town, where their late father was an elite military officer. In this period, the dashing officer Vershinin (Bruce McKenzie) brings a spark of new life—especially to the unhappily married Masha—and stokes the sisters’ ultimately unanswered desire to return to their beloved Moscow. The production breathes a good deal of life into the play, whose half-foolish and heartbreakingly funny characters so palpably exude a complex set of longings and misplaced desires, but it labors under an initial stiffness and a somewhat jagged set of performances. (Payne’s twitchy Masha, for instance, whose features maintain throughout a look of unwelcome surprise, feels incongruent at times). Some of the more moving turns concentrate here in the supporting characters, including James Carpenter as Chebutykin, the fawning old doctor who has forgotten all he used to know; Thomas Jay Ryan as Tuzenbach, the self-conscious Russian of German descent desperately smitten with Irina; and Alex Moggridge as the sisters’ much put-upon, feckless, alternately gentle and petulant brother, Andrei. (Avila)

The World’s Funniest Bubble Show The Marsh Berkeley, Cabaret, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $8-50. Through July 10. The Amazing Bubble Man performs.

PERFORMANCE

DIVAfest EXIT Theatre, 156 Eddy; 673-3847, www.theexit.org. Check for times and prices. Through May 28. Plays and performances by women artists, including Maggie Cronin, Christina Augello, Margery Fairchild, Cheryl Smith, and Diane di Prima. 

Rep Clock

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Schedules are for Wed/4–Tues/10 except where noted. Director and year are given when available. Double and quadruple features are marked with a •. All times are p.m. unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $4-6. “Other Cinema:” “The Essays and Arguments of James Hong,” Sat, 8:30.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. Regular programming $7.50-10. “San Francisco International Film Festival:” On Tour (Amalric, 2010), Thurs, 7. For tickets and info, visit www.sffs.org. “Cinematic Titanic:” Samson and the 7 Miracles of the World (Freda, 1961), Fri, 7; Rattlers (McCauley, 1976), Fri, 9:30. This event, $35 (double feature, $60); tickets at www.sfsketchfest.com. “Peaches Christ Presents the Ultimate Mommie Dearest: 30th Anniversary Birthday Celebration:” Mommie Dearest (Perry, 1981), Sat, 8. This event, $25-40; tickets at www.peacheschrist.com.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.50-15. Certified Copy (Kiarostami, 2010), call for dates and times. Poetry (Yun, 2010), call for dates and times. Potiche (Ozon, 2010), call for dates and times. The Princess of Montpensier (Tavernier, 2010), call for dates and times. The Magic Flute, Thurs, 7; Sun, 1. Performed on film by Teatro alla Scala. Queen to Play (Bottaro, 2009), May 6-12, call for times.

EXPLORATORIUM McBean Theater, 3601 Lyon, SF; www.asifa-sf.org. Free. “An Evening With Marv Newland,” Fri, 7:30.

MECHANICS’ INSTITUTE 57 Post, SF; (415) 393-0100, rsvp@milibrary.org. $10. “CinemaLit Film Series: Elizabeth Taylor, Tribute to a Star:” A Place in the Sun (Stevens, 1951), Fri, 6.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, www.bampfa.berkeley.edu. $5.50-9.50. “San Francisco International Film Festival:” Ulysses (Godoy, 2011), Wed, 6:30; Detroit Wild City (Tillon, 2010), Wed, 8:40; Auroroa (Puiu, 2010), Thurs, 7. For tickets and info, visit www.sffs.org. “Film and Video Makers at Cal: Works from the Eisner Prize Competition,” Fri, 7.

RED VIC 1727 Haight, SF; (415) 668-3994; www.redvicmoviehouse.com. $6-10. William S. Burroughs: A Man Within (Leyser, 2010), Wed, 2, 7:15, 9:15. True Grit (Coen and Coen, 2010), Thurs-Sat, 7, 9:20 (also Sat, 2, 4:30). Hair (Forman, 1970), Sun-Mon, 7, 9:30 (also Sun, 2, 4:30). Bukowski: Born Into This (Dullaghan, 2003), May 10-11, 7, 9:20 (also May 11, 2).

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $5-9.75. Stake Land (Mickle, 2010), Wed-Thurs, 7:15, 9:30. Taxi Driver (Scorsese, 1976), Sat-Mon, 7, 9:20 (also Sat-Sun, 2:30, 4:45).

VORTEX ROOM 1082 Howard, SF; www.myspace.com/thevortexroom. $5 donation. •Bucket of Blood (Corman, 1959), Thurs, 9, and Blind Beast (Masumura, 1969), Thurs, 11. YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. The Strange Case of Angelica (de Oliveira, 2010), Thurs and Sat, 7:30; Sun, 2.

Music Listings

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Music listings are compiled by Cheryl Eddy. Since club life is unpredictable, it’s a good idea to call ahead to confirm bookings and hours. Prices are listed when provided to us. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 4

ROCK/BLUES/HIP-HOP

Pryor Baird and the Deacons Biscuits and Blues. 8 and 10pm, $15.

Between the Buried and Me, Job for a Cowboy, Ocean, Cephalic Carnage Slim’s. 8pm, $19.

Gas Mask Colony, Fist Fam, DJ Okeefe Elbo Room. 10pm, $10. With comedians Chris Storin, Kaseem Bentley, and Joseph Anolin.

Janks, Shivers Café Du Nord. 9:30pm, $10.

J Mascis, Black Heart Procession Independent. 8pm, $20.

Shelley Short, Darren Hanlon Hemlock Tavern. 9pm, $7.

Frank Turner, City Bottom of the Hill. 9pm, $12.

Vivian Girls, No Joy, Lilac Rickshaw Stop. 8pm, $14.

JAZZ/NEW MUSIC

Cosmo Alleycats Le Colonial, 20 Cosmo, SF; www.lecolonialsf.com. 7pm.

Dink Dink Dink, Gaucho, Michael Abraham Amnesia. 7pm, free.

Ben Marcato and the Mondo Combo Top of the Mark. 7:30pm, $10.

Tom Jonesing Café Royale, 800 Post, SF; (415) 641-6033. 8pm, free.

FOLK/WORLD/COUNTRY

Jesse Cook Yoshi’s San Francisco. 8 and 10pm, $16-22.

Wanda Jackson, Red Meat, DJ Britt Govea Great American Music Hall. 8pm, $21.

DANCE CLUBS

Booty Call Q-Bar, 456 Castro, SF; www.bootycallwednesdays.com. 9pm. Juanita Moore hosts this dance party, featuring DJ Robot Hustle.

Cannonball Beauty Bar. 10pm, free. Rock, indie, and nu-disco with DJ White Mike.

Jam Fresh Wednesdays Vessel, 85 Campton, SF; (415) 433-8585. 9:30pm, free. With DJs Slick D, Chris Clouse, Rich Era, Don Lynch, and more spinning top 40, mash-ups, hip-hop, and remixes.

Mary-Go-Round Lookout, 3600 16th St, SF; (415) 431-0306. 10pm, $5. A weekly drag show with hosts Cookie Dough, Pollo Del Mar, and Suppositori Spelling.

No Room For Squares Som., 2925 16th St, SF; (415) 558-8521. 6-10pm, free. DJ Afrodite Shake spins jazz for happy hour.

Respect Wednesdays End Up. 10pm, $5. Rotating DJs Daddy Rolo, Young Fyah, Irie Dole, I-Vier, Sake One, Serg, and more spinning reggae, dancehall, roots, lovers rock, and mash-ups.

THURSDAY 5

ROCK/BLUES/HIP-HOP

Beach Fossils, Craft Spells, Melted Toys Slim’s. 9pm, $15.

James Blunt, Christina Perri Warfield. 8pm, $40-50.

Dessa, Sims and DJ Lazerbeak, Sister Crayon Bottom of the Hill. 9pm, $10.

Dredg, Dear Hunter, Balance and Composure, Trophy Fire Great American Music Hall. 8pm, $20.

Glass Trains, Ugly Winner, Books on Tape Knockout. 9:30pm, $6.

Hundred in the Hands, Silver Swans, DJs Aaron Axelsen and Nako Rickshaw Stop. 9pm, $10.

Inferno of Joy, Jesse Morris and the Man Cougars Thee Parkside. 9pm, $6.

Cass Mccombs, Frank Fairfield Swedish American Hall (upstairs from Café Du Nord). 8pm, $15.

Pigeon John, Chicharones, Rocky Rivera Rock-it Room. 9pm, $12.

Ron Pope, Ari Herstand Café Du Nord. 8pm, $15.

Stop Motion Poetry Sub-Mission Art Space, 2183 Mission, SF; www.sf-submission.com. 8:30pm, $6.

Ty Curtis Band Biscuits and Blues. 8 and 10pm, $15.

JAZZ/NEW MUSIC

“From New Orleans to Now” Jewish Community Center of San Francisco, 3200 California, SF; www.sfjazz.org. 7:30pm, $5-15. With the SF Jazz High School All-Stars Jazz Orchestra.

Manhattan Transfer Yoshi’s San Francisco. 8 and 10pm, $35-45.

Organsm featuring Jim Gunderson and “Tender” Tim Shea Bollyhood Café. 6:30-9pm, free.

Stompy Jones Top of the Mark. 7:30pm, $10.

FOLK/WORLD/COUNTRY

Country Casanovas Atlas Café. 8-10pm, free.

“Twang! Honky Tonk” Fiddler’s Green, 1330 Columbus, SF; www.twanghonkytonk.com. 5pm.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $5. Cinco de Mayo celebration with DJs Pleasuremaker and Señor Oz, plus guests El Kool Kyle and Roger Mas, spinning Afrobeat, Tropicália, electro, samba, and funk.

CakeMIX SF Wish, 1539 Folsom, SF; www.wishsf.com. 10pm, free. DJ Carey Kopp spinning funk, soul, and hip-hop.

Caribbean Connection Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $3. DJ Stevie B and guests spin reggae, soca, zouk, reggaetón, and more.

Club Jammies Edinburgh Castle. 10pm, free. DJs EBERrad and White Mice spinning reggae, punk, dub, and post punk.

Drop the Pressure Underground SF. 6-10pm, free. Electro, house, and datafunk highlight this weekly happy hour.

80s Night Cat Club. 9pm, $6 (free before 9:30pm). Two dance floors bumpin’ with the best of 80s mainstream and underground with Dangerous Dan, Skip, Low Life, and guests.

Guilty Pleasures Gestalt, 3159 16th St, SF; (415) 560-0137. 9:30pm, free. DJ TophZilla, Rob Metal, DJ Stef, and Disco-D spin punk, metal, electro-funk, and 80s.

Jivin’ Dirty Disco Butter, 354 11th St., SF; (415) 863-5964. 8pm, free. With DJs spinning disco, funk, and classics.

Lacquer Beauty Bar. 10pm-2am, free. DJs Mario Muse and Miss Margo bring the electro.

Mestiza Bollywood Café, 3376 19th St, SF; (415) 970-0362. 10pm, free. Showcasing progressive Latin and global beats with DJ Juan Data.

1984 Mighty. 9pm, $2. The long-running New Wave and 80s party has a new venue, featuring video DJs Mark Andrus, Don Lynch, and celebrity guests.

Peaches Skylark, 10pm, free. With an all female DJ line up featuring Deeandroid, Lady Fingaz, That Girl, and Umami spinning hip hop.

Thursday Special Tralala Revolution Café, 3248 22nd St, SF; (415) 642-0474. 5pm, free. Downtempo, hip-hop, and freestyle beats by Dr. Musco and Unbroken Circle MCs.

FRIDAY 6

ROCK/BLUES/HIP-HOP

Avant Yoshi’s San Francisco. 8 and 10pm, $32.

Curren$y, Trademark, Young Roddy, Fiend, Corner Boy P Regency Ballroom. 9pm, $20.

Diddy Dirty Money featuring P. Diddy, Lloyd, Tyga Warfield. 9pm, $38-58.

Donkeys, Social Studies, Rademacher Bottom of the Hill. 10pm, $10.

Dredg, Dear Hunter, Balance and Composure, Trophy Fire Great American Music Hall. 8pm, $20.

Eddie and the Hot Rods, Prima Donna, Midnite Snaxx Thee Parkside. 9pm, $12.

Glitter Wizard, Hot Lunch, Gypsyhawk, El Topo Café Du Nord. 9:30pm, $8.

Groggs, True Foes, Shrouds Hemlock Tavern. 9:30pm, $6.

Mission Players Brick and Mortar, 1710 Mission, SF; (415) 371-1631. 9:30pm, $5.

RU36, Saint Vernon, Almost Dead, Kick Rocks Slim’s. 9pm, $14.

Telekinesis, Unknown Mortal Orchestra Fillmore. 9pm, $20.

Zola Jesus, Naked on the Vague, DJ Omar Rickshaw Stop. 9pm, $14.

JAZZ/NEW MUSIC

Black Market Jazz Orchestra Top of the Mark. 9pm, $10.

CéU Herbst Theatre, 401 Van Ness, SF; www.sfjazz.org. 8pm, $30-75.

Lavay Smith and Her Red Hot Skillet Lickers Biscuits and Blues. 8 and 10pm, $20.

FOLK/WORLD/COUNTRY

Sierra Leone’s Refugee All Stars, Youssoupha Sidibe with the Mystic Rhythms Band Independent. 9pm, $15.

DANCE CLUBS

Afro Bao Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $5. Afro and world music with rotating DJs including Stepwise, Steve, Claude, Santero, and Elembe.

Bikes and Beats Public Works, 161 Erie, SF; www.brownpapertickets.com. 10pm, $10. With Polish Ambassador, Party Ben, Non Stop Bhangra, M.O.M., and more, plus DIY bike crafts, street food vendors, a bike fashion show, and other attractions.

Deeper 222 Hyde, 222 Hyde, SF; (415) 345-8222. 9pm, $10. With rotating DJs spinning dubstep and techno.

Dirty Rotten Dance Party Madrone Art Bar. 9pm, $5. With DJs Morale, Kap10 Harris, and Shane King spinning electro, bootybass, crunk, swampy breaks, hyphy, rap, and party classics.

Exhale, Fridays Project One Gallery, 251 Rhode Island, SF; (415) 465-2129. 5pm, $5. Happy hour with art, fine food, and music with Vin Sol, King Most, DJ Centipede, and Shane King.

Fubar Fridays Butter, 354 11th St., SF; (415) 863-5964. 6pm, $5. With DJs spinning retro mashup remixes.

Good Life Fridays Apartment 24, 440 Broadway, SF; (415) 989-3434. 10pm, $10. With DJ Brian spinning hip hop, mashups, and top 40.

Hot Chocolate Milk. 9pm, $5. With DJs Big Fat Frog, Chardmo, DuseRock, and more spinning old and new school funk.

Hot Pink Feathers: Ten Year Anniversary DNA Lounge. 9pm, $10-75. Burlesque performances and live music by Blue Bone Express and the Hot Pink Feathers All-Star Marching Band.

120 Minutes Elbo Room. 10pm, $5-10. Goth and witchhouse with Whitch, oOoOO, and Nako.

Rockabilly Fridays Jay N Bee Club, 2736 20th St, SF; (415) 824-4190. 9pm, free. With DJs Rockin’ Raul, Oakie Oran, Sergio Iglesias, and Tanoa “Samoa Boy” spinning 50s and 60s doo-wop, rockabilly, jive, and more.

Some Thing Stud. 10pm, $7. VivvyAnne Forevermore, Glamamore, and DJ Down-E give you fierce drag shows and after-hours dancing.

Strangelove: Sacrilege Cat Club. 9:30pm, $6 (free before 10pm). Goth and industrial with DJs Tomas Diablo, Decay, Xander, and Ms. Samantha.

Vintage Orson, 508 Fourth St, SF; (415) 777-1508. 5:30-11pm, free. DJ TophOne and guest spin jazzy beats for cocktalians.

SATURDAY 7

ROCK/BLUES/HIP-HOP

Crystal Stilts, Mantles Rickshaw Stop. 9pm, $12.

English Beat Bimbo’s 365 Club. 9pm, $25.

Rick Estrin and the Nightcats Biscuits and Blues. 8 and 10pm, $20.

It Thing, Verms, Okie Rosette Café Du Nord. 9:30pm, $10.

Manic Hispanic, Old Man Markely, Hounds and Harlots Slim’s. 9pm, $18.

Rhett Miller, Robert Francis Swedish American Hall (upstairs from Café Du Nord). 8pm, $25.

Jonas Reinhardt, Cloudland Canyon, White Cloud Hemlock Tavern. 9:30pm, $8.

Corin Tucker, Billy and Dolly, Bruises Bottom of the Hill. 9:30pm, $14.

Wolfshirt, Paranoid Freakout Thee Parkside. 3pm, free.

Y&T, Kip Winger Fillmore. 9pm, $36.50.

JAZZ/NEW MUSIC

Manhattan Transfer Yoshi’s San Francisco. 8 and 10pm, $35-45.

Yanni Warfield. 8pm, $39-89.

DANCE CLUBS

Afro Bao Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $5. Afro and world music with rotating DJs including Stepwise, Steve, Claude, Santero, and Elembe.

Bootie SF DNA Lounge. 9pm, $6-12. Mash-ups.

Everlasting Bass 330 Ritch. 10pm, $5-10. Bay Area Sistah Sound presents this party, with DJs Zita and Pam the Funkstress spinning hip-hop, soul, funk, reggae, dancehall, and club classics.

Gemini Disco Underground SF. 10pm, $5. Disco with DJ Derrick Love and Nicky B. spinning deep disco. HYP Club Eight, 1151 Folsom, SF; www.eightsf.com. 10pm, free. Gay and lesbian hip-hop party, featuring DJs spinning the newest in the top 40s hip hop and hyphy.

Kontrol Endup. 10pm, $20. With resident DJs Alland Byallo, Craig Kuna, Sammy D, and Nikola Baytala spinning minimal techno and avant house.

Leisure Paradise Lounge. 10pm, $7. DJs Omar, Aaron, and Jet Set James spinning classic britpop, mod, 60s soul, and 90s indie.

Rock City Butter, 354 11th St., SF; (415) 863-5964. 6pm, $5 after 10pm. With DJs spinning party rock. Same Sex Salsa and Swing Magnet, 4122 18th St, SF; (415) 305-8242. 7pm, free.

Saturday Night Soul Party Elbo Room. 10pm, $10. DJs Lucky, Paul Paul, and Phengren Oswald spin butt-shakin’ ’60s soul on 45.

Souf Club Six. 9pm, $7. With DJs Jeanine Da Feen, Motive, and Bozak spinning southern crunk, bounce, hip hop, and reggaeton.

Soundscape Vortex Room, 1082 Howard, SF; www.myspace.com/thevortexroom. With DJs C3PLOS, Brighton Russ, and Nick Waterhouse spinning Soul jazz, boogaloo, hammond grooves, and more.

Spirit Fingers Sessions 330 Ritch. 9pm, free. With DJ Morse Code and live guest performances.

SUNDAY 8

ROCK/BLUES/HIP-HOP

Cowboy and Indian, Gentleman Coup Hemlock Tavern. 9pm, $6.

Dirty Heads, New Politics, Pacific Dub Fillmore. 8pm, $18.50.

William Fitzsimmons, Slow Runner Independent. 8pm, $18.

Symphony X, Powerglove, Blackguard Regency Ballroom. 8pm, $30.

KT Tunstall, Charlie Mars, Miggs Great American Music Hall. 8pm, $24.

JAZZ/NEW MUSIC

New York Voices, Alan Paul Trio Yoshi’s San Francisco. 6 and 8:30pm, $25.

Swing-out Sundays Milk Bar. 9pm, $7-15. With beginner swing lessons.

Tom Lander Duo Medjool, 2522 Mission, SF; www.medjoolsf.com. 6-9pm, free.

FOLK/WORLD/COUNTRY

Joe and the Sons of Emperor Norton Thee Parkside. 4pm, free.

DANCE CLUBS

Afterglow Nickies, 466 Haight, SF; (415) 255-0300. An evening of mellow electronics with resident DJs Matt Wilder, Mike Perry, Greg Bird, and guests.

Batcave Cat Club. 10pm, $5. Death rock, goth, and post-punk with Steeplerot Necromos and c_death. Call In Sick Skylark. 9pm, free. DJs Animal and I Will spin danceable hip-hop.

Dub Mission Elbo Room. 9pm, $6. Dub, roots, and classic dancehall.

Gloss Sundays Trigger, 2344 Market, SF; (415) 551-CLUB. 7pm. With DJ Hawthorne spinning house, funk, soul, retro, and disco.

Honey Soundsystem Paradise Lounge. 8pm-2am. “Dance floor for dancers – sound system for lovers.” Got that?

La Pachanga Blue Macaw, 2565 Mission, SF; www.thebluemacawsf.com. 6pm, $10. Salsa dance party with live Afro-Cuban salsa bands.

MONDAY 9

JAZZ/NEW MUSIC

Fred Frith, Beth Custer Yoshi’s San Francisco. 8pm, $12.

Mogwai, Errors Regency Ballroom. 8pm, $26.

DANCE CLUBS

Death Guild DNA Lounge. 9:30pm, $3-5. Gothic, industrial, and synthpop with Joe Radio, Decay, and Melting Girl.

Krazy Mondays Beauty Bar. 10pm, free. With DJs Ant-1, $ir-Tipp, Ruby Red I, Lo, and Gelo spinning hip hop.

M.O.M. Madrone Art Bar. 6pm, free. With DJ Gordo Cabeza and guests playing all Motown every Monday.

Network Mondays Azul Lounge, One Tillman Pl, SF; www.inhousetalent.com. 9pm, $5. Hip-hop, R&B, and spoken word open mic, plus featured performers.

Sausage Party Rosamunde Sausage Grill, 2832 Mission, SF; (415) 970-9015. 6:30-9:30pm, free. DJ Dandy Dixon spins vintage rock, R&B, global beats, funk, and disco at this happy hour sausage-shack gig.

Skylarking Skylark. 10pm, free. With resident DJs I & I Vibration, Beatnok, and Mr. Lucky and weekly guest DJs.

TUESDAY 10

ROCK/BLUES/HIP-HOP

Fat Tuesday Band Biscuits and Blues. 8 and 10pm, $15.

Ghostland Observatory Regency Ballroom. 8pm, $30.

Kina Grannis featuring Misa and Emi Grannis, Imaginary Friend Swedish American Hall (upstairs from Café Du Nord). 8pm, $15.

David Liebe Hart, Cool Ghouls Hemlock Tavern. 9pm, $7.

My Jerusalem, Michael Kingcaid, Dead Ships Bottom of the Hill. 9pm, $10.

Raveonettes, Tamaryn Bimbo’s 365 Club. 9pm, $25.

DANCE CLUBS

Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro.

Share the Love Trigger, 2344 Market, SF; (415) 551-CLUB. 5pm, free. With DJ Pam Hubbuck spinning house.

 

Film Listings

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Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Michelle Devereaux, Peter Galvin, Max Goldberg, Dennis Harvey, Johnny Ray Huston, Louis Peitzman, Lynn Rapoport, Ben Richardson, and Matt Sussman. For rep house showtimes, see Rep Clock. For first-run showtimes, see Movie Guide.

SAN FRANCISCO INTERNATIONAL FILM FESTIVAL

The 54th annual San Francisco International Film Festival runs through Thurs/5. Venues are the Sundance Kabuki, 1881 Post, SF; Castro, 429 Castro, SF; New People, 1746 Post, SF; San Francisco Museum of Modern Art, 151 Third, SF; and Pacific Film Archive, 2575 Bancroft, SF. For tickets (most shows $13) and complete schedule visit www.sffs.org.

OPENING

The Beaver See “The Darkness Underneath.” (1:31)

*Cave of Forgotten Dreams The latest documentary from Werner Herzog once again goes where no filmmaker — or many human beings, for that matter — has gone before: the Chauvet-Pont-d’Arc Cave, a heavily-guarded cavern in Southern France containing the oldest prehistoric artwork on record. Access is highly restricted, but Herzog’s 3D study is surely the next best thing to an in-person visit. The eerie beauty of the works leads to a typically Herzog-ian quest to learn more about the primitive culture that produced the paintings; as usual, Herzog’s experts have their own quirks (like a circus performer-turned-scientist), and the director’s own wry narration is peppered with random pop culture references and existential ponderings. It’s all interwoven with footage of crude yet beautiful renderings of horses and rhinos, calcified cave-bear skulls, and other time-capsule peeks at life tens of thousands of years ago. The end result is awe-inspiring. (1:35) (Eddy)

*Incendies When tightly wound émigré Nawal (Luba Azabal) dies, she leaves behind adult twins Jeanne (Mélissa Désormeaux-Poulin) and Simon (Maxim Gaudette) — and leaves them documents that only compound their feelings of grief and anger, suggesting that what little they thought they knew about their background might have been a lie. While resentful Simon at first stays home in Montreal, Jeanne travels to fictive “Fuad” (a stand-in for source-material playwright Wajdi Mouawad’s native Lebanon), playing detective to piece together decades later the truth of why their mother fled her homeland at the height of its long, brutal civil war. Alternating between present-day and flashback sequences, this latest by Canadian director Denis Villeneuve (2000’s Maelstrom) achieves an urgent sweep punctuated by moments of shocking violence. Resembling The Kite Runner in some respects as a portrait of the civilian victimization excused by war, it also resembles that work in arguably piling on more traumatic incidences and revelations than one story can bear — though so much here has great impact that a sense of over-contrivance toward the very end only slightly mars the whole. (2:10) Embarcadero. (Harvey)

Jumping the Broom It’s wedding (movie) season! Angela Bassett and Paula Patton star in this one. (1:48) Shattuck.

Last Night Married for three years and together “since college,” New York City yuppies Michael (Sam Worthington) and Joanna (Keira Knightley) have a comfortable, loving relationship, though it’s unclear how much passion remains. Still, it doesn’t take much for Joanna to bristle jealously when she meets Michael’s co-worker and frequent business-trip companion, Laura (Eva Mendes). As Michael and Laura flirt their way to an overnight meeting in Philly, Joanna runs into an old flame (Guillaume Canet); before long, it becomes a cross-cutting race to see who’ll cheat first. Writer-director Massy Tadjedin isn’t spinning a new story here — and though the film offers a sleek look at contemporary marriage, Last Night takes itself a tad too seriously, purporting to showcase realistic problems and emotions amid a cast beamed directly from Planet Gorgeous Movie Star. Beautiful people: they’re just like us? (1:30) (Eddy)

*Meek’s Cutoff See “Nothing Was Delivered.” (1:44) Albany, Embarcadero.

Queen to Play From first-time feature director Caroline Bottaro comes this drama about … chess. Wait! Before your eyes glaze over, here are a few more fast facts: it’s set in idyllic Corsica and features, as an American expat, Kevin Kline in his first French-speaking role. (Side note: is there a Kline comeback afoot? First No Strings Attached, then The Conspirator, and now Queen to Play. All within a few short months.) Lovely French superstar Sandrine Bonnaire plays Héléne, a hotel maid who has more or less accepted her unremarkable life — until she happens to catch a couple (one half of which is played by Jennifer Beals, cast because Bottaro is a longtime fan of 1983’s Flashdance!) playing chess. An unlikely obsession soon follows, and she asks Kline’s character, a reclusive doctor who’s on her freelance house-cleaning route, to help her up her game. None too pleased with this new friendship are Héléne’s husband and nosy neighbors, who are both suspicious of the doctor and unsure of how to treat the formerly complacent Héléne’s newfound, chess-inspired confidence. Queen to Play can get a little corny (we’re reminded over and over that the queen is “the most powerful piece”), and chess is by nature not very cinematic (slightly more fascinating than watching someone type, say). But Bonnaire’s quietly powerful performance is worth sticking around for, even when the novelty of whiskery, cardigan-wearing, French-spouting Kline wears off. (1:36) Embarcadero, Shattuck, Smith Rafael. (Eddy)

Something Borrowed Kate Hudson and Ginnifer Goodwin play frenemies of the highest order in this rom-com adapted from the best-selling novel. (1:53) Shattuck.

There Be Dragons Dougray Scott and Wes Bentley star in this drama set against the backdrop of the Spanish Civil War. (2:00)

*These Amazing Shadows If you love movies, it’ll be hard to resist These Amazing Shadows (subtitled “A story about the National Film Registry and the power of the movies”) — it’s chock full o’ clips from films that’ve been deemed worthy of inclusion in the National Film Registry’s elite ranks. This includes, of course, the likes of 1942’s Casablanca and 1939’s Gone With the Wind, but also more recent cultural touchstones like 1985’s Back to the Future and a number of experimental, short, and silent works, and even a few cult films too. Along the way film scholars and makers (including locals Barry Jenkins, Rick Prelinger, and Mick LaSalle) chime in on their favorite films and stress why preserving film is important. There’s a healthy dose of film history, as well, with mentions of groundbreaking director Lois Weber (one of early cinema’s most prolific artists, despite her gender) and a discussion of why racially questionable films like 1915’s The Birth of a Nation — a film that Boyz n the Hood (1991) director John Singleton recommended for Registry inclusion — are historically important despite their content. Dedicated film buffs won’t discover any surprises, and there’s not much discussion of queer film (unless John Waters talking about 1939’s The Wizard of Oz counts?), nor any mention of the current shift from film to digital formats (of course preserving old films is important, but will the Registry also start considering digital-only films for inclusion?) But perhaps these are topics for another film, not this nostalgia-heavy warm fuzzy that’ll affect anyone who remembers the magic of seeing a personally significant film — join the mob if it’s 1977’s Star Wars — for the first time. (1:28) Sundance Kabuki. (Eddy)

*Thor When it comes to superhero movies, I’m not easily impressed. Couple that with my complete disinterest in the character of Thor, and I didn’t go into his big-screen debut with any level of excitement. Turns out Kenneth Branagh’s Thor is a genre standout — the best I’ve seen since 2008’s Iron Man. For those who don’t know the mythology, the film follows Thor (Chris Hemsworth) as he’s exiled from the realm of Asgard to Earth. Once there, he must reclaim his mighty hammer — along with his powers — in order to save the world and win the heart of astrophysicist Jane Foster (Natalie Portman). Hemsworth is perfectly cast as the titular hero: he’s adept at bringing charm to a larger-than-life god. The script is a huge help, striking the ideal balance between action, drama, and humor. That’s right, Thor is seriously funny. On top of that, the effects are sensational. Sure, the 3D is once again unnecessary, but it’s admittedly kind of fun when you’re zooming through space. (2:03) (Peitzman)

ONGOING

The Adjustment Bureau As far as sci-fi romantic thrillers go, The Adjustment Bureau is pretty standard. But since that’s not an altogether common genre mash-up, I guess the film deserves some points for creativity. Based on a short story by Philip K. Dick, The Adjustment Bureau takes place in a world where all of our fates are predetermined. Political hotshot David Norris (Matt Damon) is destined for greatness — but not if he lets a romantic dalliance with dancer Elise (Emily Blunt) take precedence. And in order to make sure he stays on track, the titular Adjustment Bureau (including Anthony Mackie and Mad Men‘s John Slattery) are there to push him in the right direction. While the film’s concept is intriguing, the execution is sloppy. The Adjustment Bureau suffers from flaws in internal logic, allowing the story to skip over crucial plot points with heavy exposition and a deus ex machina you’ve got to see to believe. Couldn’t the screenwriter have planned ahead? (1:39) Shattuck. (Peitzman)

African Cats (1:40) 1000 Van Ness, Shattuck.

*Bill Cunningham New York To say that Bill Cunningham, the 82-year old New York Times photographer, has made documenting how New Yorkers dress his life’s work would be an understatement. To be sure, Cunningham’s two decades-old Sunday Times columns — “On the Street,” which tracks street-fashion, and “Evening Hours,” which covers the charity gala circuit — are about the clothes. And, my, what clothes they are. But Cunningham is a sartorial anthropologist, and his pictures always tell the bigger story behind the changing hemlines, which socialite wore what designer, or the latest trend in footwear. Whether tracking the near-infinite variations of a particular hue, a sudden bumper-crop of cropped blazers, or the fanciful leaps of well-heeled pedestrians dodging February slush puddles, Cunningham’s talent lies in his ability to recognize fleeting moments of beauty, creativity, humor, and joy. That last quality courses through Bill Cunningham New York, Richard Press’ captivating and moving portrait of a man whose reticence and personal asceticism are proportional to his total devotion to documenting what Harold Koda, chief curator at the Costume Institute at the Metropolitan Museum of Art, describes in the film as “ordinary people going about their lives, dressed in fascinating ways.” (1:24) Embarcadero, Shattuck. (Sussman)

Certified Copy Abbas Kiarostami’s beguiling new feature signals “relationship movie” with every cobblestone step, but it’s manifestly a film of ideas — one in which disillusionment is as much a formal concern as a dramatic one. Typical of Kiarostami’s dialogic narratives, Certified Copy is both the name of the film and an entity within the film: a book written against the ideal of originality in art by James Miller (William Shimell), an English pedant fond of dissembling. After a lecture in Tuscany, he meets an apparent admirer (Juliette Binoche) in her antique shop. We watch them talk for several minutes in an unbroken two-shot. They gauge each other’s values using her sister as a test case — a woman who, according to the Binoche character, is the living embodiment of James’ book. Do their relative opinions of this off-screen cipher constitute characterization? Or are they themselves ciphers of the film’s recursive structure? Kiarostami makes us wonder. They begin to act as if they were married midway through the film, though the switch is not so out of the blue: Kiarostami’s narrative has already turned a few figure-eights. Several critics have already deemed Certified Copy derivative of many other elliptical romances; the strongest case for an “original” comes of Roberto Rossellini’s Voyage to Italy (1954). The real difference is that while Rossellini’s masterpiece realizes first-person feelings in a third-person approach, Kiarostami stays in the shadow of doubt to the end. (1:46) Opera Plaza, Smith Rafael. (Goldberg)

The Conspirator It may not be your standard legal drama, but The Conspirator is a lot more enjoyable when you think of it as an extended episode of Law & Order. The film chronicles the trial of Mary Surratt (Robin Wright), the lone woman charged in the conspiracy to assassinate Abraham Lincoln. It’s a fascinating story, especially for those who don’t know much of the history past John Wilkes Booth. But while the subject matter is compelling, the execution is hit-or-miss. Wright is sympathetic as Surratt, but the usually great James McAvoy is somewhat forgettable in the pivotal role of Frederick Aiken, Surratt’s conflicted lawyer. It’s hard to say what it is that’s missing from The Conspirator: the cast — which also includes Evan Rachel Wood and Tom Wilkinson — is great, and this is a story that’s long overdue to be told. Still, something is lacking. Could it be the presence of everyone’s favorite detective, the late Lennie Briscoe? (2:02) Embarcadero, Empire, 1000 Van Ness, Piedmont. (Peitzman)

Dylan Dog: Dead of Night (1:47) SF Center.

Fast Five There are plenty of laugh-out-loud moments in Fast Five, in addition to a much demolition derby-style crunch — instances that stretch credulity and simultaneously trigger a chuckle at the OTT fantasy of the entire enterprise. Two unarmed men chained to the ceiling kick their way out of a torture cell, jump favela rooftops to freedom with nary a bullet wound in sight, and, in the movie’s smash-’em-up tour de force, use a bank vault as a hulking pair of not-so-fuzzy dice to pulverize an unsuspecting Rio de Janeiro. Not for nothing is rapper Ludacris attached to this franchise — his name says it all (why not go further than his simple closing track, director Justin Lin, now designated the keeper of Fast flame, and have him providing the rap-eratic score/running commentary throughout?) In this installment, shady hero Dominic (Vin Diesel) needs busting out of jail — check, thanks to undercover-cop-turned-pal Brian (Paul Walker) and Dominic’s sis Mia (Jordana Brewster). Time to go on the lam in Brazil and to bring bossa nova culture down to level of thieving L.A. gearheads, as the gearhead threesome assemble their dream team of thieves to undertake a last big heist that will set ’em up for life. Still, despite the predictable pseudo-twists — can’t we all see the bromance-bonding between testosteroni boys Diesel and Dwayne Johnson coming from miles of blacktop away? — there’s enough genre fun, stunt driving marvels, and action choreography here (Lin, who made his name in ambitious indies like 2002’s Better Luck Tomorrow, has developed a knack for harnessing/shooting the seeming chaos) — to please fans looking for a bigger, louder kick. (1:41) Empire, 1000 Van Ness. (Chun)

*Hanna The title character of Hanna falls perfectly into the lately very popular Hit-Girl mold. Add a dash of The Boys from Brazil-style genetic engineering — Hanna has the unfair advantage, you see, when it comes to squashing other kids on the soccer field or maiming thugs with her bare hands — and you have an ethereal killing/survival machine, played with impassive confidence by Atonement (2007) shit-starter Saoirse Ronan. She’s been fine-tuned by her father, Erik (Eric Bana), a spy who went out into the cold and off the grid, disappearing into the wilds of Scandinavia where he home-schooled his charge with an encyclopedia and brutal self-defense and hunting tests. Atonement director Joe Wright plays with a snowy palette associated with innocence, purity, and death — this could be any time or place, though far from the touch of modern childhood stresses: that other Hannah (Montana), consumerism, suburban blight, and academic competition. The 16-year-old Hanna, however, isn’t immune from that desire to succeed. Her game mission: go from a feral, lonely existence into the modern world, run for her life, and avenge the death of her mother by killing Erik’s CIA handler, Marissa (Cate Blanchett). The nagging doubt: was she born free, or Bourne to be a killer? Much like the illustrated Brothers Grimm storybook that she studies, Hanna is caught in an evil death trap of fairytale allegories. One wonders if the super-soldier apple didn’t fall far from the tree, since evil stepmonster Marissa oversaw the program that produced Hanna — the older woman and the young girl have the same cold-blooded talent for destruction and the same steely determination. Yet there’s hope for the young ‘un. After learning that even her beloved father hid some basic truths from her, this natural-born killer seems less likely to go along with the predetermined ending, happy or no, further along in her storybook life. (1:51) 1000 Van Ness, SF Center. (Chun)

Hoodwinked Too! Hood vs. Evil (1:25) 1000 Van Ness.

*In a Better World Winner of this year’s Best Foreign Language Film Oscar, this latest from Danish director Susanne Bier (2004’s Brothers, 2006’s After the Wedding) and her usual co-scenarist Anders Thomas Jensen (2005’s Adam’s Apples, 2003’s The Green Butchers) is a typically engrossing, complex drama that deals with the kind of rage for “personal justice” that can lead to school and workplace shootings, among other things (like terrorism). Shy, nervous ten-year-old Elias (Markus Rygaard) needs a confidence boost, but things are worrying both at home and elsewhere. His parents are estranged, and his doting father (Mikael Persbrandt) is mostly away as a field hospital in Kenya tending victims of local militias. At school, he’s an easy mark for bullies, a fact which gets the attention of charismatic, self-assured new kid Christian (William Jøhnk Nielsen), who appoints himself Elias’ new (and only) friend — then when his slightly awed pal is picked on again, intervenes with such alarming intensity that the police are called. Christian appears a little too prone to violence and harsh judgment in teaching “lessons” to those he considers in the wrong; his own domestic situation is another source of anger, as he simplistically blames his earnest, distracted executive father (Ulrich Thomsen) for his mother’s recent cancer death. Is Christian a budding little psychopath, or just a kid haplessly channeling his profound loss? Regardless, when an adult bully (Kim Bodnia as a loutish mechanic) humiliates Elias’ father in front of the two boys, Christian pulls his reluctant friend into a pursuit of vengeance that surely isn’t going to end well. With their nuanced yet head-on treatment of hot button social and ethical issues, Bier and Jensen’s work can sometimes border on overly-schematic melodrama, meting out its own secular-humanist justice a bit too handily, like 21st-century cinematic Dickenses. But like Dickens, they also have a true mastery of the creating striking characters and intricately propulsive plotlines that illustrate the points at hand in riveting, hugely satisfying fashion. This isn’t their best. But it’s still pretty excellent, and one of those universally accessible movies you can safely recommend even to people who think they don’t like foreign or art house films. (1:53) Lumiere. (Harvey)

Insidious (1:42) California.

*Jane Eyre Do we really need another adaptation of Jane Eyre? As long as they’re all as good as Cary Fukunaga’s stirring take on the gothic romance, keep ’em coming. Mia Wasikowska stars in the titular role, with the dreamy Michael Fassbender stepping into the high pants of Edward Rochester. The cast is rounded out by familiar faces like Judi Dench, Jamie Bell, and Sally Hawkins — all of whom breathe new life into the material. It helps that Fukunaga’s sensibilities are perfectly suited to the story: he stays true to the novel while maintaining an aesthetic certain to appeal to a modern audience. Even if you know Jane Eyre’s story — Mr. Rochester’s dark secret, the fate of their romance, etc. — there are still surprises to be had. Everyone tells the classics differently, and this adaptation is a thoroughly unique experience. And here’s hoping it pushes the engaging Wasikowska further in her ascent to stardom. (2:00) Albany, Lumiere, Piedmont. (Peitzman)

Kill the Irishman If you enjoy 1970s-set Mafia movies featuring characters with luxurious facial hair zooming around in Cadillacs, flossing leather blazers, and outwitting cops and each other — you could do a lot worse than Kill the Irishman, which busts no genre boundaries but delivers enjoyable retro-gangsta cool nonetheless. Adapted from the acclaimed true crime book by a former Cleveland police lieutenant, the film details the rise and fall of Danny Greene, a colorful and notorious Irish-American mobster who both served and ran afoul of the big bosses in his Ohio hometown. During one particularly conflict-ridden period, the city weathered nearly 40 bombings — buildings, mailboxes, and mostly cars, to the point where the number of automobiles going sky-high is almost comical (you’d think these guys would’ve considered taking the bus). The director of the 2004 Punisher, Jonathan Hensleigh, teams up with the star of 2008’s Punisher: War Zone, Ray Stevenson, who turns in a magnetic performance as Greene; it’s easy to see how his combination of book- and street smarts (with a healthy dash of ruthlessness) buoyed him nearly to the top of the underworld. The rest of the cast is equally impressive, with Vincent D’Onofrio, Val Kilmer, Christopher Walken, and Linda Cardellini turning in supporting roles, plus a host of dudes who look freshly defrosted from post-Sopranos storage. (1:46) Opera Plaza. (Eddy)

Legend of the Fist: The Return of Chen Zhen (1:46) Four Star.

*Limitless An open letter to the makers of Limitless: please fire your marketing team because they are making your movie look terrible. The story of a deadbeat writer (Bradley Cooper) who acquires an unregulated drug that allows him to take advantage of 100 percent of his previously under-utilized brain, Limitless is silly, improbable and features a number of distracting comic-book-esque stylistic tics. But consumed with the comic book in mind, Limitless is also unpredictable, thrilling, and darkly funny. The aforementioned style, which includes many instances of the infinite regression effect that you get when you point two mirrors at each other, and a heavy blur to distort depth-of-field, only solidifies the film’s cartoonish intentions. Cooper learns foreign languages in hours, impresses women with his keen attention to detail, and sets his sights on Wall Street, a move that gets him noticed by businessman Carl Van Loon (Robert DeNiro in a glorified cameo) as well as some rather nasty drug dealers and hired guns looking to cash in on the drug. Limitless is regrettably titled and masquerades in TV spots as a Wall Street series spin-off, but in truth it sports the speedy pacing and tongue-in-cheek humor required of a good popcorn flick. (1:37) 1000 Van Ness, SF Center. (Galvin)

*The Lincoln Lawyer Outfitted with gym’d-tanned-and-laundered manly blonde bombshells like Matthew McConaughey, Josh Lucas, and Ryan Phillippe, this adaptation of Michael Connelly’s LA crime novel almost cries out for an appearance by the Limitless Bradley Cooper — only then will our cabal of flaxen-haired bros-from-other-‘hos be complete. That said, Lincoln Lawyer‘s blast of morally challenged golden boys nearly detracts from the pleasingly gritty mise-en-scène and the snappy, almost-screwball dialogue that makes this movie a genre pleasure akin to a solid Elmore Leonard read. McConaughey’s criminal defense attorney Mickey Haller is accustomed to working all the angles — hence the title, a reference to a client who’s working off his debt by chauffeuring Haller around in his de-facto office: a Lincoln Town Car. Haller’s playa gets truly played when he becomes entangled with Louis Roulet (Phillippe), a pretty-boy old-money realtor accused of brutally attacking a call girl. Loved ones such as Haller’s ex Maggie (Marisa Tomei) and his investigator Frank (William H. Macy) are in jeopardy — and in danger of turning in some delightfully textured cameos — in this enjoyable walk on the sleazy side of the law, the contemporary courtroom counterpart to quick-witted potboilers like Sweet Smell of Success (1957). (1:59) 1000 Van Ness. (Chun)

*My Perestroika Robin Hessman’s very engaging documentary takes one very relatable look at how changes since glasnost have affected some average Russians. The subjects here are five thirtysomethings who, growing up in Moscow in the 70s and 80s, were the last generation to experience full-on Communist Party indoctrination. But just as they reached adulthood, the whole system dissolved, confusing long-held beliefs and variably impacting their futures. Andrei has ridden the capitalist choo-choo to considerable enrichment as the proprietor of luxury Western menswear shops. But single mother Olga, unlucky in love, just scrapes by, while married schoolteachers Lyuba and Boris are lucky to have inherited an apartment (cramped as it is) they could otherwise ill afford. Meanwhile Ruslan, once member of a famous punk band (which he abandoned on principal because it was getting “too commercial”), both disdains and resents the new order just as he did the old one. Home movies and old footage of pageantry celebrating Soviet socialist glory make a whole ‘nother era come to life in this intimate, unexpectedly charming portrait of its long-term aftermath. (1:27) Balboa. (Harvey)

*The Princess of Montpensier Marie (Mélanie Thierry), the titular figure in French director Bertrand Tavernier’s latest, is a young 16th century noblewoman married off to a Prince (Grégoire Leprince-Ringuet) of great wealth and property. But they’ve barely met when he’s called off to war — leaving her alone on his enormous estate, vulnerable to myriad suitors who seem to be forever throwing themselves at her nubile, neglected body. Lambert Wilson (2010’s Of Gods and Men) is touching as the older soldier appointed her protector; he comes to love her, yet is the one man upstanding enough to resist compromising her. If you’ve been jonesing for the kind of lush arthouse period epic that feels like a big fat classic novel, this engrossing saga from a 70-year-old Gallic cinema veteran in top form will scratch that itch for nearly two and a half satisfyingly tragic-romantic hours. (2:19) Opera Plaza, Smith Rafael. (Harvey)

*Of Gods and Men It’s the mid-1990s, and we’re in Tibhirine, a small Algerian village based around a Trappist monastery. There, eight French-born monks pray and work alongside their Muslim neighbors, tending to the sick and tilling the land. An emboldened Islamist rebel movement threatens this delicate peace, and the monks must decide whether to risk the danger of becoming pawns in the Algerian Civil War. On paper, Of Gods and Men sounds like the sort of high-minded exploitation picture the Academy swoons over: based on a true story, with high marks for timeliness and authenticity. What a pleasant surprise then that Xavier Beauvois’s Cannes Grand Prix winner turns out to be such a tightly focused moral drama. Significantly, the film is more concerned with the power vacuum left by colonialism than a “clash of civilizations.” When Brother Christian (Lambert Wilson) turns away an Islamist commander by appealing to their overlapping scriptures, it’s at the cost of the Algerian army’s suspicion. Etienne Comar’s perceptive script does not rush to assign meaning to the monks’ decision to stay in Tibhirine, but rather works to imagine the foundation and struggle for their eventual consensus. Beauvois occasionally lapses into telegraphing the monks’ grave dilemma — there are far too many shots of Christian looking up to the heavens — but at other points he’s brilliant in staging the living complexity of Tibrihine’s collective structure of responsibility. The actors do a fine job too: it’s primarily thanks to them that by the end of the film each of the monks seems a sharply defined conscience. (2:00) California, Opera Plaza. (Goldberg)

*Poetry Sixtysomething Mija (legendary South Korean actor Yun Jung-hee) impulsively crashes a poetry class, a welcome shake-up in a life shaped by unfulfilling routines. In order to write compelling verse, her instructor says, it is important to open up and really see the world. But Mija’s world holds little beauty beyond her cheerful outfits and beloved flowers; most pressingly, her teenage grandson, a mouth-breathing lump who lives with her, is completely remorseless about his participation in a hideous crime. In addition, she’s just been disgnosed with the early stages of Alzheimer’s, and the elderly stroke victim she housekeeps for has started making inappropriate advances. Somehow writer-director Lee Chang-dong (2007’s Secret Sunshine) manages not to deliver a totally depressing film with all this loaded material; it’s worth noting Poetry won the Best Screenplay Award at the 2010 Cannes Film Festival. Yun is unforgettable as a woman trying to find herself after a lifetime of obeying the wishes of everyone around her. Though Poetry is completely different in tone than 2009’s Mother, it shares certain elements — including the impression that South Korean filmmakers have recognized the considerable rewards of showcasing aging (yet still formidable) female performers. (2:19) Smith Rafael. (Eddy)

Pom Wonderful Presents: The Greatest Movie Ever Sold Don’t even think about shortening the title: Morgan Spurlock’s new documentary POM Wonderful Presents: The Greatest Story Ever Sold is ingenious, bitingly funny, and made possible by corporate sponsorship. POM paid good money to earn a spot about the title, so damned if I’m going to leave them out. Instead of keeping product placement subliminal — or at least trying — Spurlock shows exactly what goes into the popular marketing practice. His film isn’t so much critical as it is honest: he doesn’t fight product placement, but rather embraces it to his own advantage. It’s win-win. Spurlock gets to make his movie without losing any cash, and the audience gets a hilarious insider look into a mostly hidden facet of advertising. As he says, it’s about transparency, and no one can claim Spurlock is trying to go behind our backs. And what of the advertising that pops up throughout the film? I can only speak to my own experience, but yes, I’m drinking POM as I write this. (1:26) SF Center, Shattuck. (Peitzman)

Potiche When we first meet Catherine Deneuve’s Suzanne — the titular trophy wife (or potiche) of Francois Ozon’s new airspun comedy — she is on her morning jog, barely breaking a sweat as she huffs and puffs in her maroon Adidas tracksuit, her hair still in curlers. It’s 1977 and Suzanne’s life as a bourgeois homemaker in a small provincial French town has played out as smoothly as one of her many poly-blend skirt suits: a devoted mother to two grown children and loving wife who turns a blind eye to the philandering of husband Robert (Fabrice Luchini), Suzanne is on the fast track to comfortable irrelevance. All that changes when the workers at Robert’s umbrella factory strike and take him hostage. Suzanne, with the help of union leader and old flame Babin (Gerard Depardieu, as big as a house), negotiates a peace, and soon turns around the company’s fortunes with her new-found confidence and business savvy. But when Robert wrests back control with the help of a duped Babin, Suzanne does an Elle Woods and takes them both on in a surprise run for political office. True to the film’s light théâtre de boulevard source material, Ozon keeps things brisk and cheeky (Suzanne sings with as much ease as she spouts off Women’s Lib boilerplate) to the point where his cast’s hammy performances start blending into the cheery production design. Satire needs an edge that Potiche, for all its charm, never provides. (1:43) Clay, Shattuck, Smith Rafael. (Sussman)

Prom (1:44) 1000 Van Ness.

Rio (1:32) 1000 Van Ness, SF Center.

The Robber (1:37) Lumiere, Shattuck.

Scre4m Back in 1996, Wes Craven’s Scream revitalized the slasher genre with a script (by Kevin Williamson) that poked fun at horror clichés while still delivering genuine scares. The sequels offered diminishing returns on this once-clever formula; Scream 4 arrives 11 years past Scream 3, presumably hoping to work that old self-referential yet gory magic on a new crop of filmgoers. But Craven and Williamson’s hall-of-mirrors creation (more self-satisfied than self-referential, scrambling to anticipate a cynical audience member’s every second-guess) is barely more than than a continuation of something that was already tired in 2000, albeit with iPhone and web cam gags pasted in for currency’s sake. Eternal Ghostface target Sidney Prescott (Neve Campbell) returns to her hometown to promote what’s apparently a woo-woo self-help book (Mad Men‘s Alison Brie, as Sidney’s bitchy-perky publicist, steals every scene she’s in); still haunting Woodsboro are Dewey (David Arquette), now the sheriff, and Gale (Courteney Cox), a crime author with writer’s block. When the Munch-faced one starts offing high school kids, local movie nerds (Rory Culkin, Hayden Panettiere) and nubile types (Emma Roberts, Hayden Panettiere) react by screening all seven Stab films, inspired by the “real-life” Woodsboro murders, and spouting off about the rules, or lack thereof in the 21st century, of horror sequels. If that sounds mega-meta exhausting, it is. And, truth be told, not very scary. (1:51) 1000 Van Ness. (Eddy)

I Am File in the dusty back drawer of An Inconvenient Truth (2006) wannabes. The cringe-inducing, pretentious title is a giveaway — though the good intentions are in full effect — in this documentary by and about director Tom Shadyac’s search for answers to life’s big questions. After a catastrophic bike accident, the filmmaker finds his lavish lifestyle as a successful Hollywood director of such opuses as Bruce Almighty (2003) somewhat wanting. Thinkers and spiritual leaders such as Desmond Tutu, Howard Zinn, UC Berkeley psychology professor Dacher Keltner, and scientist David Suzuki provide some thought-provoking answers, although Shadyac’s thinking behind seeking out this specific collection of academics, writers, and activists remains somewhat unclear. I Am‘s shambling structure and perpetual return to its true subject — Shadyac, who resembles a wide-eyed Weird Al Yankovic — doesn’t help matters, leaving a viewer with mixed feelings, less about whether one man can work out his quest for meaning on film, than whether Shadyac complements his subjects and their ideas by framing them in such a random, if well-meaning, manner. And sorry, this film doesn’t make up for Ace Ventura: Pet Detective (1994). (1:16) Shattuck. (Chun)

*Source Code A post-9/11 Groundhog Day (1993) with explosions, Inception (2010) with a heart, or Avatar (2009) taken down a notch or dozen in Chicago —whatever you choose to call it, Source Code manages to stand up on its own wobbly Philip K. Dick-inspired legs, damn the science, and take off on the wings of wish fulfillment. ‘Cause who hasn’t yearned for a do-over — and then a do-over of that do-over, etc. We could all be as lucky — or as cursed — as soldier Colter Stevens (Jake Gyllenhaal), who gets to tumble down that time-space rabbit hole again and again, his consciousness hitching a ride in another man’s body, while in search of the bomber of a Chicago commuter train. On the upside, he gets to meet the girl of his dreams (Michelle Monaghan) — and see her getting blown to smithereens again and again, all in the service of his country, his commander-cum-link to the outside world (Vera Farmiga), and the scientist masterminding this secret military project (Jeffrey Wright). On the downside, well, he gets to do it over and over again, like a good little test bunny in pinball purgatory. Fortunately, director Duncan Jones (2009’s Moon) makes compelling work out of the potentially ludicrous material, while his cast lends the tale a glossed yet likable humanity, the kind that was all too absent in Inception. (1:33) 1000 Van Ness. (Chun)

Stake Land Not gonna lie — the reason I wanted to review this one was because of the film still in the San Francisco International Film Festival catalogue. Rotten-faced vampire with a stake through its neck? Yes, please! But while Jim Mickle’s apocalyptic road movie does offer plenty of gore, it’s more introspective than one might expect, following an orphaned teenage boy, Martin (Connor Paolo, Serena’s little bro on Gossip Girl), and his gruff mentor, Mister (Snake Plissken-ish Nick Damici), on their travels through a ravaged America. As books, films, and comics have taught us, whenever a big chunk of the human race is wiped out (thanks to zombies, vampires, an unknown cataclysm, etc.), the remaining population will either be good (heroic, like Mister and Martin, or helpless, like the stragglers they rescue, including a nun played by Kelly McGillis), or evil — cannibals, rapists, religious nuts, militant survivalists, etc. Stake Land doesn’t throw many curveballs into its end-times narrative, but it’s beautifully shot and doesn’t hold back on the brutality. Larry Fessenden (director of 2006’s The Last Winter) produced and has a brief cameo as a helpful bartender. (1:38) Roxie. (Eddy)

Tyler Perry’s Madea’s Big Happy Family (2:00) 1000 Van Ness, Shattuck.

Water for Elephants A young man named Jacob Jankowski (Robert Pattinson) turns his back on catastrophe and runs off to join the circus. It sounds like a fantasy, but this was never Jacob’s dream, and the circus world of Water for Elephants isn’t all death-defying feats and pretty women on horses. Or rather, the pretty woman also rides an elephant named Rosie and the casualties tend to occur outside the big top, after the rubes have gone home. Stumbling onto a train and into this world by chance, Jacob manages to charm the sadistic sociopath who runs the show, August (Christophe Waltz), and is charmed in turn by August’s wife, Marlena (Reese Witherspoon), a star performer and the object of August’s abusive, obsessive affections. Director Francis Lawrence’s film, an adaptation of Sarah Gruen’s 2006 novel, depicts a harsh Depression-era landscape in which troupes founder in small towns across America, waiting to be scavenged for parts — performers and animals — by other circuses passing through. Waltz’s August is a frightening man who defines a layoff as throwing workers off a moving train, and the anxiety of anticipating his moods and moves supplies most of the movie’s dramatic tension; Jacob and Marlena’s pallid love story feeds off it rather than adding its own. The film also suffers from a frame tale that feels awkward and forced, though Hal Holbrook makes heroic efforts as the elderly Jacob, surfacing on the grounds of — what else? — a modern-day circus to recount his tale of tragedy and romance. (2:00) Empire, 1000 Van Ness, SF Center. (Rapoport)

*Win Win Is Tom McCarthy the most versatile guy in Hollywood? He’s a successful character actor (in big-budget movies like 2009’s 2012; smaller-scale pictures like 2005’s Good Night, and Good Luck; and the final season of The Wire). He’s an Oscar-nominated screenwriter (2009’s Up). And he’s the writer-director of two highly acclaimed indie dramas, The Station Agent (2003) and The Visitor (2007). Clearly, McCarthy must not sleep much. His latest, Win Win, is a comedy set in his hometown of New Providence, N.J. Paul Giamatti stars as Mike Flaherty, a lawyer who’s feeling the economic pinch. Betraying his own basic good-guy-ness, he takes advantage of a senile client, Leo (Burt Young), when he spots the opportunity to pull in some badly-needed extra cash. Matters complicate with the appearance of Leo’s grandson, Kyle (newcomer Alex Shaffer), a runaway from Ohio. Though Mike’s wife, Jackie (Amy Ryan), is suspicious of the taciturn teen, she allows Kyle to crash with the Flaherty family. As luck would have it, Kyle is a superstar wrestler — and Mike happens to coach the local high school team. Things are going well until Kyle’s greedy mother (Melanie Lynskey) turns up and starts sniffing around her father’s finances. Lessons are learned, sure, and there are no big plot twists beyond typical indie-comedy turf. But the script delivers more genuine laughs than you’d expect from a movie that’s essentially about the recession. (1:46) Bridge, California, Piedmont. (Eddy)

REP PICKS

*A Place in the Sun A poor relation to wealthy manufacturers, George Eastman (31-year-old Montgomery Clift) accepts his uncle’s offer of a job, starting at the bottom but proving a quick study. As he rises up the ladder, he acquires an altatross — an atypically demure Shelley Winters as factory girl Alice — that becomes a serious liability as his stature rises enough to attract socialite goddess Angela (17 year-old Elizabeth Taylor). This kickoff to the Mechanics Institute’s month-long Taylor tribute was a sensation in 1951. Taylor had been a juvenile star (1944’s National Velvet), then a teenage ingenue, but this film established her as the most beautiful movie star of her generation — matched with dreamily vague Clift, a newcomer who’d created a sensation himself in 1948’s Red River and 1949s The Heiress. George Stevens — smack amidst his journey from being a lively iconoclast (Astaire and Rogers, Tracy and Hepburn, 1939’s Gunga Din) to the decreasingly prolific maker of solemn Oscar-bait epics — filmed the two of them in swooning, gigantic close ups that were the most star-makingly heated since Garbo met John Gilbert. In 1951, nobody read Clift’s aching sensitivity as gay; women wanted to clutch his bony, Brylcreemed body to their bosoms. Despite the actor’s tragic history — guarantee of his continued mythologizing — he’s a remote screen presence, as opposed to Taylor’s superficial ease. (She became an interesting actress later, when permitted to play harpies and hysterics.) But he’s very poignant in a monologue where George confesses all — well, nearly all — his vulnerable points to a potential future father-in-law. This adaptation of Theodore Dreiser’s 1925 An American Tragedy — an actual Great American Novel, published the same year as yea greater The Great Gatsby — is fairly frank for its era about unwedded pregnancies, the inaccessibility of abortion, and unbridgeable class divides. But it’s also aged unevenly, with awkward use of back-projection and a crucial softening of the novel’s most intense narrative turning point. The climatic courtroom drama is graceless; later progress more Christian-inspirational than Dreiser envisioned; nor does the fabled romance chemistry register as it once did. Still, this is a moment in film history: not one of Elizabeth Taylor’s best performances, but the one that secured her status as upmarket bombshell for a generation. Plus it won six Oscars, including Best Director. (2:02) Mechanics’ Institute. (Harvey)

 

On the Cheap Listings

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On the Cheap listings are compiled by Jackie Andrews. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 4

Asterisk zine party Public Works, 161 Erie, SF; www.publicsf.com. 8pm, free. Celebrate one year of Asterisk, the fabulous print and online magazine highlighting all things San Francisco, with a party catered by Charanga and drinks specials courtesy of Blue Angel Vodka. Plus, the amazing soul group Nick Waterhouse and the Tarots will be performing and Erik Otto art displayed for you to enjoy while DJs get you dancing. There’s so much going on tonight, it’s hard to believe the party is free, but be sure to donate a few bills to benefit Renaissance Entrepreneurship Center, the non-profit that does a lot of good things for small business here in the city.

Zyzzyva spring celebration The Booksmith, 1644 Haight, SF; www.booksmith.com. 7:30pm, free. This art and lit journal (named after the last word in the dictionary, a genus of weevil, but you already know that, right?) has gone through some changes recently. When founder Howard Junker announced he would be stepping down as editor after 25 years, Laura Cogan jumped at the opportunity and has been busy cleaning house in the form of sprucing up the website and adding a blog, among other things. Joining her at tonight’s celebration. Reading selections from their work, will be Robin Ekiss, Tom Barbash, and Vanessa Hua.

THURSDAY 5

Craft bar Museum of Craft and Folk Art, 51 Yerba Buena Lane, SF; www.mocfa.org. 6-8pm, $5, t-shirts and totes are an extra $5. Make Sister Corita-style posters, t-shirts, and tote bags in honor of her messages of love and peace during the social upheavals of the 1960s and ’70s. The museum will have silk screens set up with inks prepared in advance to match her period colors – think day-glo – as well as all of the supplies needed. Also, enjoy a special live performance from Coconuts and free-flowing Trumer Pils courtesy of the Berkeley brewery.

FRIDAY 6

Bikes and Beats Public Works, 161 Erie, SF; www.publicsf.com. 10pm-3am, $6-10. Check out this new collaborative that merges Bay Area bike and music scenes at a party that benefits Sunday Streets and the urban sustainability guerrillas known as the Wigg Party. They’ve got bike-themed crafts and screenprinting planned, as well as food vendors, art, fashion, raffle prizes, and more. And it wouldn’t be a party without music, so they went ahead and wisely reserved, not one, but two rooms for DJs, live performances, and video installations.

SATURDAY 7

Mother’s Day book Sale Adobe Books, 3166 16th St, SF; www.adobebooksbackroomgallery.blogspot.com. 11am-5pm, free. Get lost in the organized-by-color bookshelves today at Adobe. This little gem of a bookstore will be selling all of their stock at a discount in honor of mothers everywhere. Books outside are all one dollar while everything inside the store is marked 25 percent off. Plus, check out the current exhibition in the backroom gallery for artwork related to the publication of Berkeley-based Allone Co. Editions’ From the Golden West Notebook, a work inspired by the ACE Double books of the fifties.

El Cerrito city-wide garage sale Various locations, El Cerrito; www.el-cerrito.org. 9am-3pm, free. Holy moly, this event is every collector and spendthrift’s dream come true – 67 garage sales all happening at once, carrying everything from furniture to household items to records and vintage clothing. Plot your route in advance – download the map complete with listings and take it with you on your meticulously planned hunt for one-of-a-kind bargain treasures. Rent a Zip Car – no, rent a U-Haul if you have to – because you’re not gonna want to miss this.

SUNDAY 8

Mother’s Day rose show Hall of Flowers, Golden Gate Park, SF; www.sfrosesociety.com. Noon-12:30-4pm, free. Score some serious bonus points with Mom this year and treat her to a lovely afternoon among the roses. The San Francisco Rose Society continues its annual Mother’s Day tradition of filling Golden Gate Park’s Hall of Flowers with spectacular rose exhibits of all varieties. Stroll along the fragrant and breathtaking paths between noon and 4pm, after which the public is invited to take home free roses!

TUESDAY 10

Emperor Norton history lesson Cafe Royal, 800 Post, SF; (415) 641-6033. 8pm, free. Attend this informal history lesson from historian Peter Molan, and learn all about the once celebrated San Francisco character – the self-proclaimed “Emperor of these United States” and later, the “Protector of Mexico”. Though considered insane by his fellow San Franciscans, he was well-loved and his regal decrees often humored. The day after he collapsed and died on a street corner in 1880, 30,000 people packed the streets to mourn his death.

 

 

Psychic Dream Astrology

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Understand what’s motivating your fears before you protect yourself from them.

May 4-10

 

ARIES

March 21-April 19

Take care of your personal affairs this week, Aries, and do it with careful consideration. Protect your relationships by being present with your own emotional truths and mobilizing from there. When in doubt, avoid extremes.

TAURUS

April 20-May 20

If a relationship isn’t working, you should ask yourself why you do or don’t want to fix it. Make sure you’re investing in people based on who they are to you today instead of what your relationship used to be. Get current with your peeps.

GEMINI

May 21-June 21

If you could make any one thing work out well, what would you choose? Make sure you choose wisely — because this week if you focus on expanding your life in a concentrated area, you will have success!

CANCER

June 22-July 22

If you deal with frustrations by getting all defensive, you’ll just end up creating more problems than you solve, Cancer. Understand what’s motivating your fears before you protect yourself from them.

LEO

July 23-Aug. 22

Your problems are pointing to what needs your full attention this week, so don’t throw in the towel just yet, Leo. Rise to the occasion — even if your best-case scenario is only moderately awesome.

VIRGO

Aug. 23-Sept. 22

Creative solutions are always available to us, it’s just hard to be open-minded enough to see them. This week make sure you consider all paths — as long as they lead you to a happier place than you’re at now.

LIBRA

Sept. 23-Oct. 22

Creating external security may be an exercise in futility this week, Libra. Anchor yourself on the insides and develop some of that balance your sign is known for. If you don’t know the answers, don’t push it.

SCORPIO

Oct. 23-Nov. 21

Stay focused on your goals without fixating on how they need to pan out, pal. There are so many ways to get where you want to go — and the important thing is that you get there in a healthy way.

SAGITTARIUS

Nov. 22-Dec. 21

This week may bring some heavy revelations about your relationship to someone or something that feels essential to you. Figure out what you need to learn from your situation instead of forging stability. Go with the flow this week.

CAPRICORN

Dec. 22-Jan. 19

Being overwhelmed and seeing potential problems in everything threatens to undo you this week, Cappy. Pare things down and do away with non-essentials so you can effectively focus on what needs to get done.

AQUARIUS

Jan. 20-Feb. 18

You alone are responsible for how you handle your relationships, Aquarius. This week is a perfect time to clear the air and assert your needs and limits with others. You can have what you want — if you go for it.

PISCES

Feb. 19-March 20

Do not boldly go where you aren’t yet ready to go just because you are tripping, my fishy friend. Step out in the name of what you want to happen instead of out of fear of what might come next. Only use self-defense if you’ve been attacked. 

 

Jessica Lanyadoo has been a psychic dreamer for 16 years. Check out her website at www.lovelanyadoo.com or contact her for an astrology or intuitive reading at (415) 336-8354 or dreamyastrology@gmail.com.

Alerts

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ALERTS

 

By Jackie Andrews

alert@sfbg.com

 

WEDNESDAY, MAY 4

 

Robert Reich lecture

Robert Reich — UC Berkeley professor of public policy, former U.S. secretary of labor, and best-selling author — asks the question, “Will corporate social responsibility stop a race to the bottom in labor standards?” Come hear what the man The Wall Street Journal called one of the “most influential business thinkers” has to say.

4–6 p.m., free

SFSU Seven Hills Conference Center

1600 Holloway, SF

(415) 338-2885

www.sfsu.edu/~news

 

THURSDAY, MAY 5

 

Chabot College walk-out

Chabot College students, as well as middle and high school students and other community members in and around Hayward, will walk out in protest of the construction of the Russell City Power Plant. Meet at Chabot College and march en masse to the proposed site of the plant for a lively rally.

Noon–3 p.m., free

Meet at Chabot College main courtyard

25555 Hesperian, Hayward

Facebook: Powerplanttaskforce Hayward

 

Hecho en San Francisco

Commemorate the Battle of Puebla while supporting local food vendors at this benefit for La Cocina and CUESA. Taste fresh tortillas, authentic puebla cooking, and the best of las cocinas Nopailito, Mijita, y Tacolicious — not to mention top shelf tequila, beer, and wine.

5:30–8:30 p.m., $50

CUESA Kitchen

Ferry Building, North Arcade, SF

www.hechoensanfrancisco.eventbrite.com

 

FRIDAY, MAY 6

 

War-tax resistance conference

Any interest in cutting off your own personal funding of America’s wars? Join the club. War-tax resisters from around the country are sure to attend this three-day national conference, which begins tonight and ends Sunday (at differing locales, so check the website for more info). Tonight’s discussion — following dinner at 6 p.m. — is on strengthening resistance through social networking.

6–9:30 p.m., $15

Berkeley Friends Church

1600 Sacramento, Berk.

www.nwtrcc.org

 

SATURDAY, MAY 7

 

Beyond gang injunctions

Join this community discussion on gang injunctions — a new strategy for policing gangs that has been criticized for siphoning money away from community programs while increasing racial profiling and other attacks on civil liberties. You’ll hear from prominent community leaders such as Sagnitche Salazar of Stop the Injunction Coalition and Whitney Young of Critical Resistance, among others, followed by a Q&A.

2:30–4:30 p.m., free

EastSide Arts Alliance

2277 International, Oakl.

www.radioproject.org

 

TUESDAY, MAY 10

 

Activism is not terrorism

Attend this reading and discussion of Will Potter’s Green is the New Red: An Insider’s Guide to a Social Movement Under Siege. In it, the award winning journalist discusses the “green scare” trend in the media and popular culture, which portrays environmental and animal rights activists as so-called ecoterrorists. Even the federal government is flippant with its use the word “terrorism,” he says, and it recently convicted a group of animal rights advocates of “animal enterprise terrorism.”

7 p.m., free

City Lights Books

261 Columbus, SF

www.citylights.com 

Mail items for Alerts to the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 437-3658; or e-mail alert@sfbg.com. Please include a contact telephone number. Items must be received at least one week prior to the publication date.

FEAST: 9 meat-free marvels

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culture@sfbg.com

The sandwich, like the wheel, is an timeless invention that keeps us rolling. But if you be a vegetable lover, or just someone who fantasizes about two pieces of bread cradling things other than animal carcass, you must plan ahead — or risk finding yourself stuck with a woefully dull cheese and lettuce number. Lucky for us, here in the Bay we celebrate all sandwich orientations — some with brassy beets, others laced with sweet and spicy barbeque sauce, all ample reasons to raise our veggie flags high as we chow down.

 

RHEA’S DELI

Best. Sandwich. This Mission District locale constructs an incomparable veggie BBQ sandwich. Somewhere in this combination of spicy, moist, toasty tastes full of coleslaw and some mysterious sort of thrillingly breaded veggie “chicken” is an addictive chemical. I’m not willing to rule out crack. I love this sandwich. The end.

800 Valencia, SF (415) 282-5255

 

MISSOURI LOUNGE BAR

The veggie hoagie sandwich here is well worth the longish wait that can ensue after ordering at the tent-covered backyard grill. This monster mouth-filler is boldly served with multiple small Morningstar veggie patties. But fear not the brand-name base — the Lounge stakes a proprietary note on this sandwich with its own pesto mayo, sautéed mushrooms, and degree of toasted perfection. The two beers you’ll drink while waiting will not make this hoagie any less delicious.

2600 San Pablo, Berkeley. (510) 548-2080 www.missourilounge.com

 

SAIGON SANDWICH

I challenge you to find someone in this city without a sworn affection for banh mi — with snazzy purveyors of the Vietnamese sandwich nuggets opening up on the swanky section of Fillmore Street, they’re all the rage these days. But the Tenderloin’s Saigon Sandwich makes a down-to-earth yet killer tofu chay banh mi. Crunchy, sweet, and spicy, it’ll leave first-timers and experienced banh mi handlers sparkling — but the best thing reason to twinkle? The price — $3.25!?!

560 Larkin, SF. (415) 474-5698

 

JAY’S CHEESESTEAK

Don’t be fooled by the name — Jay’s is not your everyday cheesesteak dealer. The Mission and Western Addition locations carry a variety of seitan sandwiches that will dazzle your palate no matter how you (mis)pronounce the meat substitute therein. Those unfamiliar with seitan might be interested to note that this wheat gluten-based product has the meat-like qualities of chewiness and savoriness — all without the killing animal guilt. Jay’s is saucy, so prepare with napkins along with your appetite.

3285 21st St., SF. (415) 285-5200; 553 Divisadero, SF. (415) 771-5104, www.jayscheesesteak.com

 

CAFÉ MATTINA

Hummus is like the Benjamin Franklin of vegetarian sandwich ingredients. It has humble chickpea roots, yet it’s prolific and given to illustrious ideas and inventions. Of these, let us focus on Cafe Mattina (formerly Cafe Intermezzo)’s hummus sandwich. If you can get past the flocks of university-style chaos on Telegraph Avenue, this very Berkeley sandwich will be waiting for you in all its honey-wheat-and-sprouts glory, the respected founders of meat-free sandwiches.

2442 Telegraph, Berk. (510) 849-4592, www.cafemattina.com

 

ESTELA’S SANDWICHES

Sun-dried tomato pesto, artichoke spread, fresh basil, lettuce, tomato, red onion, carrots, cucumber, and pea sprouts, all drizzled with lemon-oregano vinaigrette on telera bread. Estela, we thank you for your veggie muffelatta.

250 Fillmore, SF. (415) 864-1850

 

JB’S PLACE

This unassuming Potrero Hill joint makes its own amazing falafel — crunchy and crisp on the outside with a soft herbaceous center. Folded into JB’s warm pita wrap, the falafel balls are supported by the tang and crunch of tahini and lettuce. This Middle Eastern lunch is big enough to satisfy even the hungriest of veggie-sauri.

1435 17th St., SF. (415) 626-7973

 

BETTE’S DINER

You can find a lot of great food here. Eggs, hashes, and good old diner fare are among the specialties, but Bette’s simple veggie sandwich hits the mark with its simplicity and freshness. With avocado, roasted red bell peppers, marinated cucumbers, baby greens, and vinaigrette on a baguette, you’ll be enchanted by this no-frills knockout.

1807 Fourth St., Berk. (510) 644-3230

 

THE PLANT CAFÉ

There are times when even I, an ardent vegetarian, mourn the loss of ruebens. Chewy, hearty, a gut punch of protein and sauce — thank Gaia, then, for Plant Cafe’s veggie rueben. Who cares what it’s made of — the zinger is smothered in sauerkraut, Swiss cheese, and that creamy cure-all: thousand island dressing.

Various locations, SF. www.theplantcafe.com

 

THE ATLAS CAFÉ

The super-healthy beet sandwich here will tolerate no beet phobia. Accented by kale and vinaigrette on chunky whole wheat bread, its heft and fuchsia weight promise health and happiness. But you have to go to great lengths to procure one: namely, braving the Atlas Cafe’s roomful of smarmy hipster-people staring at laptops (maybe you — quit spilling beets on your shirt, dammit).

3049 20th St., SF. (415) 648-1047, www.atlascafe.net

 

FEAST: 5 tapioca delights

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diane@sfbg.com

When it comes to tapioca pudding, levels of neurosis tend to equal levels of nostalgia, with the haters depicting the starchy little pearls as “gummy, scary fish eyes” and the aficionados invoking Mom patiently stirring vanilla extract into the sweet milky mixture over a prairie Wedgewood.

Pearl drinks notwithstanding — and haven’t all those bubble tea places peaked yet? — tapioca pudding remains a rarity outside of a few Jewish delis and Southeast Asian restaurants. But when you do see it, the all-white comfort food has been getting a foodie and fusion makeover, with infusions of lime, maple syrup, and Grand Marnier; bases of cream, orange juice, or coconut milk (join us, lactose intolerant ones!); real vanilla beans instead of extract (sorry, moms), and purees of passionfruit, banana, and mango. Here are five places that serve their tapioca pudding proudly. Indeed, at a few of them, you either eat your tapioca (or sticky rice) or end your meal on a sour note. You choose. (Diane Sussman)

 

OUT THE DOOR

Oh, Charles Phan — is there no humble Vietnamese street food you can’t turn into a sought-after gourmet delicacy? Not even tapioca pudding — to which you added a dollop of mango mousse for extra sweetness, a splash of lemon juice for refreshing tartness, a bit of cream for extra richness, all in a smooth coconut milk base? If there’s any criticism to be had, it’s that OTD’s tapioca pudding is only offered every day at the Westfield Centre outpost (sorry, Ferry Buildingers, you have to wait until summer to get yours). Not nice, Charles Phan, making us traverse the carny ride of an escalator for a bit of tapioca. And while we’re at it, here’s another criticism: OTD’s Ferry Building tapioca comes in prepackaged plastic containers — or is it a compostable composite? — so BYOB (bowl).

845 Market, SF. (415) 541-9913, www.outthedoors.com

 

LE COLONIAL

Who says a night on the town can’t end in tapioca pudding? At the classic and classy Le Colonial, the French-Vietnamese restaurant in the Financial District, you can have it all. Le Colonial may also be the only restaurant in town that suggests a wine pairing for your tapioca pudding (a 2003 Royal Tokaji Aszu 5 Puttonyos). And, Le Colonial serves its tapioca, infused with coconut, over banana custard. That’s right, puddin’ heads, you don’t have to choose! Sop up the two-fer with Le Col’s wonton crisps, and get your textural, salty contrast. Granted, this tapioca isn’t cheap ($9). But this is your big night out — go ahead and splurge in your own homey, comfy way.

20 Cosmo Place, SF. (415) 931-3600, www.lecolonialsf.com

 

THE HOUSE

The House, along with lingering traces of the Beats, are two small respites from North Beach’s Italian theme-park vibe. Situated in an off-kilter, oddly-painted building on a triangulated corner at Grant and Fresno, the House serves Asian fusion fare like Maine crab cake with pickled ginger remoulade and wasabi noodles with Angus steak. Fusions aside, the House’s tapioca pudding may well be prettiest in all the land (take that, shellacked and air-brushed Martha Stewart Living centerfolds). For starters, House decorates its tapioca with a flowery swirl of mango puree that melds into the pudding for a jolt of extra sweetness. But it’s not just the artistry that makes it worth the $4 price tag: the pudding is smooth and creamy, with large pearls that have had all traces of gumminess warmed out of them.

1230 Grant, SF. (415) 986-8612, www.thehse.com

 

PHUKET THAI

If there’s a tapioca pudding that has remained faithful to its pedestrian roots, this is it. No cream, no liqueur, no mousse. Indeed, compared to other places, Phuket’s tapioca can seem on the thin side, and the corn kernels for added sweetness and texture are decidedly off-trend. But Phuket has one thing going for it that no other local tapioca purveyor has: it serves its tapioca warm. That’s right, the cooks make it just for you. And nothing says “ma-ma” like tapioca right off the stove.

248 Divsadero, SF. (415) 864-8584, www.phuketthaisf.com

 

WHOLE FOODS

Some days you need tapioca. You need it bad. You need it bad and you sure as hell aren’t going to make it yourself. And you’re certainly not going to eat another satay dish just to get to the tapioca, or resort to Kozy Shack (not because it’s bad — it’s good — but because the four-ounce containers are just too damn small and you’d have to eat the whole pack). Those are the days to head to Whole Foods’ prepared foods section, where eight-ounce containers of tapioca await. Although Whole Foods takes a classic approach to tapioca, it does up the gourmet ante by using cream (and milk) and a generous helping of vanilla. The result, of course, is smooth, creamy, and sweet — the way you wish your Mom had made it, if she hadn’t been saving the cream for something “special.”

Various locations, www.wholefoodsmarkets.com

 

FEAST: 8 intriguing entrees

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virginia@sfbg.com

Forget that gourmet mac ‘n’ cheese, leave behind another night of Neapolitan pizza — it’s time to consider a meal that has yet to be repeated all over town. Here are a few that have really turned my head of late.

 

HIBISCUS

Hop a flight to the Caribbean via this downtown Oakland eatery, where chef Sarah Kirnon pulls together stimulating new interpretations of classic island flavors. A stand-out on this menu of tastes native to Barbados and Jamaica is Kinon’s Dungeness crab cornmeal porridge, a comforting blue cornmeal mash laced with chunks of crab, butternut squash, carrots, leeks, and spiced up with bird’s eye chili. It may be one of the best dishes she’s served yet.

1745 San Pablo, Oakl. (510) 444-2626, www.hibiscusoakland.com

 

WISE SONS DELI

As long as it stays in its current form — a pop-up eatery that takes over Jackie’s Vinoteca and Cafe on Saturdays — lines at Wise Sons are sure to stay painfully long. That’s because nowhere else in the city can you get the authentic Jewish eats these young guys serve up. It’s no surprise that after only a few weeks of operation, they’re already in hot demand. Corned beef and pastrami are sliced before your eyes in all their meaty glory, excellent chocolate babka is earthy with dark chocolate or laced with Clairessquares caramel in a sweeter incarnation. Don’t miss house-smoked salmon with red onions and capers on a bialy, a traditional roll that’s similar to a bagel but baked instead of boiled.

Saturdays 9 a.m .–2 p.m. 105 Valencia, SF. (415) 787-DELI, www.wisesonsdeli.com

 

BAR BAMBINO

It was with delight I heard that one of the city’s first Italian charcuteries was shifting to a Germanic-Italian cuisine that would focus on the Tyrol and Friuli regions. I’ve been craving Tyrolean food ever since I traveled the area in Italy — its melting pot of cultures equals pleasure on a plate. Bambino’s executive chef Lizzie Binder plays with unique dishes like chewy, subtle pumpkin seed spaetzle, but my favorite is the Alpine bruschetta, simple hunks of rustic bread layered with Alpine ham, melted Montasio cheese, and horseradish kraut. It transported me straight back to dining on ham and cheese on sunny patios in the Alps.

2931 16th St., SF. (415) 701-VINO, www.barbambino.com

 

GITANE

Do not fear raw lamb. Do not expect gaminess. Order this dish — and prepare for fresh, succulent meat to rival the best beef tartares you’ve ever had. Chef Batson’s lamb tartare is unexpectedly silky meat, loaded with flavor. The added bonus is three dollops of worthy spreads, from an eggplant compote to a mix of pomegranate, walnut, and red pepper. There’s just no dish like it in town.

6 Claude, SF. (415) 788-6686, www.gitanerestaurant.com

 

FIFTH FLOOR

Since executive chef David Bazirgan recently climbed aboard, there are a number of noteworthy dishes here — particularly the Mendocino uni flan. It arrives unceremoniously, resembling a little bowl of foam. Dig into this “saffron air” and underneath you’ll find Dungeness crab fondue and a silky uni flan. Heightened by aged kaffir lime and Sichuan pepper, you’ll be dreaming about it all week.

12 Fourth St., SF. (415) 348-1555, www.fifthfloorrestaurant.com

 

HELMAND PALACE

A highly underrated SF gem. Decor is not the latest or hippest — but even better, it’s mellow and unassuming. It’s easy to get a reservation, you can fill up for $15, and even after 20 years, Helmand Palace remains our city’s best Afghani restaurant. Although kaddo (pumpkin that is pan-fried, then baked) in yogurt-garlic sauce remains a favorite dish of mine, I’m just as crazy about aushak, Afghan raviolis filled with leeks and scallions and served in a sauce of yogurt, mint, garlic, tomato, and ground beef: Middle Eastern cuisine meets red sauce Italian.

2424 Van Ness, SF. (415) 345-0072, www.helmandpalace.com

 

ICHI SUSHI

Industry insiders sidle up to Ichi’s sushi bar for impeccable fish from chef Tim Archuleta and crew. Archuleta keeps it seasonal and affordable — you’ll find far less interesting slices of fish elsewhere at higher prices. There are also high quality hot plates, and a particular stand-out is the artistic beef tataki. All-natural beef is seared sous vide, then accented with radish, kimchee, white ponzu, and crispy burdock root. The meat oozes tenderness while the accompanying ingredients add dimension to the dish.

3369 Mission, SF. (415) 525-4750, www.ichisushi.com

 

SPQR

Though everyone loves SPQR’s rustic pastas and exquisite antipasti, you’ll be equally satisfied at its bar with spuntini small bites and a glass of Italian wine from Shelley Lindgren’s impeccable list. Executive chef Matthew Accarrino infuses Roman sensibilities throughout the menu, achieving near-perfection in snacks like milky burrata cheese, which runs over accompanying toast and is sweetened with honey, hazelnuts, and a hint of chili — savory, sweet, silky. Spiced ricotta fritters are equally unforgettable: warm, with a whisper of smoked maple syrup.

1911 Fillmore, SF. (415) 771-7779, www.spqrsf.com

 

FEAST: 5 gourmet gross-outs

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diane@sfbg.com

From the design world to the fashion world, there are things that go and things that don’t go (yes, you — guy in the striped shirt and madras Bermuda shorts ensemble; and you too, street scrounger hauling off that hideous oversized floral-pattern couch). But the truth is, these principles remain fixed only until some genius comes along and voila! isn’t everyone on the runway looking sharp in stripes and madras? And doesn’t that flower-power couch look great with that Marimekko wallpaper?

This is precisely the case with some of the weirdest — and tastiest — food pairings in town, dishes in which two icky foods combine to make a better one, or one perfectly good food, paired with a “say what?” one, becomes the way you want it from that point on. As these dishes show, the difference between yuck and yum is a mere two letters. 

 

FRITO PIE AT GREEN CHILE PIES AND ICE CREAM

Consider the Frito pie (or depending on where you’re from, the Frito boat or walking taco), a concoction of disputed and dubious origins. Was it Frito-Lay queen mum Daisy Dean Doolin, or Woolworth lunch counter waitress Teresa Hernandez who invented it? Then again, who really cares who first took a bag of Frito corn chips, smothered them with chili or taco meat, and topped the whole mess with cheese, onions, and jalapenos? Green Chile Pies — SF’s standard-bearers of New Mexican cuisine — may be the only place in town to score this Southwestern carnival midway classic. GCP also takes the pie to dare-devilish new heights, serving its version right out of the bag. And nothing says fresh like the sound and feel of your own crinkly bag.

601 Baker, SF. (415) 614-9411, www.greenchilekitchen.com/pies

 

FRENCH FRY SANDWICH AT GIORDANO BROS

To most right-thinking Californians, what people in Pittsburgh eat is a mystery, if not an opportunity to ponder the eternal question: WTF? Noodle and cabbage halusky. Frizzle fry chipped ham sandwiches. Eat ‘n Park smiley cookies. Or how about letting people have their french fries on their sandwich? Actually, on this one, we have back off. As served on one of the superlative and meaty sandwiches at Giordano Bros., this carb-on-carb combo means never having to pay extra for fries, or having to pause from your sandwich to grab some fries, or wondering if your last bite should be fries or sandwich. You can love the sandwich and save your Pittsburgh-hating for when the Pirates dare try to beat the Giants.

303 Columbus, SF. (415) 397-2767, www.giordanobros.com

 

COTTAGE CHEESE SOUP AT COWGIRL CREAMERY SIDEKICK

Mmmm, beer. But mmmm, cottage cheese? And mmmm, brussels sprouts? And mmmm cottage cheese and brussels sprouts in soup? Before you dub such a commingling “best gag me a spoon” contender, consider Cowgirl Creamery Sidekick’s cheese soup with cottage cheese dumplings. Yes, the staff has to allay the fears of bug-eyed browsers with a taste. But once tasted, many times eaten. Despite its unappetizing name, the hearty, earthy soup starts with shitake and vegetable-based broth infused with cheese and finished with handmade cottage cheese dumplings and shavings of brussels sprouts. The cottage cheese, of course, is Cowgirl Creamery’s hand-clabbered cottage cheese, which has prompted many a trek to the Ferry Building among people who care deeply about curds and whey.

One Ferry Building, SF. (415) 362-9354, www.cowgirlcreamery.com

 

SARDINE AND SQUID SANDWICH AT BARBACCO ENO TRATTORIA

What focus group signed off on this one? What Italian fisherman stranded at sea with a puny catch told Barbacco Eno Trattoria that combining sardines and calamari was a good idea? After all, if there’s one thing Americans abhor, it’s sardines. And if there’s one thing Americans adhor even more than sardines, it’s squid. But when all is said and cooked, Barbacco was wise to listen to the fisherman, and to unite fish and mollusk in one tasty sandwich. Maybe it’s the Acme torpedo roll, or the spicy arugula, or Barbacco’s housemade “roasted tomatoe condimento.” Whatever it is, two tentacles up. (Note: it’s only available when sardines are swimming.)

220 California, SF. (415) 955-1919, www.barbaccosf.com

 

TUNA AND EGG SALAD SANDWICH AT M&L MARKET

Maybe you know some routinized drone who alternates every day between egg salad sandwiches and tuna salad sandwiches. Maybe you are that routinized drone. Maybe on the seventh day, you need to rest. But maybe you’re afraid to rest, and the fear of the unfamiliar prevents you from publicly uttering the words “grilled cheese” or “hot dog today.” Those are the days to head to M&L Market, where they will make you a tuna-and-egg salad sandwich (together). But — beware the ordering protocol. Select your bread first or suffer the wrath of the woman known to regulars as “the sandwich Nazi.” Remember, this is everything you know and love in one sandwich: tradition, paired with tradition, in an entirely new context.

691 14th St., SF. (415) 431-7044

 

FEAST: 7 brunch cocktails

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culture@sfbg.com

It’s noon on a Saturday — for you, we envision two possible scenarios. One: you’re covered in glitter, you smell like a wet poodle, and you’re on your way to brunch. Two: you’re well-rested after last night’s sobering yoga, feeling fly, and on your way to brunch. Hey booze breath, forget the three Advil, coffee, and a Xanax — you know there’s no better way to kick a hangover (or forge the path toward one) than to cocktail your way through the early afternoon. And Miss Fresh-As-A-Daisy? Have a drink already. Always helpful, never hurtful, here is our list of the tastiest brunch libations of the moment.

 

GINGER LEMON DROP AT CAFÉ FLORE

There is a stretch of Market Street that catches us unawares: one minute you’re surrounded by city, the next you’re in front of a magical garden filled with people downing bloody marys and eating eggs benedict. Ah, Café Flore, your lush patio makes us feel guilty for not drinking at breakfast. But we resolve not to live our life in shame. The ginger lemon drop, a Café Flore original, is the perfect way to kick off a day of leisure. Ginger liqueur and fresh lemon juice will have you feeling like you’re drinking pure, unadulterated sunshine, while the Ketel One vodka buzz reminds you that you’re actually just drunk.

2298 Market, SF. (415) 621-8579, www.cafeflore.com

 

MOJITO AT THE RAMP

You’re already on a mission to brunch, why not indulge in a meal amid the ocean breezes? Salty winds plus brunch treats and cocktails equals living large at The Ramp, which sits all the way at the end of Dogpatch’s Mariposa Street, perched on the pier of a boatyard. Grab a table inside the funky dining room or outside on the water and make sure to order one of the fresh mint mojitos. Two sips in, and you’ll be feeling like a brunch pirate. Day drunk ahoy!

855 Terry Francois, SF. (415) 621-2378, www.ramprestaurant.com

 

SPICED ALEXANDER AT AXIS CAFÉ AND GALLERY

The standard Alexander cocktail is made with gin, chocolate liqueur, and cream, a mature take on chocolate milk. The spiced Alexander at Axis Café, a lowkey but upscale café and art gallery at the base of Potrero Hill, is served hot and spiked with soju — great by itself or with one of the cafe’s whole wheat pancake and poached cranberry plates. A lesser-known brunch beverage, yes, but it pairs way better with waffles than a tequila shot. Like an old-fashioned hot cocoa, Axis’ is sweet, creamy, and warm — perfect for the seats by the joint’s roaring fireplace.

1201 Eighth St., SF. (415) 437-2947, www.axis-cafe.com

 

FOG CUTTER AT BAR AGRICOLE

This sleek SoMa restaurant is known in some circles as the Chez Panisse of cocktails, so it’s no wonder that its brunch offerings include libations worth writing home about, once you’ve sobered up. One standout is the fog cutter, a complex citrus drink made with pisco, rum, gin, sherry, citrus juice, and orgeat (almond syrup) served on the rocks and with a taste that’s similar to a mai tai. Planning on catching up with your correspondence later that day? We suggest you stick to one, for clarity’s sake.

355 11th St., SF. (415) 355-9400, www.baragricole.com

 

BLOODY MARY AT HOME

While it’s true that you can build your own bloody mary in the comfort of your own home, doing it at Market and Church Street’s comfiest brunch spot is much more exciting. Home puts the world at your fingertips: pickled veggies, olives, and over 15 kinds of hot sauce. This, friends, is the art of taking bloody mary by the horns.

2100 Market, SF. (415) 503-0333, www.home-sf.com

 

MICHELADA AT COCK-A-DOODLE CAFÉ

This downtown Oakland breakfast spot has the brunch drink for when you’re looking to kick off your free day with some heat. As all those who have ventured south of the border will recall, the michelada is a bloody mary gone Mexican, the dreaded red beers (lager and tomato juice) of your college days gone festive. Crisp Corona, lime, and Cock-A-Doodle’s house bloody mary mix await you, served in a huge salt-and-chile-rimmed glass that’s ready to baila contigo.

719 Washington, Oakl. (510) 465-5400 www.cockadoodlecafe.com

 

IRISH COFFEE AT THE BUENA VISTA

The Buena Vista’s Irish coffee story is frequently repeated by a certain faction of Bay Area folks. It is said, usually after the storyteller has downed a few, that this Fisherman’s Wharf bar was the first to perfect the drink on this side of the Atlantic. The Buena Vista’s Irish coffee is a proprietary mix of Irish whiskey, hot joe, and frothy cream — and although a friend of ours once wisely told us never to mix our uppers with our downers, to her we say: welcome to brunch drinks.

2765 Hyde, SF. (415) 474-5044 www.thebuenavista.com

 

FEAST: 10 contemporary kitchen essentials

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By now, you (hopefully) know the basic building blocks of good eating: fresh, in-season vegetables and fruits, whole grains, and — for the carnivorous set — lean, unprocessed meat and fish. Awesome. But unless you’re an adherent of the new Paleo diet fad, which mimics the eating habits of our hunter-gatherer ancestors, it’s going to take a bit more to transform this no-frills foundation into something you’d want to sit down to. Here are a few kitchen essentials that can quickly shift your cooking from serviceable to superb. (Emily Appelbaum)

 

SESAME OIL

Ancient Assyrian legend holds that when the gods assembled to create the universe, their drink of choice was sesame seed wine. And when Ali Baba needed to unseal a magic cave stocked with treasure, it was Sesamum indicum, which bursts open at maturity, that he invoked with the famous phrase “Open, Sesame!” If you’re looking to introduce some similar magic into your cooking, sesame oil is a good place to start. The cold-pressed oil has a light flavor and high smoke point, making it ideal for fast, high-temperature stir fries and wok cooking. When toasted, the oil becomes rich, smoky, and deep. A few drops make salads and noodle dishes sinfully savory and create the perfect base for dipping sauces. For a decadent indulgence, try the following: spread hot toast with miso (fermented soybean paste), top with a slice of avocado, and a drizzle of toasted sesame oil, then close your eyes and float a bit.

Available at Ming Lee Trading Inc. 759 Jackson, SF. (415) 217-0088

 

TAHINI

Speaking of sesames, Bay Area veggies, vegans, and carnivores alike have been blending tahini, a paste made from hulled sesame seeds, into homemade hummus for years. When mixed with a little fresh garlic, lemon, and salt, tahini will make quick work of a can of garbanzos — but there are tons of other uses for this simple spread. Try branching out with bean dips. Include white cannellini beans, black beans, or even kidney beans, which are super-high in antioxidants. Ditch expensive bottled salad dressing in favor of tahini mixed with soy sauce, lemon juice, or cider vinegar, and any fresh herbs you like. Toss soba noodles with steamed veggies and tahini for a fast, healthy dish served hot or cold. Or, for a whole array of desserts, start by kneading tahini and honey into flour for a tender, pliable pastry.

Available at Semiramis Imports, 2990 Mission, SF. (415) 824-6555

 

QUINOA

If you haven’t tried this indigenous staple from the Andes, you’re missing out. Stocked with the full set of essential amino acids, these unassuming seeds may be the most complete protein source the plant kingdom can provide. Quinoa even made NASA’s short list for crops to be included in ecological life support systems for long-duration manned spaceflights. It cooks in minutes and — with its mild, nutty taste and light texture — it’s an ideal base for curries, stews, and cold salads mixed tabouleh-style. Unfortunately, the quinoa craze in wealthy countries has left the crop unaffordable in some traditional regions such as the Bolivian salt flats, where most cultivated quinoa is now grown for export. Be sure to look for quinoa from companies like La Yapa Organic that pay a fair price to farmers.

Available at Rainbow Grocery, 1745 Folsom, SF. (415) 863-0620, www.rainbow.coop

 

COCONUT MILK

If you’re the kind of good San Francisco citizen who duly visits the local farmers market every week, gets carried away by the textures and colors and aromas of nature’s bounty, and then balks at everything you’ve brought home when it comes time to stuff it in the fridge — fear not. Coconut milk is the thing for you. Nothing else can so quickly transform a mountain of disparate vegetables into a rich, harmonious meal. Nearly any food in any season (potatoes regular and sweet, carrots, sweet and spicy peppers, pineapple, green beans, onions, garlic, eggplant, zucchini, tomatoes, pumpkin, spinach, kale) can feel at home in a coconut milk bath, spiced with a pinch of curry powder or garam masala and perfumed with handful of fresh herbs.

Available at Khanh Phong Supermarket, 429 Ninth St., Oakl., (510) 839-9094

 

FRESH-GROUND BLACK PEPPER

My list of Things for Which There Is No Excuse is short, and most of the items on it — like tube tops and being mean — are negotiable under certain circumstances. But one entry that cannot be compromised on is the use of pre-ground black pepper. It is simply never, ever OK. The difference between the freshly cracked pepper and the plebian, tasteless grey powder that sifts from a can is like the difference between a jam band CD and a live show. Invest in a good-quality peppermill and you’ll end up putting pepper in all kinds of places you never imagined: after experiencing pepper’s pungency in soups and bisques, on roasted root vegetables, and over tomatoes served sliced and sprinkled with kosher salt, you’ll find yourself shaking it onto strawberries marinated in balsamic vinegar and pondering the possibilities of peppercorn ice-cream. A few turns of your grinder set to coarse can quite possibly make the world go ’round.

To browse more varieties of pepper than you crank a mill at, visit San Francisco Herb Co. 250 14th St., SF. (415) 861-3018, www.sfherb.com

 

FRESH-GROUND NUTMEG

Everything said on the subject of black pepper applies — with perhaps a smidge less fervor — to nutmeg. That sickly stuff stuck with humidity to the inside of a glass shaker at Starbucks does not even remotely resemble the delicately perfumed flakes that you scrape from a whole nutmeg seed, the hard, egg-shaped center of the nutmeg tree’s fruit). Once you stop shaking the horrid pre-ground granules over your coffee, you’re likely to realize the nutmeg is not just a sweet spice. It goes particularly well with cheese and cream sauces, enriches egg and pasta dishes, and enhances all types of savory cookery with that little something-something that makes diners go “hmmm.” But if you want to relegate it to the dessert realm, no one’s going to stop you from grating a little bit over your midnight dish of chocolate ice-cream.

Fremont-based organic spice company Spicely distributes to a bevy of Bay Area retailers, but their products are also available in bulk on its website, www.spicely.com

 

FRESH GINGER

Like nutmeg, the edible rhizome of Zingiber officinale is often relegated to the subsidiary role of sweet spice — at least in American cooking. But travel nearly anywhere else in the world, from Morocco to Malaysia, Venezuela to Vietnam, and ginger plays the snappy star in soups, roasts, stews, and salads. Grate fresh ginger and garlic into peanut oil as the base for a superlative stir-fry. Stir into soups for a revitalizing broth. For a crisp, peppery salad, shred cabbage, carrots, and green beans and toss with ginger, vinegar, or lime juice, and maybe a dollop of peanut butter (or use your newly purchased tahini). Pulse ginger, chiles, and garlic in your food processor for a quick crust to sear onto meats or tofu. Ginger is a versatile gal, so don’t be afraid to experiment.

Available at New May Wah Market, 707-719 Clement, SF. (415) 668-2583

 

FRESH LEMONS AND LIMES

Nothing wakes up heavy, sleepy flavors like a bright squeeze of acid, but don’t even bother with the bottled stuff here. Before you juice, take a second to zest the thin colored rind — which contains tons of essential oils — from the outside of the fruit, being careful to stay away from the white pith. Then cut in half through the equator and squeeze. Older fruits can be coaxed to spill their juice by rolling back and forth between the palm and the cutting board. Or zap in the microwave for just a few seconds. Lemons add zip to Italian and French dishes, limes to Asian, Indian and Latin. The brave and adventurous might even try whole lemons or limes — rind, pith, pulp, and all — chopped very finely in salsas; crusts for veggies, fish or tofu; and marinades. An old-timey recipe for something called Funeral Pie uses whole lemons, thrown in a blender with some sugar, eggs, and a little flour. The result is poured in a pie crust and “Viola!” A super-quick desert ready in a flash, in case of Great Aunt Millie’s untimely demise.

Bi-Rite Market stocks organic, biodynamic lemons and limes from Becks Grove whenever possible. 3639 18th St., SF. (415) 241-9760

 

BLACK BEAN SAUCE

Hot Chinese sriracha sauce might be manufactured right here in Northern California, but that’s no excuse for indiscriminately squirting that sticky red rooster bottle over everything — from eggs to escargot — that stands still long enough. If it’s spice you’re craving, aim for a subtler, deeper flavor. Chinese-style black bean sauces, garlic or chili, provide plenty of heat without the cloying, vinegary sweetness of sriracha. Instead, their fire is mellow and a bit smoky, and develops on the tongue. Try over steamed veggies such as asparagus, broccoli, or bok choy. Use to marinate tofu or chicken, and serve over everything from tempeh to tacos. If you like the taste, try going a step further and purchasing some fermented black beans — a salty, spicy condiment something like a cross between miso and Marmite.

Available at Pang Kee Bargain Market, 1308 Stockton, SF., (415) 982-1959

 

REAL MUSTARD

All mustards are essentially a combination of whole or ground mustard seeds suspended in vinegar and spices. But subtle variations in the type of grind and proportions of ingredients can make all the difference. If you inhabit the realm of ballpark-yellow, your culinary development has been sorely stunted. All mustards work as emulsifiers, making them ideal mix-ins for dressings, marinades, and notoriously finicky Hollandaise sauces. Whole grain mustards combined with miso, maple syrup, horseradish, or Parmesan cheese (not all at once!) make a crunchy coating for salmon, chicken, pork chops, or baked squash. Finely-ground mustards like German Hangstenberg are superhot and go well with preserved meats and blander veggies like cabbage. Some mustards are made with imported vinegars or champagnes, and are best paired with simple breads and cheeses so their unique flavors come through. And for something a little closer to home, try Mendocino Mustards, made in Fort Bragg.

Available at Canyon Market, 2815 Diamond, SF. (415) 586-9999

 

FEAST: 6 best breakfast bets

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SF: a brunch town if ever there was one. The life of the alternative journalist is such that we’re rarely awake at sunrise, wondering from where the hell our next hangtown fry will materialize. But there are times when it behooves one to dine at 8 a.m. on a weekday (occasions that usually correspond to the appearance of a mother or father). Set that alarm, sweetie: here’s where you’ll find Guardian staff dragging to before a big day.

 

JUST FOR YOU

A menu peppered with delightful little zingers like “What’s grits? It’s that pasty white stuff … like you had in prison,” makes this my favorite sassy breakfast joint in Dogpatch. Just For You offers classic breakfast fare with a Southern twist — biscuits, cornbread, grilled catfish filets, or creole crab cakes to go along with your eggs and home fries. Breakfast is served all day, and if you’re an early bird, you can even score a deal-worthy plate of two pancakes with coffee for just $4.75 — but only if you get there between 7:30 and 8:30 a.m. weekdays. A strict schedule — just like you had in prison. (Rebecca Bowe)

732 22nd St., SF. (415) 647-3033, www.justforyoucafe.com

 

JOANN’S CAFE

Two good reasons to get up early in the morning. One: you are going on an exciting air voyage. Two: a nice meal is waiting for you. Or both — that’s generally the happy confluence that brings me to JoAnn’s, a cheery diner-like entity en route to the airport, where a display case full of homemade muffins greets early risers and a menu full of American classics and salsa-tinged breakfast items await to congratulate the new dawn. The tiny joint opens at 7:30 a.m. every day, and even if you are flying solo (my favorite), JoAnn’s counter seating provides the perfect perch to munch orange french toast and ponder whether you prefer the x-ray scan or the pat-down. (Caitlin Donohue)

1131 El Camino, South San Francisco. (650) 872-2810

 

JIM’S RESTAURANT

Jim’s is the ultimate greasy spoon, unpretentious, no-fuss diner food perfect for when you just want a simple breakfast and to avoid the scene. You won’t find brioche french toast or bottomless sherbet-colored sparkling drinks on the menu; instead, you’ll find classic breakfast options: eggs, pancakes, waffles — and beer, if that hangover’s knocking. Five bucks gets you eggs, hash browns, bacon, fruit, and toast; for $3 more, you can upgrade to hangtown fry. Speaking of relics, this joint is like the diner that time forgot. Wood-paneled walls and AM Gold on the stereo could keep you lingering till the afternoon. (Jackie Andrews)

2420 Mission, SF. (415) 285-6020

 

NEW POTRERO MARKET

I like to live outside the laws — of good nutrition, that is — and skip breakfast. But on those days when I’m extra-hungry or extra-rich, I’ll pick up a piece of fruit at New Potrero Market, right by the Guardian office. (Just go with whichever looks the most appealing — usually the bananas are pretty good, although they don’t always have them in stock. Apples are a good alternative. I don’t like oranges. Too much work, especially in the morning.) I don’t drink coffee, but I make up for it in Diet Cokes, which are also available at New Potrero Market. True convenience. (Cheryl Eddy)

301 18th St., SF. (415) 282-2225

 

BREAKFAST AT TIFFANY’S

When I want sheer comfort with a side of 1970s and Audrey Hepburn, I head to Breakfast at Tiffany’s. There, servers call you “hon” as the Beach Boys play on cassette tapes and you sip coffee, gazing at a faded Breakfast at Tiffany’s poster. But this dive provides a lot more to sink one’s teeth into than kitsch. I love Tiffany’s pancakes loaded with fresh blueberries, and they taste even better as you sit at the counter, watching them transform from batter to fluffy cakes on the griddle. For savory contrast (and if you have room), order giant hash brown “sandwiches” stuffed with ham, cheese, onions, and all-around goodness. (Virginia Miller)

2499 San Bruno, SF (415) 468-0977

 

CAFE LEILA

Don’t be thrown off by Cafe Leila’s flowery San Pablo facade or frilly name. Once you’re inside, it’s serious breakfast time whether you’re a morning person or a hungover owl. With a big dining room and sunny, cute patio, you’ll be sure to find a good amount of personal space to scarf down one of their many innovative breakfasts. Aside from a few everyday bagel options, Cafe Leila comes up with crazy omelet ideas that make me feel special, like the date omelet, a pile of farm eggs with dates and feta. And with three kinds of hot sauce, my condiment voice is always saying “Leilaaaaa.” (Hannah Tepper) 

1724 San Pablo, Berk. (510) 525.7544, www.cafeleila.com

 

Land of the undead

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VAMPIRE APOCALYPSE There are no sparkly torsos in Jim Mickle’s Stake Land, a movie that depicts a vampire snacking on a human infant within its first five minutes. After that bold declaration that this is not a film to be fucked with, Stake Land shifts its focus to a ragtag pair of travelers who’ve taken to rural America’s back roads, trying to annihilate as many vamps as possible: teenage Martin (Gossip Girl‘s Connor Paolo), and his gruff mentor, Mister (Nick Damici, who co-wrote the script with Mickle).

As books, films, and comics have taught us, whenever a big chunk of the human race is wiped out (thanks to zombies, an unknown cataclysm, etc.), the remaining population will either be good (heroic, like Mister and Martin, or helpless, like the stragglers they rescue, played by Kelly McGillis and Danielle Harris, among others), or evil — cannibals, rapists, religious nuts, militant survivalists, etc. Stake Land doesn’t throw many curveballs into its end-times narrative, but it’s beautifully shot and doesn’t hold back on the brutality. The film opens at the Roxie on the heels of its local debut at the San Francisco International Film Festival. I recently chatted with up-and-comer Mickle about horror, the Internet, and … well, what else is there, really?

SFBG Stake Land feels very much like a zombie apocalypse film, except for the choice of monster. Why vampires?

Jim Mickle [Co-writer Damici and I] had just done zombies — we had rat zombies in [2006’s] Mulberry Street — but I think we both felt we didn’t get to do everything that we wanted to do there. Yet, also, we didn’t want to do the Romero thing and just do one zombie movie after another. I think we were looking for another monster, and we both liked vampires. They’re human-based, so I think you can treat them like characters and not just monsters, and be able to have them stand in for a lot of different things socially — but also have a lot of fun with them.

SFBG A lot of vampire stories depict the vampires as living secretly among the human race, but in Stake Land, they’ve basically taken over.

JM Originally, we [planned the film as a Web series], and that was how it started. The first 10 pages were always the same, and from there it went to different webisodes, where, for example [the characters] stopped off in New York City and had to fight a hopping vampire in Chinatown. It was all about, “When are people gonna wake up and realize they are surrounded by vampires?” But we were gonna do it very low-budget, and the question was always, like, “Holy shit. How are we gonna pull this off?” When the idea became to make a feature out of it and to sort of merge all these stories together, it just felt like that — a bunch of stories strung together and very chapterized. We wanted to hang onto that, but also give it a backbone and an overriding theme.

SFBG Do you have plans to follow through on the Web series?

JM We did try to keep it going — we have these prequels that have come out [on the iTunes Movie Trailers page at trailers.apple.com]. There are seven total — each character has their own short film, basically, sort of right before we meet them in the movie. We wanted to keep the idea of the serial going. We liked the idea that there are these new ways to release movies, and the online presence really matters for movies now. I still have yet to see a really successful Web series, so we tried to find a way to do that and mix that in [with the prequels]. But we still have all those scripts, you know, and when people talk about sequels and stuff — we still have that material there, and it’ll be interesting to see where it goes.

STAKE LAND opens Fri/29 at the Roxie.

Age against the Machine

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arts@sfbg.com

THEATER Death-defying acts of autobiography enliven the main stage at the Marsh this week in Geoff Hoyle’s unadorned yet dazzling new solo show. Developed with director David Ford — and one of the very best things to come from the Marsh’s fertile performance breeding grounds all year if not longer — Geezer takes a serpentine course through the accomplished career of the longtime Bay Area actor and physical comedian to confront the challenges, epiphanies, and qualified, but nonetheless quality, opportunities of aging and mortality.

There’s something undeniably stirring already in an actor as protean as Hoyle talking about metamorphoses beyond his control or ken, but to watch the English-born 64-year-old master showman, without props or costumes, convert aging into a frenetic, heart-pounding, hilarious virtual-reality game of 3-D megaplex proportions lets you know his game, at least, is a long way from over.

But this is a clear-eyed confrontation with the inevitable, as well as a backward glance, half-bemused and half-knowing, at the accumulations of a life. As enthralling as the sure comedy on display are the memories and questions, political awakenings and philosophical musings, that buttress a beautifully crafted script, a fascinating and poignant memoir animated by flights of whimsy and physical poetry that few performers of any age can muster.

Dwelling with a mix of palpable emotions on his working-class roots in postwar Yorkshire, childhood Hoyle was the hyperactive class clown bursting with an unbridled but unguided desire to perform. He’d probably have been medicated anywhere else, but Yorkshire in those days could still provide class clowns with a fighting chance. Crucial assists come from a handful of role models and supporters (all deftly brought back to life before our eyes), one English university’s spanking-new drama department (a fine opportunity for Hoyle to relive for us his hysterically clueless audition), and the French government, which financed the young university graduate’s study with master of corporeal mime Étienne Decroux in Paris (where the uprising of May 1968 called the young, instinctively socialist artist to the barricades in his off-hours).

The journey of this journeyman artist ultimately lands in the Bay Area, where Hoyle becomes a Pickle Family Circus performer with a budding family of his own (including Marsh star Dan Hoyle, quite a chip off the old block). But the germ of his peripatetic career can be found in the pivotal half-intended gestures of his humble parents, especially those of his father, an otherwise reserved typesetter with a fondness for the jocular tunes of the English music hall — one of which winds its way cleverly through the narrative — who also bequeathed his son a volume of Shakespeare’s collected works. His father had little grasp of the Bard himself but a sure sense of the bulky tome’s importance as a cultural step up. Indeed, some key lines from Shakespeare — ruing life as “a walking shadow, a poor player that struts and frets his hour upon the stage” — form another of the play’s supple leitmotifs.

Macbeth’s soliloquy, committed to memory by the young Hoyle long before its full import could possibly accrue, is no gratuitous Bartleby citation either but lines deeply connected to his narrative — immortal lines, no less, and testament to the potential in art to simultaneously look without illusion at oblivion and still defy it anyway by the sheer projection, across many lifetimes, of such exquisite perfection and courage.

What a dissection this is — of a life, of an artist, of the purpose of art, and of the conundrum of memory and loss that gathers darkly over the heads of those blessed and cursed with longevity. The fusing of mesmeric physical performance, searching autobiography, subtle humor, raucous hilarity, and tender regard all come together to form a thematic whole of pronounced charm and beauty.

GEEZER

Wed.–Thurs., 8 p.m.;

Sat.–Sun., 5 p.m.; through July 10

The Marsh

1062 Valencia, SF

(415) 826-5750

www.themarsh.org

 

This place

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arts@sfbg.com

LIT Begun in part as a series of maps accompanying public lectures, Rebecca Solnit’s Infinite City: A San Francisco Atlas (University of California Press, 167 pages, $24.95) is a remarkable act of gathering, one that presents myriad versions and visions of San Francisco and its surrounding areas that can inform a reader’s experience.

Infinite City was recently selected by the Northern California Independent Booksellers as one of its 2011 winners. Duality is a fundamental aspect of the book’s breadth and depth and sense of sharply critical appreciation — structurally, Solnit pairs distinct maps with corresponding chapter-length essays. In keeping with that characteristic, and also with the book’s group spirit (though admittedly on a much smaller and less intensive scale), I asked different Guardian contributors to share appraisals of one, or in most cases two, of the 22 sections. The result provides just a hint of what can be found within Infinite City. (Johnny Ray Huston)

MAP 3. “Cinema City: Muybridge Inventing Movies, Hitchcock Making Vertigo

The map for this chapter tracks the San Francisco life of Eadweard (sic) Muybridge, alongside landmarks from Alfred Hitchcock’s Bay Area masterpiece Vertigo. In “The Eyes of the Gods,” Solnit, who won the National Book Critics Circle award for her 2003 Muybridge bio River of Shadows, writes of the 19th century artist’s breakthrough high-speed photography, “It was as though the ice of frozen photographic time had broken free into a river of images.”

Many such rivers flowed all over this fair city when Vertigo premiered at the Stage Door Theatre at 420 Mason St. on May 9, 1958. Alas, only 10 of the more than 60 single-screen venues extant that year, all demarcated on Shizue Seigel’s fine map, are still functioning. Solnit rightly describes the shift to watching films on various digital delivery mechanisms as leaving contemporary culture with a “curious imagistic poverty.” As she concisely describes watching Milk and Once Upon a Time in the West on the Castro Theatre’s giant screen, we’re reminded that there is no comparison between enjoying cinema in such a grand setting and staring at a laptop. The great 20th century memoirist and observer Quentin Crisp wrote, “We ought to visit a cinema as we would go to a church. Those of us who wait for films to be made available for television are as deeply suspicious as lost souls who claim to be religious but who boast that they never go to church.”

That applies to you too, Netflix subscribers! The Roxie, Castro, Red Vic, Clay, and a small number of other houses of worship are still in business, so what are you waiting for? (Ben Terrall)

MAP 4. “Right Wing of the Dove: The Bay Area as Conservative/Military Brain Trust”

In “The Sinews of War are Boundless Money and the Brains of War Are in the Bay Area,” Solnit argues that antiwar, green, and left Bay Area hotspots are well known and don’t need to be charted again — unlike military contractors and assorted other forces of reaction in the region.

Solnit notes that many military bases that used to operate in the Bay Area are closed, “but the research, development, and profiteering continue as a dense tangle of civilian and military work, technological innovation, economic muscle, and political maneuvering for both economic and ideological purposes.”

Among the hard-right compounds providing counterevidence for that demonstration chestnut “the people united will never be defeated”: Lawrence Livermore National Labs (birthplace of Star Wars — the Reagan era money pit, not the George Lucas movie); Lockheed Martin, world’s largest “defense” contractor; the Hoover Institution, Stanford’s reactionary think tank; and Northrop Grumman, missile component designer. It’s useful to have so many of them in one place, if queasy-making.

On the lower left of the map sits Sandow Birk’s beautifully warped code of arms, which features the Cicero quote (Nervi belli pecunia infinita) that Solnit cites in her chapter title, under a half eagle/half dove, a rifle-toting soldier, and a scythe-clutching skeleton. It should be on the door of every U.S. military recruiting center. (Terrall)

MAP 6. “Monarchs and Queens: Butterfly Habits and Queer Public Spaces”

“How thoroughly the lexical landscape of gay history is invested with [a] paradigm of emergence,” notes poet Aaron Shurin in “Full Spectrum,” the chapter accompanying Infinite City‘s sixth map. Like one of the dazzlingly-named butterfly species rendered by Mona Caron on the map, Shurin flits gracefully between memoir and historiography as he tracks San Francisco’s ongoing evolution as a locus for queer emergence.

From North Beach to Polk Gulch, from Folsom to Castro, LGBT folk — be they American painted ladies, Satyr angel wings, or Mission blues — have continually migrated to and within the city to shed their cocoons and show their true colors. Local faux-queen Fauxnique traced this metamorphosis at the 2003 Miss Trannyshack Pageant when she climatically emerged as a regal butterfly to Elton John’s “Someone Saved My Life Tonight” (apropos to Shurin’s royalty motif, she won the crown). So too did the late Age of Aquarius painter Chuck Arnett, who often nestled butterfly imagery into his portraits of SoMa’s leather demimonde, and whose murals once adorned some of the many now-extinct bars also denoted by Ben Pease’s cartography. Only more than half a dozen of these “wildlife sanctuaries,” in Shurin’s parlance, have survived, with the Eagle Tavern’s announced closure marking another loss of habitat. Queers, though, are if anything adaptive, and my hope is that the future fluttering tribes of San Francisco will keep alighting on new ground to unfurl their wings. (Matt Sussman)

MAP 7. “Poison/Palate: The Bay Area in Your Body”

“Food is part of the Bay Area you hear about nowadays, exquisite upscale food at famous restaurants and gourmet markets. But it’s so boring we couldn’t stay focused on it in this map.” These refreshing, if rarely uttered words come two-thirds of the way through the chapter that accompanies the “Poison/Palate” map, Rebecca Solnit’s “What Doesn’t Kill You Makes You Gourmet.”

The phony Tuscany of Napa and the once-orchard-filled, now-EPA-Superfund-site-speckled Silicon Valley are wisely singled out for derision, a convenient duality in both geography and culture and the perfect framework on which to hang a critique of the local culinary community’s smug, myopic self-indulgence, by raising the not-so-elite-specters in Bay Area food history (the It’s It, the Popsicle, the Hangtown Fry, the Rice-a-Roni), and reintroducing the politics of food into the conversation, in the form of the chemical tonnage used to produce wine grapes, food giveaways at community gardens, Diet for a Small Planet, and Black Panther breakfast programs for school-kids. The sprawling topic is almost given too short a shrift, threatening to leap its mutant-mermaid-bedecked map.

Better is the 18th chapter, “How to Get From Ethiopia to Ocean Beach.” Solnit begins by loosely charting the ingredients that go into your cuppa joe: the water from Hetch Hetchy, the milk from West Marin, the coffee that courses through the port of Oakland, and, impishly, the leavings that flow toward the Southeast Water Pollution Control Plant. All that’s missing from the equation is the sugar that I need to make the darkest, brandy-and-cherry-tinged brew palatable. SF’s cafe culture is also deservedly lionized — though some might want to hurl china due to the exclusions on the accompanying map: why, for instance, call out Blue Danube Coffee House and not the grungier, more Chinese-populated Java Source? (Kimberly Chun)

MAP 8. “Shipyards and Sounds: The Black Bay Area since World War II”

Though author Joshua Jelly-Schapiro opens this chapter, subtitled “High Tide, Low Ebb,” with an eloquent invocation of Otis Redding’s “(Sittin’ on) The Dock of the Bay” — penned in Sausalito, by the way — it was the slight mention of Lowell Fulson’s “San Francisco Blues” that most resonated with me. “Ohh, San Francisco,” the lyric goes, “Please make room for me.” The facts presented in “Shipyards and Sounds” record The City’s answer as a genteel and progressive “No nigger.”

Beginning at the start of WWII, when Southern blacks migrated to the Bay Area to build ships in Hunters Point, Jelly-Schapiro points out that the main areas of wartime shipbuilding (Richmond, Hunters Point, Marin City) are “places that today remain centers of black population and of black poverty.” Indicating, to me, that little has changed since the 1940s in some significant ways. Don’t get mad at me, I didn’t say it. Jelly-Schapiro did.

Jelly-Schapiro also shows how terms like “redevelopment” displaced black Fillmore District residents to housing projects they’d been banned from during the war and land-grab euphemisms like “urban renewal” decimated black neighborhoods such as West Oakland. Electoral laws mandating that the SF Board of Supervisors be elected by citywide contests and not by district allowed a city that desegregated its schools and transit system in the 1860s to remain progressive and very, very white.

Jelly-Schapiro’s conclusion contains a critique of Bay Area celebrations when “Negro president” Barack Obama was elected in 2008. What he won’t say is covered in Shizue Seigel’s map. A sidebar shows the dwindling soul of a city, while the headers cover the founding of the Black Panthers and Sylvester’s solo debut at Bimbo’s. (D. Scot Miller)

MAP 9. “Fillmore: Promenading the Boulevard of Gone”

After the damned disheartening facts presented in the previous chapter, it’s both merciful and hopeful that “Little Pieces of Many Wars” — though just as rage-inducing — establishes some kind of equilibrium.

Gent Sturgeon’s incredible Rorschach-inspired artwork opens a thoroughly-researched piece on Fillmore Street and its many incarnations. Mary Ellen Pleasant’s abolitionist work and her eucalyptus trees — which still stand on the corners of Bush and Octavia streets — are a starting point for a leisurely stroll with Solnit, who runs the voodoo down, “The war between the states left its traces here,” she says, “as did the Second World War, and the war on poverty, the war on drugs, the stale and ancient war of racism, and the various forms of freelance violence.”

She remembers San Francisco as an abolitionist headquarters, and Fillmore Street as the first place Allen Ginsberg read “Howl.” Recalling the Fillmore’s rich heritage of jazz, poetry, and art, Solnit takes it even further, adding, “The wealthy sometimes claim to bring civilization to rough neighborhoods, but the Upper Fillmore neighborhood that was so culturally rich when it was the property of poor people in the 1950s is smoothed over in significance now.”

The tragedy of Japanese internment, and the cross-cultural exchange that was demolished by it and redevelopment loom like white sheets over the city to this day. But Solnit closes with an optimistic sense of resurgence, even though Nickie’s has gone Irish.

Ben Pease’s cartography shows the cross-currents of culture of yesterday’s Fillmore Street, but not much else. That’s not a complaint, really. (Miller)

 MAP 13. “The Mission: North of Home, South of Safe”

Two 2009 shootings on 24th Street pop out, in blood red, on the map accompanying Adriana Camarena’s “The Geography of the Unseen,” in much the same way that the spate of shooting deaths the previous year marked my brief time spent living in the Mission. In ’08, I lived in a Victorian flat at Treat and 23rd, distinguished by the fact that it was a favorite hang for the teenaged homies — its steps were slightly tucked back off the street, ideal when it came to hiding out, smoking dope, and snacking out — until my landlords installed a fence, ostensibly to keep the steps free of spit.

We were on the same block as an appliance-loaded junkyard; the last stop of an ancient Mission industrial railroad; and the Parque Niños Unidos, with its swampy, grassy corner, so often cordoned off to keep the tots from wading in the mud, its circling ice cream carts and its de facto refreshment stand, El Gallo Giro taco truck; and the community garden, where the feral kittens tumbled and hid and fresh produce was given away free every Sunday afternoon.

The Parque likely was the last thing 18-year-old poet Jorge Hurtado saw when he was shot and killed on our corner at 1 a.m. that year. I remember waking up that night to what sounded like a cannon boom, only the first of a slew that sweltering, ominous summer — Mark Guardado, president of the SF chapter of the Hells Angels, was killed a little over a week later, down Treat, in front of Dirty Thieves. The tension was thick and gooey in the air — who was next? The beauty of Shizue Seigel’s Mission map lies in how intimate it is, how it’s threaded around the shaggy-dog snatches of yarns Camarena catches among the day laborers waiting at Cesar Chavez and Bayshore, from the long litany of splintered families, time spent in the refuge of gangs at 24th and Shotwell, and then, in Frank Pena’s case, lives cut sadly short farther up 24th at Potrero. The included stories, rarely straying beyond the tellers’ voices and the facts they choose to reveal, stay with you — even if her sources’ internal lives remain, as the chapter’s subtitle goes, “the Geography of the Unseen.” (Chun)


NORTHERN CALIFORNIA INDEPENDENT BOOKSELLERS 2011 BOOK OF THE YEAR AWARDS

 

FICTION

 

Gold Boy, Emerald Girl, stories, Yiyun Li (Random House, 240 pages, $25)

Nonfiction

Packing for Mars: The Curious Science of Life in the Void, Mary Roach (W.W. Norton and Company, 336 pages, $15.95)

Honorable Mention: Autobiography of Mark Twain, Vol. 1, (University of California, 760 pages, $34.95)

 

POETRY

Come On All You Ghosts, Matthew Zapruder (Copper Canyon, 96 pages, $16)

Food Writing

My Calabria: Rustic Family Cooking from Italy’s Undiscovered South, Rosetta Costantino, Janet Fletcher, and Shelley Lindgren (W.W. Norton and Company, 416 pages, $35)

Children’s Picture Book

The Quiet Book, Deborah Underwood and Renata Liwska (Houghton Mifflin Books for Children, 32 pages, $12.95)

Honorable mention: Zero, Kathryn Otoshi (KO Kids, 32 pages, $17.95)

 

TEEN LIT

The Sky is Everywhere, Jandy Nelson (Dial, 288 pages, $17.99)

Honorable mention: The Mockingbirds, Daisy Whitney (Little, Brown Books for Young Readers, 352 pages, $16.99)

 

REGIONAL TITLE

Infinite City: A San Francisco Atlas, Rebecca Solnit (University of California, 167 pages, $24.95)

Honorable mention: A State of Change: Forgotten Landscapes of California, Laura Cunningham (Heyday, 352 pages, $50)

 

Dark slice of life

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arts@sfbg.com

SAN FRANCISCO INTERNATIONAL FILM FESTIVAL Despite the incredible current spread of festivals and formats by which art films can be exposed internationally, it’s still possible for masterful directors with considerable resumes to remain largely ignored outside their own country. Certainly that’s been the case with Agustí Villaronga, a fascinating Spanish director whose new film, Black Bread, is the latest in a career of superbly crafted films almost-commercial enough to gain U.S. release. Yet seldom quite enough.

Villaronga’s cinema is gorgeously cinematic, often historical, high in strikingly managed melodramatic content, sexually (often homoerotically) charged, frequently tinged by the fantastical, very interested in children’s perceptions of adult corruption. He’s a middleman between Luis Buñuel and Guillermo del Toro — less abstract than Buñuel, but evidently less accessible than del Toro, even if the ambitious Black Bread possibly got green-lit because in many respects it resembles del Toro’s international success Pan’s Labyrinth (2006).

Black Bread isn’t its director’s best work, though as usual it sports his aesthetic assurance, flair for alarming set pieces, and potency in juggling disparate tonal-thematic elements. It’s another very dark story — he’s never made a frivolous one — addressing sex, politics, and violent suppression toward both that manages to be expansive rather than claustrophobic, or simply depressing. It is, like many of his films, a great movie … nearly.

He started out, however, with a feature that was absolutely great, and could hardly have been more upsetting: 1987’s In a Glass Cage, about Klaus (Günter Meisner), a Nazi doctor who conducted World War II “experiments” on children. Years later, he is discovered hiding out by one of his surviving victims. Angelo (David Sust) is now an Angel of Death himself, committed to punishing his erstwhile tormentor by perversely reenacting his worst crimes — with the sickly doc, now helpless prisoner of a primitive “iron lung,” as captive witness.

Angelo invades Klaus’ home with alacrity, appointing himself sole attendant “nurse,” dispatching anyone who gets between him and his goal. This goal is a sadistic tables-turning that the pale, handsome-yet-ghoulish teenager wreaks upon his host family, to the extreme peril of its members and any unwilling “guests.”

Hitchcockian in their perfect storyboarded discipline, yet without his gloating chortle, the unforgettable set piece highlights of In a Glass Cage are excruciatingly tense, prolonged death-knells for characters Angelo chooses to eliminate. Yet there’s a terrible poignancy to the cruel proceedings.

After horrifying San Francisco International Lesbian and Gay Film Festival audiences 25 years ago — there is a certain thread of malevolently closeted homoeroticism — this cult object remained long absent from North American access until a 2003 DVD release. It remains an astonishing peak in sick but brilliantly accomplished cinema.

Villaronga should have shot to the fore of international auteurs with that extraordinary debut. But instead he’s enjoyed just sporadic exposure and (I’d assume) a lot of frustration, given just four features realized in the near quarter-century since. Most are barely known here, if at all — 1989’s atmospheric if slightly overcooked fantasy Moonchild, 1997’s quasi-horror 99.9, or 2000’s The Sea, a sometimes shattering drama about three children who share a traumatic secret, then meet again as young adult patients at a sanitarium. All of them were arresting, however, and none were seen in the U.S. beyond a handful of festivals and (at best) extremely limited VHS or DVD exposure. (In a Glass Cage is showing at the Yerba Buena Center for the Arts Screening Room in May.)

Black Bread is, incredibly, Villaronga’s first theatrical feature in a decade. (He’s made the rare short, documentary, and TV project in the meantime, and is currently planning a miniseries about Eva Peron’s visit to Spain.) Based on a novel by Emili Teixidor, Black Bread is a complex narrative and stylistic hybrid blending history, homophilia-phobia, humanism, and horror, even more accessibly than before. It’s a festival crowd-pleaser that pretty much swept Spain’s Goya Awards in February, albeit sadly still no shoo-in for theatrical release hereabouts.

Largely about how childish emotions betray adult hypocrisies — a la To Kill a Mockingbird — the 1944-set Black Bread operates on several levels, all thorny but vivid. Their core is the bewildered perspective of almond-eyed Andreu (Francesc Colomer), an 11-year-old peasant child who witnesses a gruesome crime at the beginning, only to find his father (Roger Casamajor) accused by a corrupt Fascist mayor eager to scapegoat a former Republican rebel. Dad must flee, and Andreu is sent by mom (Nora Navas) to live with his grandmother and aunts until the heat dies down.

Cramming an epic agenda into 108 minutes, Black Bread encompasses roiling coming-of-age emotions, folkloric streaks, a few shocking revelations (including pederasty), and hints of fabulism in a nearby asylum-slash-death camp whose inmates include an angelic young man without (or possibly with) wings. It’s a terrifically orchestrated film, even if it feels somewhat overstuffed with ripe elements, almost over-accomplished in terms of slick showcase sequences — including a grotesque fever-dream of fag-bashing sadism — whose variably florid, stirring parts are less effective as a whole.

Still, those parts are often very stirring indeed, with excellent performances by the juvenile and adult actors. It’s a movie most viewers will find unusually rich in complication and artistry. Why Villaronga hasn’t had a half-dozen more opportunities to impress us over his skinny quarter-century output is anyone’s guess. But it’s surely everyone’s loss.

 

BLACK BREAD

Fri/29, 3 p.m.; Mon/2, 6 p.m.;

May 4, 9:15 p.m., $13

Sundance Kabuki

1881 Post, SF

www.sffs.org

What to watch, part two

0

WEDS/27

The Ballad of Genesis and Lady Jaye (Marie Losier, U.S., 2011) Once dubbed “the wickedest man in the world”, shock artist and cofounder of seminal industrial music pioneers Throbbing Gristle Genesis Breyer P-Orridge has softened somewhat with time. Her plunge into pandrogyny, an ongoing artistic and personal process embarked upon with the late Jacqueline “Lady Jaye” Breyer P-Orridge, is an attempt to create a perfectly balanced body, incorporating the characteristics of both. As artists, the two were committed to documenting their process, but as marriage partners, much of their footage is sweetly innocuous home video footage: Genesis cooking in the kitchen decked out in a little black dress, Lady Jaye setting out napkins at a backyard bar-b-que or helping to dig through Genesis’ archives of COUM Transmissions and Throbbing Gristle “ephemera,” the two wrapped in bandages after getting matching nose jobs. “I just want to be remembered as one of the great love affairs of all time,” Jaye tells Genesis. This whimsical documentary by Marie Losier will go a long way toward making that wish a reality. Wed/27, 9:15 p.m., and May 5, 6:30 p.m., Kabuki. (Nicole Gluckstern)

 

THURS/28

Love in a Puff (Pang Ho-cheung, Hong Kong, 2010) In 2007 the global crackdown on smoking made its way to Hong Kong, where the smoking ordinance effectively banned the practice in all indoor areas. This has lead to the explosion of “hot pot packs,” where smokers from varying walks of life come together in solidarity to grab their drags in the streets. That’s the milieu of Love in a Puff, an utterly charming, endearingly funny rom-com from Hong Kong filmmaker Pang Ho-cheung. When Cherie, a pretty Sephora sales clerk and asthmatic with a magenta-hued bob, meets Jimmy, a blandly handsome 20-something advertising exec, over Capri Slims and Lucky Strikes, what follows is a thoroughly modern and tentative courtship waged through dozens of text messages, a dash of karaoke, and a chaste encounter in a Hong Kong “love hotel.” Throw in some haunted car trunks, rogue foreign pubes in bracelets, all night-smoke runs to beat brutal tax increases, and a dry-ice-in-the toilet fetish (“It’s like taking a dump in heaven!” exclaims Jimmy) and you get a thoroughly quirky but never overly cute take on modern romance, one that never blows smoke when it comes to navigating the messy realities of love. Thurs/28, 8:45 p.m., and Sat/30, 1:15 p.m., Kabuki. (Michelle Devereaux)

 

SAT/30

The Black Power Mixtape 1967-1975 (Göran Hugo Olsson, Sweden/U.S.) Cinematic crate-diggers have plenty to celebrate, checking the results of The Black Power Mixtape 1967-1975. Swedish documentarian Göran Hugo Olsson had heard whispers for years that Swedish television archives possessed more archival footage of the Black Panthers than anyone in the states — while poring through film for a doc on Philly soul, he discovered the rumors were dead-on. With this lyrical film, coproduced by the Bay Area’s Danny Glover, Olsson has assembled an elegant snapshot of black activists and urban life in America, relying on the vivid, startlingly crisp images of figures such as Stokely Carmichael and Huey P. Newton at their peak, while staying true to the wide-open, refreshingly nonjudgmental lens of the Swedish camera crews. Questlove of the Roots and Om’Mas Keith provide the haunting score for the film, beautifully historicized with shots of Oakland in the 1960s and Harlem in the ’70s. It’s made indelible thanks to footage of proto-Panther school kids singing songs about grabbing their guns, and an unforgettable interview with a fiery Angela Davis talking about the uses of violence, from behind bars and from the place of personally knowing the girls who died in the infamous Birmingham, Ala., church bombing of 1963. Sat/30, 9 p.m., Kabuki, and Tues/3, 6 p.m., New People. (Kimberly Chun)

 

SUN/1

Circumstance (Maryam Keshavarz, France/U.S./Iran/Lebanon) Thirteen (2003) goes to Tehran? The world of sex, drugs, and underground nightclubs in Iran provides the backdrop for writer-director Maryam Keshavarz’s lusty, dreamy take on the passionate teenagers behind the hijabs. Risking jail and worse are the sassy, privileged Atafeh (Nikohl Boosheri) and the beautiful, orphaned Shireen (Sarah Kazemy), who, much like young women anywhere, just want to be free — to swim, sing, dance, test boundaries, lose, and then find themselves. The difference here is that they’re under constant, unnerving surveillance, in a country where more than 70 percent of the population is younger than 30. Nevertheless, within their mansion walls and without, beneath graffitied walls and undulating at intoxicating house parties, the two girls begin to fall in love with each other, as Atafeh’s handsome, albeit creepy older brother Mehran (Palo Alto-bred Reza Sixo Safai) gazes on. The onetime musical talent’s back from rehab, has returned to the mosque with all the zeal of the prodigal, and has hooked up with the Morality Police that enforces the nation’s cultural laws. Filmed underground in Beirut, with layers that permit both pleasure and protest (wait for the hilarious moment when 2008’s Milk is dubbed in Farsi), Circumstance viscerally transmits the realities and fantasies of Iranian young women on the verge. Sun/1, 6 p.m., and Tues/3, 6:15 p.m., Kabuki. (Chun)

The Salesman (Sébastien Pilote, Canada) Indefatigably optimistic on the outside, small-town Quebec car salesman Marcel (Gilbert Sicotte) refuses to slow down, let alone retire — perhaps from fear that grief over his wife’s death would fill any hours left empty, though he’s far too composed to let that show. He has his daughter (Nathalie Cavezzali) and grandson (Jeremy Tessier) to dote on, and his customers to endlessly fuss over and reassure. But there are few customers these days because the local factory workers are on strike, their plant in danger of being shuttered. Sébastien Pilote’s quiet drama carefully accumulates everyday details toward a full understanding of Marcel and his milieu, the stability of both eventually threatened by factors that not even his formidable powers of denial can overcome. It’s the kind of movie so small and unassuming you’re caught completely unaware when it delivers a gut-punch. Sun/1, 6:15 p.m., Kabuki; Tues/3, 8:50 p.m., PFA; and May 5, 2 p.m., Kabuki. (Dennis Harvey)

13 Assassins Before you accuse Japan’s bad boy director Takashi Miike of going all prestige-y by making a Kurasawa-esque samurai pic, consider that his 13 Assassins is actually a remake of what was originally dismissed by many as a Seven Samurai knockoff, the late Eiichi Kudo’s 1963 film of the same name. Koji Yakusho stars as Shinzaemon Shimada, an aging ronin convinced to come out of the proverbial retirement to assassinate a psychotically brutal lord (Goro Inagaki) with a penchant for raping, killing, and wreaking general havoc. Shinzaemon assembles a ragtag team of warriors with varying levels of experience, and the requisite carnage ensues. Featuring solid performances and an impressively choreographed climax, this well-told tale nevertheless feels disappointing stale. The idea of the iconoclastic Miike reinventing the samurai genre is an intriguing one. But while the film at times gnashes the provocative pulp that most Miike devotees have come to crave, it admittedly elicits a measure of old-fashioned respectability that the genre, by default, seems to command like a master ordering his knightly charge. It certainly beheads all its targets, but with something of a shrug of its shoulders. Sun/1, 8:30 p.m., Castro. (Devereaux)

 

MON/2

Incendies (Denis Villeneuve, Canada/France, 2010) When tightly wound émigré Nawal (Luba Azabal) dies, she leaves behind adult twins Jeanne (Mélissa Désormeaux-Poulin) and Simon (Maxim Gaudette) — and leaves them documents that only compound their feelings of grief and anger, suggesting that what little they thought they knew about their background might have been a lie. While resentful Simon at first stays home in Montreal, Jeanne travels to fictive “Fuad” (a stand-in for source-material playwright Wajdi Mouawad’s native Lebanon), playing detective to piece together decades later the truth of why their mother fled her homeland at the height of its long, brutal civil war. Alternating between present-day and flashback sequences, this latest by Canadian director Denis Villeneuve (2000’s Maelstrom) achieves an urgent sweep punctuated by moments of shocking violence. Resembling The Kite Runner in some respects as a portrait of the civilian victimization excused by war, it also resembles that work in arguably piling on more traumatic incidences and revelations than one story can bear — though so much here has great impact that a sense of over-contrivance toward the very end only slightly mars the whole. Mon/2, 6:30 p.m., and May 5, 8 p.m., Kabuki. (Harvey)

 

TUES/3

Tabloid (Errol Morris, U.S., 2010) Taking a break from loftier subjects, Errol Morris’ latest documentary simply finds a whopper of a story and lets the principal participant tell her side of it — one we gradually realize may be very far from the real truth. In 1978 former Miss Wyoming Joyce McKinney flew to England, where the Mormon boy she’d grown infatuated with had been posted for missionary work by his church. What ensued became a U.K. tabloid sensation, as the glamorous, not at all publicity-shy Yankee attracted accusations of kidnapping, imprisonment, attempted rape, and more. Her victim of love, one Kirk Anderson, is not heard from here — presumably he’s been trying to live down an embarrassing life chapter ever since. But we do hear from others who shed considerable light on the now middle-aged McKinney’s continued protestations that it was all just one big misunderstanding. Most important, we hear from the lady herself — and she is colorful, unflappable, unapologetic, and quite possibly stone-cold nuts. Tues/3, 9:30 p.m., Kabuki, and May 5, 2:45 p.m., New People. (Harvey)

THE 54TH ANNUAL SAN FRANCISCO INTERNATIONAL FILM FESTIVAL runs through May 5. Venues are the Sundance Kabuki, 1881 Post, SF; Castro, 429 Castro, SF; New People, 1746 Post, SF; San Francisco Museum of Modern Art, 151 Third, SF; and Pacific Film Archive, 2575 Bancroft, SF. For tickets (most shows $13) and complete schedule visit www.sffs.org>.

Beautifull

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paulr@sfbg.com

DINE In my whizzings past Laurel Village over the years, I did notice that Miz Brown’s Feed Bag, so conspicuous and inviting at the far northeastern corner of the complex that I never went there, vanished at some point. (In 2004, to be precise.) It became Cafe Lo Cubano, which I also never got to — you can’t go home again, said Thomas Wolfe, and you also can’t go to every place, though some do try — and then that too vanished. For the past two years the space has been occupied by Beautifull, a venture in tasty-healthy food that is, in its way, a feed bag for our time. (There’s a second location in the inner Sunset, with a third opening soon in the Castro.)

The transition from Lo Cubano to Beautifull seems to have been a good deal less eventful. The space is shiny and modern, with handsome chairs that combine brushed steel and butterscotchy, Scandinavian-looking wood. We are a long way from Miz Brown’s famous orange vinyl, and the question is, Who is going to pay for all these splendid aesthetics?

Beautifull assumes (as does Whole Foods) that modern urban people are interested in flavorful, healthful, and varied food that can be got in a hurry and either taken away or eaten in non-kitschy surroundings, and that they are willing to pay for these benefits. This is not the place to be pining for your Jumbo Jack with curly fries for $3.99. For that kind of money, you’ll have to settle for the polenta fries, which are better for you anyway. They’re $4.99, with chipotle ketchup.

The food takes cues from a variety of the world’s cuisines — quinoa, spaghetti and meat balls, chocolate-chip cookies, a Moroccan chicken bowl — but the heart of the menu is Asian. There is a selection of Vietnamese-style bowls, a variety of curries, and salads of Thai, Chinese, and Vietnamese provenance, along with a good old caesar. What was more heartening, to me, was the clever use of turkey. Turkey is a true native American food whose greatest misfortune was to be typecast as Thanksgiving dinner. People have a hard time seeing around that, just as they had a hard time seeing William Shatner as anything but Captain Kirk, at least until he started doing those Priceline spots.

Turkey is flexible and wonderful. It’s used in a turkey burger, in the meatballs for the spaghetti and meatballs, and — rather unexpectedly — in a mild but solid red curry ($11.99/lb.) The great issue with the flesh, particularly from the breast, is its tendency to dry out, but when it was bathed in a luxurious coconut-milk broth (and cut into small pieces for faster cooking), it was fine.

We thought it was better than the slightly pricier beef red curry ($12.99). The beef was tougher, and its flavor fought more against the curry. Beef needs little to no help in the matter of flavor and isn’t always gracious about accepting such help. Neither red curry looked especially red, incidentally; the color was more ochre, almost yellow, and indeed these could have been passed off as yellow curries.

Roast chicken ($11.99 including two sides) was wonderful, with nicely crisped skin and juicy flesh. But we ended up with a single piece, a whole leg, which might have counted as two pieces if the thigh and drumstick had been separated, but they would have been small. The black quinoa salad on the side was striking to look at, with a gloss reminiscent of beluga lentils, and the “zesty” citrus vinaigrette was serviceable. Mildness rules the day here. You could serve the zesty salad dressing to your grandmother, and the curries are tame enough to feed to a baby. This is fine. But if, like me, you like food with a measurable flame factor, you should adjust your expectations accordingly.

The mac ‘n’ cheese was served cold, though it was still creamy and hadn’t congealed. It’s the kind of thing you’d eat with a deep sense of gratitude if, brutally hung over, you found it in the refrigerator one Sunday morning. You’d thank the Almighty for remembering you at all, and you wouldn’t quibble about a small matter like temperature. Still, it would be better warm. The pasta is whole-grain: a plus.

Ordering is complex, with a murk of choices, options, and pricing plans. It’s like struggling at the podium of a budget airline — check this, carry that, headphones? By the time you’re done, you need a glass of sauvignon blanc ($5), to settle down. It wasn’t Sancerre but it wasn’t bad, either. Getting anything here for $5 is beautiful. But that’s our brave new world.

BEAUTIFULL

Daily: 10 a.m.–8:30 p.m.

3401 California, SF

(415) 728-9080

www.beautifull.com

Wine and beer

MC/V

Somewhat noisy

Wheelchair accessible