Back in my student days up at UCSC, I saw most of my movies on campus, either at student-generated film series (Film Noir! Swashbucklers!), or at any one of the six individual college dining halls where double-or triple-bills seemed to be playing every night. But when my best friend Jan moved to town in 1974, and we rented our first little downtown apartment in Beach Flats, I had to find some other way to feed my insatiable movie habit.
That way was the Nick.
Original owners Bill Raney and JoAnne Walker Raney had operated an art house movie theatre in San Francisco before they migrated down to open the Nick in 1969. The University was just getting started, so UCSC and the Nick sort of came of age together. The United Artists theatre chain owned basically all the other movie houses in town, showing a steady diet of Hollywood fare, but Bill had other ideas.
The original theatre had only one screen (what's now known as Nick I). An old-fashioned nickelodeon machine sat roped off in a place of honor in the lobby. The snack counter was dominated by its vintage popcorn popper, and contained such marvels as a bag of Swedish mints (round chocolate mint balls coated in pastel candy), which quickly became my drug of choice. Price was, I believe, 45 cents.
As if the regular fare of new foreign-language films by Bergman, Wertmuller, Fellini, and Truffaut (always subtitled, never dubbed), and non-mainstream American independents were not blissful enough, there were afternoon programs like a ten-week series of classic French New Wave. Jan and I went to all of them. People ask me where I acquired my "background in film." I say: at the Nickelodeon.
In 1975, I started reviewing movies professionally (ie: in some place other than my journal) for Good Times. Okay, it was awhile before I actually got paid for it, but I knew I had arrived as a real critic the day that Nancy Raney, Bill's second wife, invited me to my first press screening at the Nick.
It was 1976, and the movie was Francois Truffaut's L'Histoire de Adele H (The Story of Adele H), starring the beauteous Isabelle Adjani. I took along my posse—Jan and my brother, Steve—and we got to watch an entire movie with only a couple more people in the audience. (I had no idea who they were at the time, and I was too shy to ask, but it was probably Dale Pollock from the Sentinel, and whoever was reviewing movies for City on the Hill that week.)
Nancy was the consummate hostess. When the Nick screened Almodovar's Women On the Verge (Of a Nervous Breakdown), where gazpacho figures prominently in the plot, Nancy served everybody cups of gazpacho in the lobby.
When Bill and Nancy bought the three-year-old Sash Mill Cinema in 1978 from its owner, Rene Fuentes-Chao, Nancy was able to use the adjoining Sash Mill Cafe for "dos," as she called them, wine-and-munchies receptions for the press to meet visiting filmmakers. (For Les Blank's doc, Garlic is as Good as Ten Mothers, she even served up garlic popcorn.)
But she really outdid herself in 1987, promoting the Danish film, Babette's Feast, in which a Frenchwoman prepares and extravagant meal for the dour inhabitants of a 19th Century Danish village. Yup—you guessed it! In cahoots with Casablanca Restaurant, Nancy had Babette's entire feast replicated for about a dozen members of the local film-reviewing press, whose ranks had swollen over the years. (And you can see why!)
While the Nick spread the gospel of indie and art films to the public at large, the Nick screenings pretty much begat local movie culture. I met so many folks (and made so many friends) in the Nick lobby at screenings, I probably can't remember them all. Morton Marcus came to Nick screenings regularly; he was so famous, I was afraid to talk to him for years!
I'd known Buz Bezore up at UCSC, but it was at Nick screenings that I got to know the other alt-journalists—Christina Waters, Michael S. Gant, Tom Maderos, Geoffrey Dunn —who would be staffing Buz's string of alternative weeklies for years to come.
|Vintage me, vintage Nick lobby, ca 2004. My home away from home.|
Early in my tenure at GT, I went to a screening of one of Bill Raney's favorite movies, the obscure, utterly impenetrable 1965 Polish epic, The Sargossa Manuscript. (He was bringing it back as a classic revival.) This time, there was only one other person in the theatre, and as he and I staggered back out at last into the light of day, laughing and utterly flummoxed, we bonded over the fact that neither one of us had a clue what the movie was about. This was the first time I met Jim Schwenterley, who was then writing for the Cabrillo Log.
Soon, Jim was working for Rene Fuentes-Chao, programming the eclectic repertory double-bills at the Sash Mill. When Bill bought the Sash Mill in 1978, Jim became part of the Nickelodeon family. When Bill and Nancy were ready to retire in 1992, they sold the business to Jim. Who else loved movies as much as the Raneys, or was better suited to maintaining the Nickelodeon legacy?
Jim and his then-partner, Chuck Vowiler, were responsible for bringing the dilapidated Del Mar under the Nickelodeon umbrella, and restoring it to its Art Deco glory. Next came stewardship of Aptos Cinema—to the delight of Aptonians starved for Nickelodeon-style film content down in South County. More recently, Jim and partner Paul Gotlober undertook the massive project of switching the theatres over from film to digital.
Now, after 23 years of savvy, challenging, and entertaining film programming, Jim and Paul are ready to step down. The Nick has been sold to Landmark Theaters; yes, it's a theatre chain out of Los Angeles, but its theatres specialize in art-house and independent films.
The current plucky staff of Nick, Del Mar and Aptos employees are being retained to do what they do best: continue bringing the best movies out there to our community. The theaters will be dark on December 17 and 18, then rise, Phoenix-like on Friday, December 18, in time for the holiday movie season.
Here's looking at you, Nick. Let's hope the fabled Nickelodeon legacy continues!