Cincinnati Kid {1965}...
“...when you see Steve at the peak of his power, he was very special. He was very cool. He was the first cool character I ever met. He was so cool, I didn’t understand what he was saying half the time. “You’re twisting my melon, man.” You know, I never understood quite what he was saying. He was a loner — a total loner — and I swear he was a warlock, because he would behave differently depending on the waxing and waning of the moon. If there was a full moon, forget about it. I mean, Steve would get on his bike and disappear, and he’d go out into the desert. What he did there, I don’t know, but I know that he would disappear for two or three days. I told this to my first assistant when we started the picture, and I said, “Gotta be very careful about the moon. We’ve gotta work around the moon. If we’re coming close to a full moon, let’s not work with Steve. Let’s shoot something else.” And there was something about him on camera that was so believable. When you put an actor on camera, like a famous stage actor let’s say, an Olivier or a Burton, they start to walk like they believe the character would walk. They start to talk like they believe the character would talk. They are going into the character from the outside-in. Steve McQueen was not that kind of actor.”




“In January of 1965 I worked as an extra on the film The Cincinnati Kid in New Orleans. My friend Jack Newell also worked as an extra. We got about a weeks work out of the job. MGM fed the crew and the extras 3 meals a day. Jack and I reported to a place on Royal Street to get our costume clothes from the 1930s era. Our first assignment was to drive the old cars 1930s vintage on and off the Algiers ferry. Then we did a scene that called for us to arrive early on a Sunday morning for the shooting of the jazz funeral parade which is used in the opening credits of the film. We are not at the graveyard but we are at the big parade that comes after the funeral. This took all morning and each time it got better as more and more booze was consumed. MGM paid all those extras with vouchers. They also provided a nice breakfast before we started that morning. We were both about 24 years old at the time.
We did another scene right outside Jackson Square. Since I was lined up next to Ann Margret I got to talk briefly with her and I asked her about Elvis Presley since she had just finished making Viva Las Vegas with him. I asked her what Elvis was like and she said he was a really nice person.
One morning we went in the Royal Orleans Hotel to get coffee for breakfast and Karl Malden came in and asked for something. He was tying his tie. I nodded at him and he nodded back. Since Tuesday Weld and Steve McQueen(who never showed his face except when filming)and other stars worked on this film it was somewhat of a surprise to me that the actor that created the biggest stir was Edgar G. Robinson. When he showed up to do the scene with the organ grinder and the monkey all the local Jackson Square people really wanted to see Edgar G. Robinson. He seemed to be the biggest star of all.
McQueen shot the scene at Preservation Hall where he looks in and sees Sweet Emma the Bell Gal singing with the Preservation Hall Jazz Band.
We had nothing to do but sit around in the back patio and watch him go in and out of his dressing room further back in the patio.
Tuesday Weld was very pretty. I remember her sitting in a chair outside Jackson Square and one of the MGM makeup women kept brushing her blond hair.”

{Old postcard of the Royal Orleans Hotel}




Film Location: St Louis Cemetery on Conti Street, New Orleans
{Note: 425, Basin Street is the official address of St. Louis Cemetery, BUT the scene is filmed on Conti Street}


1204 Conti Street, New Orleans...

 In Google Street View, you can look at views from previous years. So you have to click on the sign at the top left (see attached in the below image)

Yes, this building doesn't exist any longer.
If you use the changing of dates, you see it in 2011 till 2014, then in 2018 it is no longer there...



{The Old Redondo Junction Roadhouse, Los Angeles, California}



{Suggest in rehearsal due to Steve McQueen wearing a 'jumper' rather than the black coat}


"Just a few days into filming The Cincinnati Kid, the 1965 New Orleans-set drama about a high-stakes poker game that starred Steve McQueen, Edward G. Robinson, Ann-Margret and Karl Malden, Ransohoff (Producer) got a look at Sam Peckinpah’s dailies (the director wanted to make the movie in black and white, for one thing) and decided to oust him.

“It was dour, it was grey and bleak,” Ransohoff said of Peckinpah’s work in David Weddle’s 1994 book If They Move … Kill ’Em!: The Life and Times of Sam Peckinpah. “Here I was trying to make an upscale movie. This movie was supposed to be a popsicle.

“MGM had a very clear vision, we knew what we wanted to make, and they were paying me and relying on me to make it, and I didn’t think Sam was making it. Shutting down meant losing $500,000. We had an all-star cast and no director. Believe me, it was not done lightly. I was really disappointed because I had really gone out on a hook for Sam. It was very embarrassing for me.”

Norman Jewison came on to direct, and the film was a critical hit."


The former JAX Brewery is near the Mississippi:,-90.062754,3a,75y,166.64h,95.28t/data=!3m6!1e1!3m4!1sWhtiF1gbN3ChNc4Bs1FkCg!2e0!7i16384!8i8192,-90.062073,3a,90y,312.8h,86.37t/data=!3m6!1e1!3m4!1sAF1QipMPJJjkAaZKFDQEBmqtwjwW3ZOFMsWkxpVnvFIb!2e10!7i2508!8i1254


FERRY Scene:

{Cameraman Phil Lathrop is taking a light meter reading}
"Meanwhile good-girl Christian (Tuesday Weld) and bad-girl Melba (Ann-Margret) are eyeing the bathing costumes displayed in a shop window on St Peter Street near Cabildo Alley in the French Quarter. The Gumbo Shop Restaurant630 St Peter Street, which you can see in the background, is still in business"


622-626 St.Peter Street, Built 1843


New Orleans


Located in the Vieux Carre Historic District, this building was designed by the French-born architect Jospeh Isidore de Pouilly in 1843. In the 1880s the building was documented as having a post and lintel store front on its ground floor. The existing wooden storefront was most likely built in the late 1940s when owner M. S. Rau added a second floor to his other building at 630 Royal Street. The current storefront is reminiscent of Edwardian London. The building was originally constructed for a tobacco and snuff manufacturing business, but it was later converted into living quarters with a shop on the ground floor...



630 St.Peter Street...



{Corner Decatur Street/ St.Ann Street, New Orleans, Louisiana}





AN UNKNOWN LOCATION which slowly became a known one...


1. The building is on a corner

2. The road is a WIDE street

3. There are street lamps in the middle of the road

4. 1965 Building may have been replaced by a modern building

5. It is possibly the "Bus scene"

6. Because Tuesday Weld is wearing boots rather than shoes, as in all her other scenes...

Opened in 1940, 1314 Tulane Avenue
“CONTINENTAL TRAILWAYS” on the sign, same as on the bus of Tuesday Weld.
On the map, there is a Medical Centre nearby...
Apparently nothing left, all new around.


Searching for images of Tulane Avenue, I found an old b&w photo that looked to match (with the 3rd window smaller ! that was the clue)
And that led me to the Eye, Ear, Nose and Throat Hospital that was in this old picture, article here:
So I think they were in front of the Bus Depot, 1314 Tulane Avenue and in the background was the hospital, at the corner Tulane/Elk Place.
The building doesn’t exist any longer, the hospital was demolished in 1996.

In 1964, New Orleans Public Service Inc. opted to have buses take over the streetcar route on Canal Street. The Canal Street streetcar took its last journey before being shut down on May 31st 1964.

So in 1965 during the filming there were only buses on Canal Street...








“When my father, Jeff Corey, was working on “Cincinnati Kid” starring Steve McQueen and Ann-Margret, he took me to the set for a day of filming. Dad played Hoban, the Kid’s friend and mentor. The set was full of the usual bustle and commotion that surrounds a Hollywood production but there were armed guards at all the entrances. “Cincinnati Kid” was about a high stakes poker game. Dad explained to me that the director, Norman Jewison, wanted to give the film a veneer of reality. He didn’t want to use fake money during the poker games so some ridiculous amount of actual cash was floating around the gambling table as the film’s stars and extras looked on. The guards were there to ensure every dollar was accounted for.

Production for “Cincinnati Kid” was brimming with activity that day. Along with the security guards, the corners of the sound stage were piled high with cages of roosters brought in for the cockfight they planned to film in the afternoon. I had never heard of such a thing and after my father explained what a cockfight was, I was horrified. It took a lot of reassuring to make me believe no roosters were going to be injured during filming, but even then, I found it difficult to watch as fake razors and fake blood flew through the air while they filmed.

In a calmer moment, dad took me over to meet Cab Calloway who played Yeller. Cab was handsome, charming, and all smiles. I was thirteen and even though my father explained who Cab was, it wasn’t until many years later that I understood the Cotton Club in Harlem how absolutely great a legend he was. All I remember are these sweet, twinkling eyes that literally danced as he talked to me. Dad told me that later during filming he got Cab to sing, a cappella, for Ann-Margret. I wish I had been on the set for that.

And yes, Steve McQueen’s eye were as sparkly blue as you have imagined. He was darling and I was enchanted but way too shy to make too much of it. It was fun to watch him work as he commanded any scene he was in. He had a combined veneer of charm and serious that was pretty wonderful to watch.

At the end of the day, the set slowly began to shut down. At the last shout of, “Print” the actors divested themselves of their poker chips, cash, props, and costumes. I waited in a corner of the sound stage while dad changed in his dressing room. Within minutes he showed up wearing his classic Brooks Bros. corduroy pants and V-neck t-shirt and we headed to our car that was parked behind the sound stage.

As we made our way home together, the alchemy of the day slipped away as honking cars and traffic lights took over our imagination. But not fully. Nothing can ever quite take away the memory of a day spent on a Hollywood sound stage. When I see “Cincinnati Kid” now, I see the bustle and the artistry of the cast and crew in every  frame–invisible to most but a gift to a young girl who was grateful the Hollywood blacklist had ended and she finally got to see her father work in film once again.”




{St.Louis Cathedral, 615 Pere Antoine Alley, New Orleans, Louisiana}


(320, MAYAN Import Company)

{726 St. Peter Street}

{Sweet Emma Barrett}









LOCATION: Card game based at:

600, St.Charles Avenue - HOTEL LAFAYETTE, New Orleans

Listen, Christian, after the game, I'll be The Man. I'll be the best there is. People will sit down at the table with you, just so they can say they played with The Man. And that's what I'm gonna be, Christian.” 






Jewison: “Yeah, but he wasn’t a stage actor. He wasn’t the kind of an actor who could mesmerize you on stage with his voice. But the moment you rolled the camera, he became very real, and he wasn’t acting. It was him. He projected himself into the character, and it was something very real was happening, and I admired that about him. He was a real film star. There was a certain enigma about him, you know, that was very exciting.”

Around the corner from Exchange Place is Bienville Street...

Location: Bienville Street, garage of Monteleone Hotel


“While the hotel is listed as a filming location, the still photo you sent does not look like it was filmed on site.
There is no column on the corner (and no reason for there to be one), and the wall is wrong.”

Close up of the base of the pillar suggests that it is NOT a natural pillar but a prop...





Premiere at Saenger Theatre

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