Lex Sloan, Henry S. Rosenthal, and The Roxie
Lex Sloan (L) and Henry S. Rosenthal (R)
When you tell friends you’re going to see a movie at The Roxie, there’s an almost palpable envy that sets in for them.
In this episode, meet Lex Sloan and Henry S. Rosenthal. Lex is The Roxie’s executive director and Henry is on its Board of Directors and the chair of the theater’s capital campaign, which we’ll get to. In the meantime, if you’d like to help keep a bona fide San Francisco landmark in its rightful home until the end of time (they’d sure love you to, and so would I), donate to the Forever Roxie fund here.
We start with Henry, who lets us know that the “S” in his name stands for Sigmund. Henry was born in Cincinnati and had what he describes as an “idyllic childhood” there. He started going to music shows when he was 13, seeing bands like Iggy and the Stooges and MC5. After graduating from high school, he moved to San Francisco in 1973 to attend school at The New College of California.
He was an early subscriber to Rolling Stone magazine, where he had seen a New College ad. That ad captivated young Henry’s imagination. He visited the campus, which was in Sausalito at the time, after a road trip from Ohio to the West Coast. The school tried to get him to enroll right then, but Henry decided to go back home and finish high school first.
Henry produced cable TV shows while in college. In a sense, it’s what he’s been doing ever since.
When Henry moved to San Francisco, there were still operating movie palaces on Market. Before really making friends here, he’d spend a lot of time inside those theaters. It was the era of movies like The Texas Chainsaw Massacre and Enter the Dragon. He says it’s difficult to put into words (it is), but San Francisco just grabbed him and never let go.
Then we turn to Lex Sloan. Lex went to college in Bellingham, Washington, at the type of school that allows you to design your own degree, which she did. Lex got a bachelor’s in “social change media,” which is so on the nose, it tickles. Post-graduation, she went to what she calls “the middle of nowhere, Arizona,” but that lasted all of seven or eight months.
Looking for where to land next and being a spreadsheet nerd (like me), Lex made a list. And lo and behold, San Francisco checked the most boxes. She got a job in Redwood City, not knowing that that Peninsula town wasn’t exactly The City. No matter—she landed.
The job involved teaching video production at a community center. At first, she stayed in a hostel on Mission Street before finding a place all her own on Craigslist. That was 2005, and Lex hasn’t looked back.
We go back to Henry to hear the story of how The Roxie drew him in. Perhaps jokingly, he says he laments not visiting when The Roxie was a porn theater. Henry doesn’t recall his actual first visit, but says he’s been a regular since first learning about the place.
He knew Bill Banning, who created Roxie Releases, the organization’s distribution operation. (Rivers and Tides, the documentary about artist Andy Goldsworthy, is among their releases.) Banning and he were friends for a while. Their kids went to school together. Their lives kept intertwining, including at film festivals. When The Roxie transitioned to a nonprofit and created a board, folks like Bill invited Henry to join it. He politely refused … until the theater was on firmer ground financially. And once it was, he was in.
Henry’s goal in joining The Roxie board was singular, he says: To help the organization buy the building where the theater sits.
Lex does remember her first time at The Roxie. After she landed in The City, she sought work on local film crews. She found a crew and their film (Getting Off) premiered at The Roxie during Frameline. Because she was “only” a production assistant, she wasn’t comped a ticket. Lex remembers showing up and seeing a rather long and daunting line to get in. But! That line was filled with her people. She calls that screening “magical” and “electrifying.”
Over the years, she came back time and again, for one-off movies as well as for film festivals. When Lex worked for Frameline, one of her jobs was carrying film prints into the projection booth at The Roxie and other theaters. Fast-forward to 10 years or so ago, when Lex became operations director at The Roxie.
We then turn to the history of The Roxie, with Lex as our tour guide. The space where the theater sits today was built to be just that—a movie theater. It wasn’t converted at any point from something else to become a place where folks watch movies. The folks who run the theater today have discovered and held onto the original blueprints from 1913. Its first name was The Poppy Theater. Then it was The 16th Street. Then The New 16th Street, The Gaiety, The Rex, and finally, in the early 1930s, The Roxie. That oh-so-recognizable marquee came to The Mission from an auto dealership in Oakland aboard a barge that traveled across The Bay.
A lot of the history of The Roxie before the Seventies is not well-known. But, after becoming The Roxie, it was first a German-language cinema (concessions at the time were German candies). Thanks to some projectionist’s notes they’ve found, they know that in the Fifties, it became a variety space of sorts. In the late Sixties/early Seventies, it was an XXX theater, as mentioned in Henry’s story earlier. In those days, a turnstile out front kept underage folks and those who didn’t pay out (or did it?).
In 1976 or ‘77, a group of local artists took over. That group changed a lot of things. It became more of an arthouse cinema, as it remains to this day. The folks who ran the place put people before profits. Midnight movies became a thing The Roxie was known for.
Check back Thursday for Part 2 with Lex and Henry.
We recorded this podcast at The Roxie in The Mission in October 2025.
Photography by Jeff Hunt
