Embassy 1,2,3 Theatre
707 7th Avenue,
New York,
NY
10036
707 7th Avenue,
New York,
NY
10036
38 people
favorited this theater
Showing 751 - 775 of 1,093 comments
Hmmm. Something to ask the Turner Classic Movies archivists perhaps?
I’m curious about the Variety description of the new Mayfair having eliminated the Columbia stage and the back alleyway… When I called the “for lease” number currently advertised on the Embassy 2, 3, 4 marquee not too long ago, the gentleman representing the owner described the building as still having a backstage area with dressing rooms and fly space, although he did mention that the stage had been “cut” at some point and would have to be extended to accomodate live shows. I posted about this conversation back on Nov. 1, 2005.
I’m just curious as to why this backstage space was preserved, if the former vaudeville house had been gutted to the bare walls and rebuilt for screen shows only. That is, assuming the information provided to me by the rental agent was accurate.
Warren: on the website it only says it was written by “Variety staff”. But I have a xerox copy at home of the original review as it appeared in the paper, and the nickname should be listed there. I’ll let you know tonight, in this space.
How on earth did this critic think he was “abiding” by Hitchcock’s plea not to give away the ending??? He couldn’t have spelled it out more clearly had he printed an actual copy of the shooting script!
I know, Don – she couldn’t resist giving that away. Even worse is the “Psycho” review in Variety, posted below. The critic reveals practically everything that happens in the movie. Hitchcock must have been furious.
Psycho
Paramount. Director Alfred Hitchcock; Producer Alfred Hitchcock; Screenplay Joseph Stefano; Camera John L. Russell; Editor George Tomasini; Music Bernard Herrmann; Art Director Joseph Hurley, Robert Clatworthy. At DeMille Theatre, N.Y., June 16, 1960.
Norman Bates – Anthony Perkins
Marion Crane – Janet Leigh
Lila Crane – Vera Miles
Sam Loomis – John Gavin
Milton Arbogast – Martin Balsam
Sheriff Chambers – John McIntire
Dr. Richmond – Simon Oakland
Anyone listening hard enough, might almost hear Alfred Hitchcock saylng, “Believe this, kids, and I’ll tell you another.” The rejoinder from this corner: Believability doesn’t matter; but do tell another.
Producer-director Hitchcock is up to his clavicle in whimsicality and apparently had the time of his life in putting together “Psycho.” He’s gotten in gore, in the form of a couple of graphically-depicted knife murders, a story that’s far out in Freudian motivations, and now and then injects little amusing plot items that suggest the whole thing is not to be taken seriously.
The “Psycho” diagnosis, commercially, is this: an unusual, good entertainment, indelibly Hitchcock, and on the right kind of boxoffice beam. The campaign backing is fitting and potent. The edict against seating customers after opening curtain (as observed at New York’s DeMille Theatre) if respected may add to the intrigue. All adds up to success.
Hitchcock uses the old plea that nobody give out the ending — “It’s the only one we have.” This will be abided by bere, but it must be said that the central force throughout the feature is a mother who is a homicidal maniac. This is unusual because she happens to be physically defunct, has been for some years. But she lives on in the person of her son.
Anthony Perkins is the young man who doesn’t get enough exorcise (repeat exorcise) of that other inner being. Among the victims are Janet Leigh, who walks away from an illicit love affair with John Gavin, taking with her a stolen $40,000, and Martin Balsam, as a private eye who winds up in the same swamp in which Leigh’s body also is deposited.
John McIntire is the local sheriff with an unusual case on his hands, and Simon Oakland is the psychiatrist who recognizes that Perkins, while donning his mother’s clothes, is not really a transvestite; he’s just nuts. Vera Miles is the dead girl’s sister whose investigation leads to the diagnosis of what ails Perkins.
Perkins gives a remarkably effective in-a-dream kind of performance as the possessed young man. Others play it straight, with equal competence.
Joseph Stefano’s screenplay, from a novel by Robert Bloch, provides a strong foundation for Hitchcock’s field day. And if the camera, under Hitchcock’s direction, tends to over-emphasize a story point here and there, well, it’s forgivable. Further, the audience’s indulgence is not too strained with the inevitable appearance of Hitchcock himself. He limits himself to barely more than a frame.
Saul Bass' titles are full of his characteristic trickiness, Bernard Herrmann’s music nicely plays counter-point with the pictorial action and editing seems right all the way.
1960: Nominations: Best Director, Supp. Actress (Janet Leigh), B&W Cinematography, B&W Art Direction
Interesting thing about the “Psycho” review…it’s a Paramount release. You would never know that from the Universal logo on cable and the video/DVD releases. Also, the reviewer said she wouldn’t reveal the plot twist, then says Simon Oakland who throws light on the strange behavior of a dual personality.
You’re welcome, B.O. Bill. What a pleasure to be able to bring back a special memory to you, after all those Radio City and Roxy programs you’ve given to us.
Bill Huelbig—
A million thanks for the comic strip (and of “The Day the Earth Stood Still.” When the strip appeared in the Daily News over the stretch of a week, I carefully clipped each one, and at the end imagined what the film would be like. A month or so later, the pic screened at my local RKO Dyker nabe, and I watched it with amazement.
I love the adjacent ads— for “Captain Horatio Hornblower” at RCMH and “The People against O'Hara” at … Loew’s State? Thanks for unreeling those newspaper spools from fifty-five years ago.
In honor of Joseph Stefano, who died yesterday:
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From the New York Daily News, September 1951:
An unusual ad for the Mayfair’s next attraction:
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Kate Cameron’s review. She sounds a little surprised to have enjoyed it – I guess science fiction didn’t get much respect back then:
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AromaRama in 1959
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I don’t like to make a re-tread post, but here again is a 1963 ad for the upcoming reserved seat engagement of Otto Preminger’s “The Cardinal” at the Demille:
Daily News 11/25/63
What I failed to note the first time I posted this ad is that “The Cardinal” represented a milestone in the history of theatrical presentation of motion pictures; it was the first 35mm production ever to have been presented in 70mm blow-up prints.
Here’s a page on the wonderful Widescreen Museum site featuring a contemporary article heralding the new process.
Thanks guys. That makes perfect sense.
Al. The Columbia discussed above was gutted to make way for the RKO Mayfair, so it must be a different theater altogether – particularly since you reference the film as a move-over FROM the Mayfair. Actually, it is probably the old Central Theater right across Duffy Square that you are talking about. It was later known as the Forum and closed as Movieland under B.S. Moss, but did operate for a time in 1934 as the Columbia.
In May 1934 the Columbia was showing a move-over from the Mayfair of HITLER’S REIGN OF TERROR. Although it rarely showed films, they seems to have co-existed or there was another Columbia on 47th and Broadway.
???
“Thanks, Warren. That Kinopanorama ad is great.” You should also take a look at the opening day ads. Initially, the Russians called the process “Kinorama.” The Cinerama folks complained loudly, and the next day the process was renamed “Kinopanorama”
Thanks, Warren. That Kinopanorama ad is great.
And I have to wonder, how “beautiful” and “perfect” could the old Columbia have been if it was to be completely gutted just a couple of years later?! Does the Columbia have a page here? Or was it strictly a live performance venue?
The front of the Ziegfeld’s marquee, which you could only really see from the other side of 54th St., said “THE ZIEGFELD A Walter Reade Theatre” for several years after it stopped being a Reade theatre. That part of the display is now covered up by a Clearview Cinemas sign.
Thanks Bill. I remember the Ziegfeld having that distinctive Walter Reade font in movie ads from the ‘70’s and early '80’s (ditto the Little Carnegie and New Yorker Twin). I was just curious as to the origins of the Reade chain in NY, particularly during the '63-'64 time frame from which the clippings I posted came. Warren’s response helped me out with that one. I’m also curious about the geographic territory. I know there were a number of Manhattan houses over the years (inlcuding the Waverly, later on, and one on W. 23rd Street) and a couple in Queens, but did Reade ever run any Brooklyn houses or theaters further out on Long Island?
Ed: The Ziegfeld was a Walter Reade theater too, for many years. It opened as a Reade theater in 1969 and I think it stayed that way into the early ‘80s when Cineplex Odeon took it over.
Stop this, guys!
Ed, they had the 34th St East and, of course, the Baronet.
Correction… the above image should be captioned “Daily News 9/21/63”.
McQueen and company day-and-dating the Demille and Coronet:
Great Escape – Daily News 5/18/64
Reade’s Baronet is listed in the ad above “The Great Escape” in the clipping. I know Reade also operated the Little Neck and Continental theaters in Queens during this period… Were these 5 theaters the extent of the Walter Reade chain at the time? If not, what other theaters did they run?
Before setting the World Theater back on the path of righteousness, Embassy ran the former Trans Lux West/Trans Lux 49th Street on Broadway (which also did some XXX time as the Pussycat and Grand Pussycat) under the name Embassy 49th Street. I think for some reason discussion of the Frisco can be found on the Rivoli Theater page.
Thanks, Al.