Lee Marcus

{{Infobox person

| name = Lee Marcus

| image = Lee Marcus (1893–1969).png

| caption =

| birth_date = {{birth date|1893|12|7}}

| birth_place = Buffalo, New York, United States

| death_date = {{death date and age|1969|1|30|1893|12|7}}

| death_place = Los Angeles County, California, United States

| birthname =

| occupation = Producer

| spouse =

| yearsactive = 1934–1947

}}

Lee Marcus (December 7, 1893 – January 30, 1969), also known as Lee S. Marcus, was an American film producer of the 1930s and 1940s. During his fifteen-year career he produced over 85 films, most of them between 1934 and 1941 while he was at RKO Studios. Prior to his production career, Marcus worked for FBO and then RKO as a sales executive, reaching the level of vice president in both organizations. At RKO, he was head of production of the studio's b-films during the late 1930s and the beginning of the 1940s. He was also responsible for producing what many consider to be the first film noir, 1940's Stranger on the Third Floor.

Early life

Marcus was born on December 7, 1893, in Buffalo, New York. His father was Albert L. Marcus.{{cite news | newspaper=The Film Daily | title=Father of Lee Marcus Dead | date=June 7, 1926 | page=1 | url=https://archive.org/stream/filmdaily3536newy#page/1626/mode/2up/search/%22Lee+Marcus%22 | accessdate=February 18, 2016}}{{Open access}} During World War I Marcus served with the American Expeditionary Force (AEF), and in 1918 was stationed in Vitry, France.{{cite news | newspaper=The Film Daily | title=What Were They Doing in 1918? | date=May 24, 1928 | pages=60, 93 | url=https://archive.org/stream/filmdaily4344newy#page/1142/mode/2up/search/%22Lee+Marcus%22 | accessdate=February 19, 2016}}{{Open access}}

Career

=Early career=

Growing up in Buffalo, Marcus was an avid theater-goer, attending the performances of many stock theater companies who passed through the city.{{cite news | newspaper=The Film Daily | title=RKO Convention Sidelights | date=May 18, 1932 | page=4 | url=https://archive.org/stream/filmdailyvolume55859newy#page/1200/mode/2up/search/%22Lee+Marcus%22 | accessdate=February 18, 2016}}{{Open access}}

Early in his career, he worked for various film distributors. In 1921, he represented W.A.S. Douglas who directed a film for Jawitz Pictures, entitled Watered Stock (later retitled Beware of the Law), in the sale of its domestic and international rights.{{cite news | newspaper=The Film Daily | title=United Rights Sold | date=April 24, 1921 | page=74 | url=https://archive.org/stream/filmdailyvolume11516newy#page/948/mode/2up/search/%22Lee+Marcus%22 | accessdate=February 19, 2016}}{{Open access}} By the beginning of 1924 he was working for Film Booking Offices of America (FBO).{{cite news | newspaper=The Film Daily | title=Putting It Over | date=February 28, 1924 | page=9 | url=https://archive.org/stream/filmdaily2728newy#page/454/mode/2up/search/%22Lee+Marcus%22 | accessdate=February 19, 2016}}{{Open access}} In July 1925 it was announced that he would be the head of sales at FBO, following the death of Harry Berman.{{cite news | newspaper=The Film Daily | title=The Week's Headlines | date=July 5, 1925 | page=9 | url=https://archive.org/stream/filmdaily3134newy#page/n429/mode/2up/search/%22Lee+Marcus%22 | accessdate=February 19, 2016}}{{Open access}} In December 1925 Marcus penned an article for The Film Daily extolling the virtues of film shorts, and warning exhibitors against the dangers of overlooking the use of shorts.{{cite news | newspaper=The Film Daily | title=Spine of Program | first=Lee | last=Marcus | date=December 6, 1925 | page=36 | url=https://archive.org/stream/filmdaily3134newy#page/n1351/mode/2up/search/%22Lee+Marcus%22 | accessdate=February 19, 2016}}{{Open access}} In 1927 Marcus was one of three film industry executives who formed a committee to produce a trailer meant to show the industry in a good light. The other members of the committee were Al Lichtman of United Artists and Edmund Grainger of 20th Century Fox.{{cite news | newspaper=The Film Daily | title=Propaganda Film | date=May 15, 1927 | pages=1, 12 | url=https://archive.org/stream/filmdaily3940newy#page/1144/mode/2up/search/%22Lee+Marcus%22 | accessdate=February 19, 2016}}{{Open access}} Also in 1927, Marcus continued his championing of the film short. In June he announced a list of well-known writers who would be responsible for penning the shorts for FBO. The list included cartoonists Bill Nolan and Fontaine Fox, and short story writer H. C. Witwer.{{cite news | newspaper=The Film Daily | title=Bringing Big Names for Selling Impetus | first=Lee | last=Marcus | date=June 5, 1927 | page=11 | url=https://archive.org/stream/filmdaily3940newy#page/1300/mode/2up/search/%22Lee+Marcus%22 | accessdate=February 19, 2016}}{{Open access}} Marcus began reorganizing the sales management and districts within FBO in September 1927. First he promoted his future partner, Charles Rosenzweig, to head the district overseeing FBO's New York State district,{{cite news | newspaper=The Film Daily | title=Rosenzweig Promoted | date=September 21, 1927 | page=6 | url=https://archive.org/stream/filmdaily4142newy#page/704/mode/2up/search/%22Lee+Marcus%22 | accessdate=February 19, 2016}}{{Open access}} and then completely reorganized the mid-west districts.{{cite news | newspaper=The Film Daily | title=FBO Realigns Divisions | date=September 27, 1927 | page=5 | url=https://archive.org/stream/filmdaily4142newy#page/754/mode/2up/search/%22Lee+Marcus%22 | accessdate=February 19, 2016}}{{Open access}} In February 1928 FBO planned a jubilee in honor of the second anniversary of Joseph Kennedy's involvement as owner of FBO. As part of that event, Marcus took the rare step of giving authority to his sales force to directly approve contracts with exhibitors.{{cite news | newspaper=The Film Daily | title=FBO Salesmen Approving Contracts In Campaign | date=January 1, 1929 | pages=1, 12| url=https://archive.org/stream/filmdaily4344newy#page/n9/mode/2up | accessdate=February 19, 2016}}{{Open access}}{{cite news | newspaper=The Film Daily | title=FBO Grand Jubilee Being Backed by Leading Chains | date=February 7, 1928 | page=4 | url=https://archive.org/stream/filmdaily4344newy#page/292/mode/2up/search/%22Lee+Marcus%22 | accessdate=February 19, 2016}}{{Open access}}

=Producing film shorts=

In June 1928 Marcus created a separate department to focus on selling film shorts. To lead the new division, Marcus put Cleve Adams in charge.{{cite news | newspaper=The Film Daily | title=Cleve Adams Heads FBO Short Subject Dep| date=May 31, 1928 | page=4 | url=https://archive.org/stream/filmdaily4344newy#page/1208/mode/2up/search/%22Lee+Marcus%22 | accessdate=February 19, 2016}}{{Open access}} Before the year was out Marcus was promoted to Vice President of FBO,{{cite news | newspaper=The Film Daily | title=Week's Headlines | date=December 30, 1928 | page=12 | url=https://archive.org/stream/filmdaily4546newy#page/1676/mode/2up/search/%22Lee+Marcus%22 | accessdate=February 19, 2016}}{{Open access}} and he predicted that 1929 would be the turning point of the motion picture industry, with the advent of sound. He felt that every theater in the country would be equipped to show the new talking pictures before the end of the decade.{{cite news | newspaper=The Film Daily | title=1929, An Epochal Year | first=Lee | last=Marcus | date=December 31, 1928 | page=8 | url=https://archive.org/stream/filmdaily4546newy#page/1686/mode/2up/search/%22Lee+Marcus%22 | accessdate=February 19, 2016}}{{Open access}}

With the integration of FBO into the new RKO Radio Pictures in 1929, Marcus became the executive vice-president for the new company. He, along with Joseph I. Schnitzer and William LeBaron, were the triumvirate which ran the new company.{{cite news | newspaper=The Film Daily | title=Radio Prepares Its Debut | date=July 15, 1929 | page=4 | url=https://archive.org/stream/filmdaily4950newy#page/88/mode/2up/search/%22Lee+Marcus%22 | accessdate=February 19, 2016}}{{Open access}} In February, Marcus announced that the new RCA Photophone process of sound on film was the direction the studio would go in, rather than the alternative of sound on disc. He stated, "Our synthesis of sound to action is all that we would want in accuracy, and certainly the exhibitor's projection and sound problem is, to our mind, a much simplified one with sound-on-film."{{cite news | newspaper=The Film Daily | title=Sound-On-Film Said to Meet RKO Requirements | date=February 20, 1929 | page=1 | url=https://archive.org/stream/filmdaily4748newy#page/n401/mode/2up/search/%22Lee+Marcus%22 | accessdate=February 19, 2016}}{{Open access}} With sound films becoming the norm, Marcus announced that RKO would still produce 40–50 per cent of their sound films with silent versions as well in 1929.{{cite news | newspaper=The Film Daily | title=Silent Films to Stay | date=March 26, 1929 | page=1 | url=https://archive.org/stream/filmdaily4748newy#page/n725/mode/2up/search/%22Lee+Marcus%22 | accessdate=February 19, 2016}}{{Open access}} Later in 1929 Marcus was one of the film executives on a committee representing film distributors in their negotiations with exhibition houses in trying to iron out a deal regarding splitting the revenue from movie showings.{{cite news | newspaper=The Film Daily | title=Guarantee and Split Expected to Be Adopted by Distributors | date=July 9, 1929 | page=1 | url=https://archive.org/stream/filmdaily4950newy#page/50/mode/2up | accessdate=February 19, 2016}}{{Open access}}

Hiram S. Brown, head of RKO, named Marcus as his liaison officer, splitting his time between Hollywood and New York at the beginning of January 1932. He moved from being RKO's general sales manager.{{cite news | newspaper=The Film Daily | title=Schnitzer Heading Sales – Marcus on Liaison | date=January 6, 1932 | page=1 | url=https://archive.org/stream/filmdailyvolume55859newy#page/28/mode/2up/search/%22Lee+Marcus%22 | accessdate=February 18, 2016}}{{Open access}} By April 1932 Marcus was a vice-president of RKO Radio Pictures, in charge of east coast production, as well as being the liaison between the distribution and production departments.{{cite news | newspaper=The Film Daily | title=Complete Personnel of RKO Companies | date=April 21, 1932 | page=8 | url=https://archive.org/stream/filmdailyvolume55859newy#page/944/mode/2up/search/%22Lee+Marcus%22 | accessdate=February 18, 2016}}{{Open access}}{{cite news | newspaper=The Film Daily | title=D.O. Selznick Completes Studio Executive Staff | date=May 15, 1932 | page=3 | url=https://archive.org/stream/filmdailyvolume55859newy#page/1108/mode/2up/search/%22Lee+Marcus%22 | accessdate=February 18, 2016}}{{Open access}} Marcus, along with his partner, Charles Rosenzweig, began to organize a film distributing company in March 1933, intending to distribute 26 independent films during the 1933–34 season.{{cite news | newspaper=The Film Daily | title=Rosenzweig and Marcus Plan to Distribute 26 | date=March 23, 1933 | page=1 | url=https://archive.org/stream/filmdailyvolume66162newy#page/426/mode/2up/search/%22Lee+Marcus%22 | accessdate=February 18, 2016}}{{Open access}} In March 1933 Marcus became the assistant to Lou Brock, who was an associate producer at RKO. Marcus had been a sales executive for RKO.{{cite news | newspaper=The Film Daily | title=Lee Marcus Appointed Aide to Brock at RKO | date=March 27, 1933 | page=1 | url=https://archive.org/stream/filmdailyvolume66162newy#page/446/mode/2up/search/%22Lee+Marcus%22 | accessdate=February 18, 2016}}{{Open access}} In March 1934 Marcus graduated from being an assistant producer to producing shorts, succeeding Brock.{{cite news | newspaper=The Film Daily | title=A Little from "Lots" | date=March 2, 1934 | page=6 | first=Ralph | last=Wilk | url=https://archive.org/stream/filmdaily65wids#page/n451/mode/2up/search/%22Lee+Marcus%22 | accessdate=February 18, 2016}}{{Open access}} Bert Gilroy, who would eventually become a producer in his own right, was made Marcus' assistant.{{cite news | newspaper=Motion Picture Daily | title=Radio Advances Brock | date=February 24, 1934 | page=2| url=https://archive.org/stream/motionpicturedai35unse#page/n403/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 6, 2016}}{{Open access}} For his first season in his new role, he would handle the production of eight different short series for the studio, each short consisting a "two-reeler", for a total of 42 short films. Five of the series would consist of six shorts each: Edgar Kennedy Comedies, Blondes and Redheads, Headliners, Four Star Comedies, and Chick Chandlers. The other three series would each have 4 installments: Clark and McCulloughs, Ruth Ettings, and Radio Musicals.{{cite news | newspaper=Motion Picture Daily | title=What They're Down For | date=June 20, 1934 | page=10 | url=https://archive.org/stream/motionpicturedai35unse_0#page/n807/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 6, 2016}}{{Open access}} At his first national meeting for RKO, Marcus declared his intent to increase the quality of production for short films.{{cite news | newspaper=Motion Picture Daily | title=Shorts to Get Feature Care, Says Lee Marcus | date=June 21, 1934 | page=7 | url=https://archive.org/stream/motionpicturedai35unse_0#page/n815/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 6, 2016}}{{Open access}}

=Move to producing feature films=

However, in addition to being the head of Radio's comedy shorts division, Marcus was given the title of associate producer for features by the end of the summer of 1934. Associate producers during this time were the supervising producers for film production at RKO, and were given on-screen credit as either an associate producer, or simply, producer. Marcus' first feature was Kentucky Kernels, starring the comedy duo of Wheeler and Woolsey, and directed by George Stevens.{{cite news | newspaper=Motion Picture Daily | title=Marcus Made Associate | date=September 1, 1934 | page=2 | url=https://archive.org/stream/motionpicturedai36unse#page/n479/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 6, 2016}}{{Open access}}{{cite web|publisher=American Film Institute |title=Kentucky Kernels |url=http://www.afi.com/members/catalog/DetailView.aspx?s=&Movie=4398 |accessdate=March 6, 2016 |archiveurl=https://web.archive.org/web/20150921182827/http://www.afi.com/members/catalog/DetailView.aspx?s=&Movie=4398 |archivedate=September 21, 2015 |url-status=dead }} He would work with the comedy team again the following year, once more with Stevens at the helm, on The Nitwits.{{cite news | newspaper=Motion Picture Daily | title=Motion Picture Daily's Hollywood Preview: Nitwits | date=May 15, 1935 | page=21 | url=https://archive.org/stream/motionpicturedai37unse_0#page/n405/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 6, 2016}}{{Open access}} The film's original title was Mellodicks, which Marcus found repugnant. He offered $50 to any employee of RKO who could come up with a better title. While he received numerous suggestions, he finally settled on the picture's final title, which had been a generic title around the RKO lot for years.{{cite book | title=Wheeler & Woolsey | first=Edward | last=Watz | page=232 | publisher=McFarland | year=2001 | isbn=0786411414 | url=https://books.google.com/books?id=b55DAgAAQBAJ&dq=%22Lee+Marcus%22&pg=PA253}} In all, Marcus produced the final six films made by duo between 1934 and 1937, the others being The Rainmakers (1935), Silly Billies (1936), Mummy's Boys (1936), and High Flyers (1937).{{cite book | title=Wheeler & Woolsey | first=Edward | last=Watz | pages=219, 229, 241, 251, 261, 279 | publisher=McFarland | year=2001 | isbn=0786411414 | url=https://books.google.com/books?id=b55DAgAAQBAJ&dq=%22Lee+Marcus%22&pg=PA253}}

Marcus would continue in his dual role at the studio for the 1935–36 season, scheduled to produce 36 shorts as well as three feature films.{{cite news | newspaper=Motion Picture Daily | title=Marcus To Do Three Features, 36 Shorts | date=September 25, 1935 | page=9 | url=https://archive.org/stream/motionpicturedai38unse#page/n825/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 6, 2016}}{{Open access}} In May 1936, RKO exercised their option on Marcus, extending his contract.{{cite news | newspaper=Motion Picture Daily | title=Radio Holds Producers | date=May 12, 1936 | page=3 | url=https://archive.org/stream/motionpicturedai39unse_0#page/n421/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 14, 2016}}{{Open access}} He was one of eight producers featured in RKO promotional features for the studio, heralding their upcoming film schedule.{{cite news | newspaper=Motion Picture Daily | title=For 1935-36 48 Productions From RKO | date=June 25, 1935 | pages=18–19 | url=https://archive.org/stream/motionpicturedai37unse_0#page/n805/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 6, 2016}}{{Open access}} One of the first films Marcus produced in the new season was the next Wheeler and Woolsey comedy, The Rainmakers, this picture directed by Fred Guiol.{{cite news | newspaper=The Film Daily | title=News of the Day | date=July 17, 1935 | pages=4 | url=https://archive.org/stream/filmdailyvolume668newy#page/148/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 12, 2016}}{{Open access}} That season also saw Marcus produce a "tone film", Metropolitan Nocturne, wherein there was no dialogue, instead a musical composition, in this instance the symphony of the same name by Louis Alter, was interpreted on the screen using all pantomime.{{cite news | newspaper=The Film Daily | title=A "Little" From Hollywood "Lots" | first=Ralph | last=Wilk | date=August 2, 1935 | pages=12 | url=https://archive.org/stream/filmdailyvolume668newy#page/310/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 12, 2016}}{{Open access}} Shortly after it was announced that the RKO film shorts program for 1936-37 would consist of 36 films, including 12 musicals,{{cite news | newspaper=The Film Daily | title=RKO Plans 36 Short Subjects on '36-37 Program | date=April 20, 1936 | pages=1 | url=https://archive.org/stream/filmdailyvolume669newy#page/926/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 12, 2016}}{{Open access}} Marcus' contract was renewed by Sam Briskin, head of the studio.{{cite news | newspaper=The Film Daily | title=RKO Takes Up 3 Options | date=May 12, 1936 | pages=1 | url=https://archive.org/stream/filmdailyvolume66970newy#page/66/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 12, 2016}}{{Open access}} Before the end of the year Marcus was promoted to Briskin's assistant, wherein he was responsible for overseeing the work of several producers' output, primarily handling the studio's B-film output.{{cite news | newspaper=The Film Daily | title=A "Little" From Hollywood "Lots" | first=Ralph | last=Wilk | date=August 4, 1936 | pages=6 | url=https://archive.org/stream/filmdailyvolume66970newy#page/846/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 12, 2016}}{{Open access}} With this promotion Marcus finally relinquished his direct control over the RKO short film production.{{cite news | newspaper=The Film Daily | title=24 Shorts Finished by RKO Radio Studios | date=September 16, 1936 | pages=10 | url=https://archive.org/stream/filmdailyvolume770newy#page/132/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 12, 2016}}{{Open access}} While overseeing other producers, Marcus continued to be the supervising producer on his own pictures during 1936 and 1937, such as We're on the Jury (1937),{{cite news | newspaper=The Film Daily | title=Reviews of New Films: "We're on the Jury" | date=January 18, 1937 | page=12 | url=https://archive.org/stream/filmdaily71wids#page/n185/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 13, 2016}}{{Open access}} and High Flyers (1937), another Wheeler/Woolsey film.{{cite news | newspaper=The Film Daily | title=A "Little" From Hollywood "Lots" | first=Ralph | last=Wilk | date=February 23, 1937 | page=10 | url=https://archive.org/stream/filmdaily71wids#page/n477/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 13, 2016}}{{Open access}} High Flyers was originally titled The Kangaroos (the name of the play on which it was based), and initially had a relatively unknown Betty Grable as the female lead.{{cite news | newspaper=The Film Daily | title=A "Little" From Hollywood "Lots" | first=Ralph | last=Wilk | date=March 3, 1937 | page=11 | url=https://archive.org/stream/filmdail71wids#page/n37/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 13, 2016}}{{Open access}} Grable was eventually replaced by Marjorie Lord in the picture, which was the final film for the duo of Wheeler and Woolsey, due to Robert Woolsey's death less than a year later.{{cite web|url=http://www.afi.com/members/catalog/DetailView.aspx?s=&Movie=6346 |publisher=American Film Institute |title=High Flyers |accessdate=March 13, 2016 |archiveurl=https://web.archive.org/web/20150921150844/http://www.afi.com/members/catalog/DetailView.aspx?s=&Movie=6346 |archivedate=September 21, 2015 |url-status=dead }} Marcus' work on the 1936 romantic comedy Love on a Bet was singled out for its production value.{{cite news | newspaper=Motion Picture Daily | title=Motion Picture Daily's Hollywood Preview | date=February 1, 1936 | page=4 | url=https://archive.org/stream/motionpicturedai39unse#page/n281/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 14, 2016}}{{Open access}}

At the studio's annual sales meeting in June 1937, Briskin announced that Marcus' position within the organization would remain unchanged for the upcoming 1937–38 season.{{cite news | newspaper=The Film Daily | title=Briskin Staff Unchanged | date=June 17, 1937 | page=8 | url=https://archive.org/stream/filmdai71wids#page/150/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 13, 2016}}{{Open access}} Marcus was responsible for overseeing about half of the overall production for RKO. Briskin, rather than giving Marcus a budgeted amount for each picture, simply gave Marcus an overall lump sum with which he was responsible for completing all his filming assignments. This was an effort to do away with the practice of grading pictures as either "A" or "B" films.{{cite news | newspaper=The Film Daily | title=RKO Moves to Prevent Gradation of Pictures | date=June 15, 1937 | page=2 | url=https://archive.org/stream/filmdai71wids#page/118/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 13, 2016}}{{Open access}} When Briskin departed RKO in the fall of 1937, Marcus retained his position,{{cite news | newspaper=The Film Daily | title=Denies Realignment of RKO Studio Execs | date=November 12, 1937 | pages=1, 7 | url=https://archive.org/stream/filmdail72wids#page/n413/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 13, 2016}}{{Open access}} although there was some discussion of him replacing Berman. His name was on a short list, along with David O. Selznick, Mervyn LeRoy, Ben Kahane, and Jesse L. Lasky.{{cite news | newspaper=Motion Picture Daily | title=Rumors Name Many for Briskin Post | date=November 5, 1937 | pages=1, 4 | url=https://archive.org/stream/filmdail72wids#page/n413/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 13, 2016}}{{Open access}} When that didn't materialize, by the beginning of 1938 there was talk that he would split the head production activities of the studio with Pandro S. Berman, with Marcus in charge of B-films and Berman in charge of A-films.{{cite news | newspaper=The Film Daily | title=RKO Studios' Reins to Berman, Marcus? | date=January 15, 1938 | pages=1, 4 | url=https://archive.org/stream/filmdaily73wids#page/n127/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 13, 2016}}{{Open access}} By the end of February 1938 that arrangement was made official by Leo Spitz, the new president of RKO,{{cite news | newspaper=The Film Daily | title=McDonough's RKO Duties Not Yet Defined | date=February 24, 1938 | pages=1, 9 | url=https://archive.org/stream/filmdaily73wids#page/n443/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 13, 2016}}{{Open access}} and in August Marcus was given a new three-year contract with the studio.{{cite news | newspaper=The Film Daily | title=New Pacts for Marcus, Sisk | date=August 5, 1938 | page=4 | url=https://archive.org/stream/filmdaily74wids#page/n265/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 13, 2016}}{{Open access}} In 1938 RKO created a new type of motion picture, the exploitation film, in response to potential issues from the Hays commission and the National Legion of Decency about the number of crime dramas which were being produced by the studios. One of the first was Smashing the Rackets (1938), after which Marcus suggested two other exploitation films, Clip Joint and Strip Tease. Neither had either social significance or artistic value, but were conceived solely to drive viewers through the turnstiles. While they perfectly fit the bill of what Spitz was looking for, he passed on making either film.{{cite book | title=RKO Radio Pictures: A Titan Is Born | first=Richard | last=Jewell | pages=157–58 | publisher=University of California Press | year=2012 | isbn=978-0520951952 | url=https://books.google.com/books?id=JKgBbzjCNogC&dq=%22Lee+Marcus%22&pg=PA157}} When Berman was replaced by Harry Eddington in December 1939 as the head of A-film production, Marcus remained in charge of RKO's B product.{{cite news | newspaper=The Film Daily | title=Eddington Named RKO's New Executive Producer. | date=December 29, 1939 | pages=1, 3| url=https://archive.org/stream/filmdail76wids#page/n553/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 13, 2016}}{{Open access}} In 1940, Marcus produced what many consider the first film noir, Stranger on the Third Floor.{{cite book | title=Blackout: World War II and the Origins of Film Noir | first=Sheri Chinen | last=Biesen| page=[https://archive.org/details/blackoutworldwar0000bies/page/22 22] | publisher=JHU Press | year=2005 | isbn=0801882176 | url=https://archive.org/details/blackoutworldwar0000bies| url-access=registration | quote=Lee Marcus. }} Marcus remained in charge of the low-budget films at RKO until February 19, 1941, when studio head George J. Schaefer assumed total control of production, demoting both Eddington and Marcus. Marcus was relegated to being simply a studio producer.{{cite news | newspaper=The Film Daily | title=McDonough Assumes Marcus Post at RKO | date=February 19, 1941 | pages=1, 3| url=https://archive.org/stream/filmdaily79wids#page/n357/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 13, 2016}}{{Open access}}{{cite news | newspaper=The Film Daily | title=Major News Events of Film Industry Year | date=December 30, 1941 | page=7 | url=https://archive.org/stream/filmdail80wids#page/n623/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 13, 2016}}{{Open access}} Marcus lasted three months in his new position, resigning from RKO at the end of April, 1941.{{cite news | newspaper=The Film Daily | title=Marcus Resigns from RKO; On a Two-Months' Vacation | date=April 29, 1941 | page=2 | url=https://archive.org/stream/filmdail79wids#page/n195/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 13, 2016}}{{Open access}}

=Post RKO=

After leaving RKO, Marcus only worked on a single film during the remainder of 1941 and all of 1942. In early 1942 he was the associate producer on The Spoilers for Universal Pictures, which starred John Wayne, Randolph Scott, and Marlene Dietrich.{{cite news | newspaper=The Film Daily | title=Lloyd-Skirball to Make "Spoilers" for Universal | date=November 6, 1941 | page=2 | url=https://archive.org/stream/filmdail80wids#page/n265/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 13, 2016}}{{Open access}} Later that year, in August, Marcus signed a long-term contract to produce for 20th Century Fox.{{cite news | newspaper=The Film Daily | title=20th Fox Ties Lee Marcus For Termer as Producer | date=August 25, 1942 | page=1 | url=https://archive.org/stream/filmdaily82wids#page/n349/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 13, 2016}}{{Open access}} His first assignment at 20th Century was supposed to be Bad Men of Texas, written by Frank Gruber, however that project does not appear to have been completed.{{cite news | newspaper=Motion Picture Daily | title=Notes From Hollywood | date=October 21, 1942 | page=9 | url=https://archive.org/stream/motionpicturedai52unse_0#page/n133/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 15, 2016}}{{Open access}} His first completed project for Fox was Crash Dive, which he finished producing after Milton Sperling was called up to join the United States Marine Corps in September 1942.{{cite web|url=http://www.afi.com/members/catalog/DetailView.aspx?s=&Movie=382 |publisher=American Film Institute |title=Crash Dive |accessdate=March 15, 2016 |archiveurl=https://web.archive.org/web/20160305074246/http://www.afi.com/members/catalog/DetailView.aspx?s=&Movie=382 |archivedate=March 5, 2016 |url-status=dead }} This was followed by They Came to Blow Up America, a spy thriller starring George Sanders, for which Marcus' production quality received positive reviews.{{cite news | newspaper=Motion Picture Daily | title=They Came to Blow Up America | date=April 22, 1943 | page=6 | url=https://archive.org/stream/motionpicturedai53unse_0#page/n145/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 15, 2016}}{{Open access}} In June 1943, Marcus resigned from 20th-Century, to work for Edward Small at his independent production company.{{cite news | newspaper=The Film Daily | title=Marcus Quits 20th-Fox; Joins Small Productions | date=June 30, 1943 | page=2 | url=https://archive.org/stream/filmdail83wids#page/n609/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 13, 2016}}{{Open access}} The final two films he produced for Fox, The Dancing Masters, a Laurel and Hardy comedy, and Roger Touhy, Gangster, a gangster film with Preston Foster in the titular role, were not released until after his departure from the studio.{{cite news | newspaper=Motion Picture Daily | title=Review: "Dancing Masters" | date=October 28, 1943 | page=4 | url=https://archive.org/stream/motionpicturedai54unse_0#page/n191/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 13, 2016}}{{Open access}}{{cite web|url=http://www.afi.com/members/catalog/DetailView.aspx?s=&Movie=24140 |publisher=American Film Institute |title=Roger Touhy, Gangster |accessdate=March 15, 2016 |archiveurl=https://web.archive.org/web/20160323061153/http://www.afi.com/members/catalog/DetailView.aspx?s=&Movie=24140 |archivedate=March 23, 2016 |url-status=dead }} His tenure with Small was short-lived, however, and he resigned in March 1944, due to an unspecified illness.{{cite news | newspaper=Motion Picture Daily | title=Coast Flashes | date=March 16, 1944 | page=8 | url=https://archive.org/stream/motionpicturedai55unse#page/n601/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 13, 2016}}{{Open access}} At the end of 1944, he co-produced, with Bert Gilroy, a musical short for his old studio, RKO, Songs of the Colleges.{{cite news | newspaper=Motion Picture Daily | title=Short Subject Reviews: "Songs of the Colleges" | date=December 26, 1944 | page=8 | url=https://archive.org/stream/motionpicturedai56unse_0#page/n657/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 15, 2016}}{{Open access}} In 1946 he rejoined forces with Small, this time along with Joseph Fields, in forming an independent production company.{{cite news | newspaper=Motion Picture Daily | title=Names ... in Today's News | date=February 26, 1946 | page=1 | url=https://archive.org/stream/motionpicturedai59unse#page/n393/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 15, 2016}}{{Open access}} In 1946 Marcus produced a compilation film for Astor Pictures. Titled Hollywood Bound, it consisted of three film shorts featuring Betty Grable, which Marcus had produced in the 1930s.{{cite web|url=http://www.afi.com/members/catalog/DetailView.aspx?s=&Movie=24140 |publisher=American Film Institute |title=Hollywood Bound |accessdate=March 15, 2016 |archiveurl=https://web.archive.org/web/20160323061153/http://www.afi.com/members/catalog/DetailView.aspx?s=&Movie=24140 |archivedate=March 23, 2016 |url-status=dead }} In early 1947, Marcus produced his final film, Lost Honeymoon, which was written by Fields. Starring Franchot Tone, Ann Richards, and Tom Conway, the picture was produced and released by Eagle-Lion Films.{{cite news | newspaper=Motion Picture Daily | title=Review: "Lost Honeymoon" | date=March 10, 1947 | page=10 | url=https://archive.org/stream/motionpicturedai61unse#page/n435/mode/2up/search/%22Lee+Marcus%22 | accessdate=March 15, 2016}}{{Open access}}

Filmography

(Per AFI database){{cite web | url=http://www.afi.com/members/catalog/SearchResult.aspx?s=&retailCheck=&Type=PN&CatID=DATABIN_PRODUCER&ID=96646&AN_ID=&searchedFor=Lee_Marcus_ | publisher=American Film Institute | title=Lee Marcus | accessdate=March 6, 2016 }}

Personal life

On October 17, 1927, Marcus married Claire S. Warner. The two were married at the restaurant, Sherry's, before leaving on their three-week honeymoon in Bermuda.{{cite news | newspaper=The Film Daily | title=And That's That | date=October 14, 1927 | page=10 | first=Phil M. | last=Daly | url=https://archive.org/stream/filmdaily4142newy#page/908/mode/2up/search/%22Lee+Marcus%22 | accessdate=February 18, 2016}}{{Open access}}{{cite news | newspaper=The Film Daily | title=Lee Marcus Back | date=November 15, 1927 | page=2 | url=https://archive.org/stream/filmdaily4142newy#page/1192/mode/2up/search/%22Lee+Marcus%22 | accessdate=February 18, 2016}}{{Open access}} Marcus died on January 30, 1969, at the age of 75.

References

Category:1893 births

Category:1969 deaths

Category:Film producers from New York (state)

Category:Businesspeople from Buffalo, New York

Category:20th-century American businesspeople