Robert Lenard Lippert (March 31, 1909 – November 16, 1976) was an American film producer andcinema chain owner. He was president and chief operating officer of Lippert Theatres, Affiliated Theatres and Transcontinental Theatres, all based in San Francisco, and at his height, he owned a chain of 139 movie theaters.[1]
Born inAlameda, California[3] and adopted by the owner of a hardware store, Robert Lippert became fascinated by the cinema at an early age. As ayoungster, he worked a variety of jobs in local theaters, including projectionist and assistant manager. As a manager of a cinema during theDepression, Lippert encouraged regular attendance with promotions such as "Dish Night" and "Book Night."
Lippert went from cinema manager to owning a chain of cinemas in Alameda in 1942,[1] during the peak years of theater attendance.[4] Lippert's theaters in Los Angeles adopted a "grindhouse" policy, screening older and cheaper films for a continuous 24 hours with an admission price of 25 cents. Not only did his theaters attract shift workers and late-night revelers, but also servicemen on leave who could not find cheap accommodations and would sleep in the chairs.[5]
"Every theater owner thinks he can make pictures better than the ones they sent him," Lippert later said. "So back in 1943 [sic] I tried it" (the year was actually 1945).[2] Dissatisfied with what he believed to be exorbitant rental fees charged bymajor studios, Lippert formedScreen Guild Productions in 1945, its first release being aBob Steele western calledWildfire, filmed in then-unusualCinecolor.[10] Veteran producerEdward Finney partnered with Lippert in 1946.
For the next few years Screen Guild entered into agreements with independent producers Finney,William Berke, William David,Jack Schwarz,Walter Colmes, andRon Ormond to guarantee a steady supply of releases.[11] One of the most controversial Screen Guild releases wasThe Burning Cross (1947), which concerned theKu Klux Klan.[12] In the main, however, Lippert concentrated on simple entertainments for small-town and neighborhood theaters: musicals, comedies, detective stories, action-adventure stories, and westerns.
Screen Guild becameLippert Pictures in 1948, using rental stages and theCorriganville Movie Ranch for the production of its films. Between 1948 and 1955, 130 Lippert features were made and released.
Lippert's fortunes and reputation improved when he sponsored screenwriter and former newspaper reporterSamuel Fuller. Fuller wanted to become a director, so he agreed to direct the three films he had been contracted to write for Lippert:I Shot Jesse James,The Baron of Arizona andThe Steel Helmet, all for no extra money, accepting just the directing credit.[13] The Fuller films received excellent reviews.
A 1949New York Times profile said Lippert owned 61 theaters. It also reported (erroneously) that he had directed most of the Westerns his company had made.[14]
Lippert maintained a small stock company of supporting actors, includingMargia Dean, Mara Lynn,Don Castle, andReed Hadley. Lippert's most ubiquitous actor was probably the diminutiveSid Melton. He appeared as a supporting comedian in many of Lippert's productions and starred in three hour-long comedies.
Lippert also contracted with independent producers. In 1950Ron Ormond hired two former members of theHopalong Cassidy franchise,Russell Hayden andJames Ellison, to co-star in a new series of six western features, with ingenue Betty Adams (later established asJulie Adams) and a stock company of actors familiar from westerns. With typical economy, Ormond arranged for all six scripts to be filmed simultaneously, to take advantage of the sets, locations, and actors on hand. The six features were filmed within one month.
The "name" cast ensembles were only part of Lippert's successful formula. Other selling angles were achieved when certain of Lippert's features could be marketed in a process more elaborate than ordinary black-and-white. Lippert usedCinecolor andsepiatone to dress up his more ambitious features, and embellished others by using tinted film stock for special effects (mint green forLost Continent, pinkish red-sepia for the Mars sequences inRocketship X-M). He even anticipated the3-D film craze by publicizing a special, deep-focus photographic lens developed by Stephen E. Garutso, which Lippert promoted as giving a stereoscopic effect without special projection equipment.
In addition to his original productions, Lippert reissued older films to theaters under his own brand name, including several Hopalong Cassidy westerns and theLaurel and Hardy featureBabes in Toyland (reissued by Lippert asMarch of the Wooden Soldiers).
Lippert read a 1949Life magazine article about a proposed rocket landing on theMoon. He rushed into production his version calledRocketship X-M, released a year later in 1950; he changed the film's destination toMars to avoid copying exactly the same idea being utilized by producerGeorge Pal in his large-budget, high-profileDestination Moon.Rocketship X-M succeeded in becoming the firstpost-war science fictionouter space drama to appear in theaters, but only by 20 days, while capitalizing on all the publicity surrounding the Pal film. More importantly, it became the first feature film drama to warn of the dangers and folly of full-scale atomic war.
Lippert was anxious to enter the new and profitable field of commercial television. In 1950 he filmed a new detective series intended for sale to television -- but appearing in movie theaters first. Six half-hour episodes were filmed with co-stars Hugh Beaumont andEdward Brophy, which were then combined into three theatrical features:Pier 23,Danger Zone, andRoaring City. Trade reviewers noticed the paste-ups: "Having similar situations and dialogue, these episodes would be better if shown separately. Any dramatic effect achieved in the first loses its punch when so closely duplicated by a second story following immediately afterwards."[15] Lippert later acquired episodes of the TV seriesRamar of the Jungle and combined them into action features.
In 1951 Lippert announced plans to sell his films to television, at a time when major studios withheld their film libraries from TV to protect their theatrical interests. TheAmerican Federation of Musicians stepped in, and Lippert had to rescore some of the films and pay an amount to the musicians' music fund.[16][17]
Lippert went ahead with the sale but clashed with theScreen Actors Guild[18] and was blackballed by the Guild as a result.[19][20] He was going to make films for television withHal Roach, Jr., but problems with the Screen Actors Guild led to their cancellation. He ended up making only two,Tales of Robin Hood andPresent Arms (released asAs You Were).[21] |In October 1951, Lippert signed a three-picture deal with the recently blacklistedCarl Foreman.[22] He also signed a two-picture deal with blacklistedPaul Henreid[23] but no films appear to have resulted; Henreid signed instead withColumbia Pictures. In 1951, Lippert entered into an arrangement with Famous Artist Corporation to make features with their talent.[24] By January 1952, however, the SAG dispute had not been resolved and Lippert announced he was leaving film production.[25][26]
In 1951, Lippert signed a four-year production and distribution contract with the British companyHammer Films by which Lippert would distribute Hammer movies in America, and Hammer would distribute Lippert's films in the UK. To ensure familiarity with American audiences, Lippert insisted on an American star supplied by him in the Hammer films he was to distribute. The first film produced under the contract wasThe Last Page,[27] which starredGeorge Brent.
WhenDarryl F. Zanuck announced hisCinemaScope process, he faced hostility from many theater owners who had gone to great expense to convert their theaters to show3-D films that Hollywood had stopped making. Zanuck assured them that they could have a large supply of CinemaScope product because Fox would make CinemaScope lenses available to other film companies and start a production unit, led by Lippert, calledRegal Films in 1956 to produceB pictures in that process.
Lippert's company was contracted to make 20 pictures a year for seven years, each to be shot in seven days for no more than $100,000. Due to Lippert's problems with the film unions over not paying residuals to actors and writers of his films when they were sold to television, Fox chose not to publicize Lippert's participation. Ed Baumgarten was officially appointed the head of Regal, but Lippert had overall control.[28][29] Regal Films filmed its movies with CinemaScope lenses, but due to 20th Century-Fox insisting that only its "A" films would carry the CInemaScope label, Regal's product used the term "Regalscope" in its films' credits.[30]
Maury Dexter, who worked at Regal, later recalled the outfit's productions were all shot at independent sound stages because they could not afford to shoot at 20th Century Fox, due to the high cost of rental and overhead they charged. The films were entirely financed and released by Fox, but Regal was independent. Dexter says "the only stipulation production-wise was that we had to give Bausch and Lomb screen credit on each film for CinemaScope camera lenses, as well as being charged back to Fox, $3,000 of each budget.[32]
Impressed by the unit's profits, Fox extended Regal's contract by a further 16 films with an "exploitation angle" that would be approved by Fox.[33]
In November 1957, Regal announced that they would make ten films in three months.[34]
Regal made a deal with actors and directors to play them a percentage of any money from the sale of films to television. It did not make a deal with writers, and the Screen Writers Guild forbade its writers to work for Lippert. Regal stopped making films.
In 1960, Lippert sold 30 Regal films to television for $1 million.[35]
In October 1958, a new company was formed by Lippert, called Associated Producers Incorporated (API), to make low-budget films for Fox at the rate of one per month, starting withAlaska Highway. The company was headed by George Warren, formerly a production cost controller for MGM, with William Magginetti as production supervisor and Harry Spaulding as story editor. Lippert was described as being "associated" with the company.[36](API having similar initials to exploitation specialistAmerican International Pictures may have been coincidental).
"We use hack writers or new writers and beat-up faces or new faces", he said later. "No, I don't direct any of them. I wouldn't be a director for anything. No wonder they all have ulcers."[2]
In October 1959, Lippert said making "little Bs" for $100,000 was no longer as lucrative because "it is now in the same category as the short TV feature which people can see for free."[37] He persuaded Fox to start financing his films up to $300,000 and a shooting schedule of around 15 days starting withThe Sad Horse.[37]
"I have an angle on everything", he said in 1960, adding that he found it profitable to focus on small towns and country areas. "There's a lot of money in sticks."[38]
In 1962, Lippert criticized Hollywood for the "slow suicide" in movie going, blaming involvement of New York bankers in creative matters, inflated overhead, union featherbedding and obsolete theaters.[39]
"The economics of this business have gone cock-eyed", he added. "The total gross of pictures has dropped from 20-30% and the costs have doubled. It's nuts."[2] By this stage, he estimated that he had made "about 300 films" including 100 for Fox in five years. "One year, I made 26, more than the rest of the studios."[2]
"Most Bs cost $100,000 or $200,000", he said. "We shoot them in six or seven days. There's hardly any re-shooting. Unless something is glaringly wrong, we let 'em go. What the hell, people don't care. They want to be entertained. I've heard people coming out of my theaters after seeing adouble bill that featured a big production, 'Everybody died' or 'How that girl suffered. Thank God for the little picture'."[2]
Lippert said that he wanted to make more Westerns "because they're cheap" but did not because "television had saturated the market."[2]
Faced with increasing production costs in Hollywood, Lippert announced in 1962 that he would be making films in England, Italy (The Last Man on Earth), and the Philippines. Fox ended the relationship with Regal/API when its own production schedule had declined and it didn't have enough "A" features to support its "B" pictures.[40]
In 1926, he married Ruth Robinson and they remained married until his death. He has a son, Robert L. Lippert Jr., and a daughter, Judith Ann.[1] His son followed his father into producing and also helping manage the theater chain.[1]Maury Dexter says Lippert had a mistress,Margia Dean, who would be cast in the company's films at Lippert's insistence.[43]
Little Big Horn (1951) akaThe Fighting Seventh – produced by Bali Productions – written and directed byCharles Marquis Warren (first film as director), produced by Carl Hittleman
G.I. Jane (1951) – produced by Murray Lerner for Murray Productions
F.B.I. Girl (1951) – produced by Jegar Productions
Young Jesse James (Aug 1960) – starring Ray Strickland & Willard Parker, written by Orvill Hampton, produced by Jack Leewood, directed by William F Claxton
Troubled Waters (1964) – Parroch-McCallum – starring Tab Hunter, produced by Lippert and Jack Parsons – released by Fox
The Woman Who Wouldn't Die (1965) akaCatacombs – written by Daniel Mainwaring, produced by Jack Parsons, directed by Gordon Hessler – released by Warners
Other Lippert movies distributed by 20th Century-Fox
