Sam Katzman (July 7, 1901 – August 4, 1973) was an American film producer and director. Katzman's specialty was producing low-budget genre films, including serials, which had disproportionately high returns for the studios and his financial backers.[1]
Early career
Sam was born to a Jewish family;[2] his father Abe Katzman was a violinist. He and Sam's mother Rebecca (née Sugarman) were from Kishinev, Bessarabia Governorate, Russian Empire (now Chisinău, Moldova). Katzman went to work as a stage laborer at the age of 13 in the fledgling East Coast film industry and moved from prop boy to assistant director at Fox Films.[3] He would learn all aspects of filmmaking and was a Hollywood producer for more than 40 years.[1] Katzman worked as an assistant to Norman Taurog and got married on the set of The Diplomats in 1928 at Fox.[4]
In October 1927 he signed with comic Joe Russo to make a series of two-reel comedies.[5]
In June 1935 Katzman announced he would make six films written by Peter Kyne for Fox, starting with Danger Ahead.[10] He ended up taking over Bryan Foy's studios at Culver City and doing the films through his own company, Victory Pictures.[11]
In 1935 Katzman founded Puritan Pictures, a film distribution group, their first film being Suicide Squad (1935).
Katzman entered the world of serials in 1936 (with Shadow of Chinatown (1936) starring Bela Lugosi) and would return to the genre in 1944.
In June 1937 a fire damaged the building where Victory was based.[13] In January 1939 Victory announced they would make 20 more Westerns.,[14] but within six months Katzman closed Puritan and began releasing his productions through Monogram Pictures.
Monogram Pictures
At Monogram, a "budget" studio, Katzman partnered with Jack Dietz, under the name Banner Productions, to produce 22 East Side Kids features, two musicals, and a series of thrillers with Bela Lugosi. In April 1941 Katzman signed Lugosi to make three films,[15] which were well received. Lugosi ultimately made nine films for Katzman.
In January 1943 Katzman signed a contract with stage star Frank Fay and screen comic Billy Gilbert for four films. Fay walked out on the series after the first film, Spotlight Scandals (1943), and Katzman replaced him with Gilbert's closest friend, Shemp Howard.
Katzman continued to produce features for Monogram through 1948. His final East Side Kids movies were Docks of New York (1945), Mr. Muggs Rides Again (1945) and Come Out Fighting (1945). The series came to an abrupt end when its star Leo Gorcey wanted double the usual salary from Katzman. Katzman reacted by pulling the plug on the series. (Gorcey stayed with Monogram, which retooled the series as The Bowery Boys.)
In November 1945 Katzman replaced the rowdy East Side Kids with The Teen Agers, a wholesome gang of high-schoolers. These were vehicles for singer Freddie Stewart.[16] It was an early example of Katzman's output aimed specifically at a teenage audience. He produced six of these musical comedies through 1948.
Columbia Pictures
In September 1944 Katzman was offered a job producing serials for Columbia Pictures, starting with Brenda Starr, Reporter (1945) and Who's Guilty? (1945).[17] With typical thrift, he produced these on the side, using Monogram's actors and technicians. The Columbia serials proved successful, and Katzman became their permanent producer, using Columbia's own technicians and facilities.
In June 1946 Katzman announced he would make his first feature for Columbia, a remake of The Last of the Mohicans starring Jon Hall.[18] However, the first movies he ended up making at the studio were musicals. In August 1946 he signed Jean Porter to star in Betty Co-Ed (1946), made by Katzman's Monogram director Arthur Dreifuss. The film received excellent reviews, prompting Columbia to ask for three more. Porter left Metro-Goldwyn-Mayer, which was downsizing, to sign with Katzman. The three musicals were Little Miss Broadway (1947), Sweet Genevieve (1947) and Two Blondes and a Redhead (1947).
Katzman and Dreifuss then made two films with singer Gloria Jean, who had been a star at Universal Pictures. Katzman was so pleased by I Surrender Dear (1948) that he devoted more time to it, and economized on her other picture, Manhattan Angel (1949).[19] These were budgeted at about $140,000 per film.[20]
The boxoffice performance of Katzman's action movies and serials, particularly Superman, was outstripping those for his musicals and comedies, leading him away from those genres. From 1949 to 1954 he would produce only action fare for Columbia. In October 1948 Katzman signed a seven-year, $4 million contract with Columbia to make four feature films a year through his Kay Pictures corporation, four serials a year via his Esskay Productions, and a Jungle Jim series starring Johnny Weissmuller.[21] The budgets for the Weissmuller films were announced at $350,000 per film.[22]
Katzman's stock-in-trade was now a mix of Arabian Nights fantasies (which he called "tits and sand"), western, action, and prison pictures. He would average ten features a year, producing them in four to ten weeks.[23] Katzman allowed a budget of $400,000 for The Prince of Thieves (1948), a version of the Robin Hood story starring Hall.[20] Other action-oriented Katzman product around this time included the Jungle Jim adventures; the serials Tex Granger (1948), Adventures of Sir Galahad (1949), Batman and Robin (1949), and Bruce Gentry – Daredevil of the Skies (1949); the action thriller The Mutineers (1949) with Hall; the swashbuckler Barbary Pirate (1949); and the crime movie Chinatown at Midnight (1949).[24]
Charles Schneer, who worked for Katzman in the 1940s and 1950s, said the producer "knew everything there was to know about making a movie. He was a very enterprising fellow, and was enormously intuitive. But, he was a very tough taskmaster and a real skinflint. I managed to get along well with Sam, because I knew what he was and respected what he did. Unfortunately, all his input was negative. He never contributed anything positive. I would suggest an idea, and he would knock it down. I would argue with him, but I never got very far. He wouldn't say: 'Do this instead of that.' He would only say: 'Don't do this' — and I didn't. I certainly learned the value of a dollar from Sam."[25]
Katzman's Monogram cameraman Richard Cline later recalled, "We did 106 features in six years, working six days a week - an average of 20 to 22 features a year. Those were "B" pictures... There was a clever writer in the unit. Sam would pick up a newspaper and say, 'Oh, here's a story.' He'd give it to the writer and the writer would turn out a script. We'd go all over. We were actually a traveling unit, a very cohesive unit, and I really learned my trade from that experience."[26]
Katzman shrewdly planned each production with both eyes on the budget, so that he would be spending less and less money as filming progressed. He would film crowd scenes first, then dismiss many of the actors. The remaining featured players would perform their scenes, and then leave. Finally, only the two or three leading actors were still on the payroll, working with a few recognizable, economical bit players.
Columbia's president Harry Cohn sometimes used the Sam Katzman unit as a threat, to keep recalcitrant actors in line or terminate an unwanted contract. Columbia owed Lucille Ball one feature assignment and an $85,000 salary, which Cohn tried to sidestep by sending Ball a "tits and sand" script from the Katzman unit. Cohn was confident that Ball would refuse the Katzman assignment, thus breaking her contract. Ball bristled at the script but didn't want to lose the salary, so she told Cohn she loved the script and agreed to the assignment. Cohn was forced to honor the agreement, and to his credit he allowed a higher production budget for The Magic Carpet (1951), which was filmed in Super Cinecolor.[27]
Director Spencer Bennet continued to make serials like Blackhawk (1952) and King of the Congo (1952), and branched into features such as Brave Warrior (1952) with Hall and a Jungle Jim film, Voodoo Tiger (1952). (In February 1952 Katzman renewed his options to make more Weissmuller movies.[28]) Paul Henreid returned to Katzman to star in Thief of Damascus (1952), directed by Will Jason.
In July 1952 Katzman announced he would make at least 15 films a year for seven years.[29] In November 1952 this contract was amended so Katzman would make twenty films (seventeen features and three serials).[30]
By the mid-1950s television was making inroads into the action market. The Weissmuller series ended in 1955. Serials were gradually phased out, now with all-time-low budgets and consisting largely of action scenes from older serials. The last ones were The Adventures of Captain Africa (an aborted sequel to The Phantom, 1955), Perils of the Wilderness (1956), and Blazing the Overland Trail (1956). Instead, Katzman decided to focus on films that would appeal to the 15-25 age group, which meant more sci-fi, horror, and rock-'n'-roll musicals.[23]
In August 1954 Katzman said he had 14 films lined up, with four more to come, and had assigned four writers to projects: Curt Siodmak to The Creature with the Atom Brain, Berne Giler on Dressed to Kill, Ray Buffum on a juvenile delinquency story, and Robert E. Kent on a Western.[34]
His work had an increasing focus on teens, however. Teen-Age Crime Wave (1955) and Rumble on the Docks (1956) were teen-oriented crime films. He also started making musicals again with rockabilly music.
In May 1957 Katzman told Variety: “A picture that makes money is a good picture—whether it is artistically good or bad. I’m in the five and dime business and not in the Tiffany business. I make pictures for the little theatres around the country.”[23] He added that his movies were normally budgeted between $250,000 and $500,000. He said at Columbia he had made 110 pictures, none of which lost money, and the average gross was $1 million. He said at least 40% of the 110 pictures made were still in release.[23]
“Every picture I make now has a selling gimmick aimed at the young audience," he said in 1957, and he made car movies, horror stories, science fiction and music. He said his pictures are the “bread and butter” pictures of the industry. “I don't get ulcers with the type of pictures I make,” he said.[23]
Katzman signed a deal with 20th Century-Fox starting with The Wizard of Baghdad (1960), an "Eastern" with Dick Shawn. He did this under a verbal agreement with Buddy Adler. In September 1960, Robert Goldstein signed him to a three-picture contract with Fox. These were to be Gentlemen Pirates written by Mel Levy, a film about Mississippi gamblers written by Jesse Lasky Jr. and Pat Silver, and Cypress Gardens by Lou Morheim.[37] He said at the time that Hollywood was making too many blockbusters and "the motion picture business must deal in a saleable product of entertainment at a price the public can afford and not price itself out. of the market.”[38]
Katzman wound up making only one more film at Fox, Pirates of Tortuga (1961), a swashbuckler similar to many of the films he made at Columbia.
He returned to Columbia to make The Wild Westerners (1962), a Western, as well as two "twist" movies starring Chubby Checker, Twist Around the Clock (1961) and Don't Knock the Twist (1962). These were scene-for-scene remakes of Katzman's Bill Haley musicals, with almost identical scripts. Katzman said, "Twist Around the Clock only cost $250,000 to make, but in less than six months it grossed six million, so of course I'm gonna make more 'Twist' movies!"[39]
Metro-Goldwyn-Mayer
Katzman accepted an offer to move his operation to Metro-Goldwyn-Mayer in 1963. He started with a low budget musical Hootenanny Hoot (1963), which led to several more musicals: Get Yourself a College Girl (1964) and When the Boys Meet the Girls (1965) (a remake of Girl Crazy). MGM also financed three of Katzman's best known movies: two films starring Elvis Presley, Kissin' Cousins (1964) and Harum Scarum (1965), as well as Your Cheatin' Heart (1964), a biopic of Hank Williams starring George Hamilton. Hamilton later wrote in his memoirs that "Jungle Sam cracked the whip, whacked the cane and the whole film was in the can right on time. But he gave me free rein creatively and our director... brought in something memorable, and even Sam knew it."[40]
In December 1964 Katzman announced he would make five films that year for MGM in his third year at the studio.[41]
In 1967 he signed a new contract with MGM to make at least two films a year.[43] These were Hot Rods to Hell (1967), the last film for John Brahm, and Riot on Sunset Strip (1967). Katzman wound up selling the latter to AIP for release.[44]
In 1967 Columbia Pictures wanted two quick, topical films about love-ins and singles-only apartments. Sam Katzman got the call and recruited his 1940s cronies, Arthur Dreifuss and writer Hal Collins, to make The Love-Ins and For Singles Only (both 1967)[19]
He was married to Hortense Katzman. They married on the set of the film The Diplomats in 1928.[45] She sued for divorce in 1955, but the two reconciled.[46]
sequel to the 1943 serial The Phantom (1955) – when Katzman discovered Columbia no longer had the screen rights to the character, he reshot parts of the finished film and retitled it The Adventures of Captain Africa
a follow-up to his earlier films starring Bill Haley and Alan Freed, Rock Around the Clock and Don't Knock the Rock (1958). Originally scheduled for production in the fall of 1957, this was later pushed back to 1958 due to Katzman reportedly disliking the script. Production was ultimately cancelled.[48]
^Scheuer, P. K. (July 31, 1963). Katzman doesn't give a hoot for art. Los Angeles Times
^Ramon Novarro Plans to Star in Screen Version of Drama by Hungarian Playwright: PLAYER'S FUTURE MAY DEPEND ON PRODUCTION Lou Brock Decides to Remain at Radio Studio; Lee Tracy Will Play "Lemon Drop Kid"
Schallert, Edwin. Los Angeles Times 16 May 1934: 13.
^p. 438 Pitts, Michael R. Poverty Row Studios, 1929–1940: An Illustrated History of 53 Independent Film Companies, with a Filmography for Each McFarland & Company, 1 Jan 1997
^SCENE AS FLAMES RAGE IN MOTION-PICTURE PLANT: ACTORS FLEE FOR THEIR LIVES AS FIRE SWEEPS FILM STUDIO
Los Angeles Times7 June 1937: A1.
^Miriam Hopkins Likely 'Mississippi Belle' Lead: Los Angeles Times 12 Apr 1941: A9.
^Detective Will Menace Belita in 'The Hunted'
Schallert, Edwin. Los Angeles Times7 Nov 1945: A3.
^NEWS OF THE SCREEN: New York Times 9 Sep 1944: 12.
^'LAST OF MOHICANS' TO BE FILMED AGAIN: Katzman, in Columbia Deal, to Star Jon Hall in Remake-- Two Premieres Here Today
Special to THE NEW YORK TIMES..22 June 1946: 25.
^ abMacGillivray, Scott and Jan, Gloria Jean: A Little Bit of Heaven, Universe, 2005
^ abThomas F Brady (11 May 1947). "Hollywood Survey: Sharp Drop in Production Noted -- Still Another Dumas Exploit -- Other Items". New York Times. p. X5.
^Schallert, Edwin (26 Oct 1948). "Italian-Made Feature Stars Patricia Medina; Prison Musical Readied". Los Angeles Times. p. A6.
^SELZNICK TO MOVE OFFICES TO COAST: New York Times 16 Feb 1948: 17.
^Brady, Thomas F. (17 April 1949). "HOLLYWOOD UPSWING: Increased Production Breaks Downward Trend in Employment -- Fox Backs Out". New York Times. p. X5.
^AN AMERICAN FILM INSTITUTE SEMINAR WITH RICHARD CLINE, ASC
Anonymous. American Cinematographer; Hollywood Vol. 57, Iss. 8 (Aug 1976): 876-879,933-935,944.
^Schallert, Edwin (11 July 1952). "Drama: Garson in 'Interrupted Melody;' Bacon-Bergman and Bjork Deals on Fire". Los Angeles Times. p. B9.
^HOLLYWOOD DEBATE: New York Times (16 Nov 1952: X5.
^Castle, William (1976). Step right up! : ... I'm gonna scare the pants off America. Putnam. p. 123.
^Schallert, Edwin (28 July 1954). "'Can Can' Buy Inspires Cast Conjectures; 'Atom Brain Creature' On Way". Los Angeles Times. p. 15.
^Thomas M Pryor Special to The New York Times.. (17 Dec 1954). "Sinatra to Star in Musical Film: He Will Appear in Lasky's Salute to Young America, 'The Big Brass Band'". New York Times. p. 36.
^Tobler, John (1992). NME Rock 'N' Roll Years (1st ed.). London: Reed International Books Ltd. p. 103. CN 5585.
^George Hamilton & William Stadiem, Don't Mind If I Do, Simon & Schuster 2008 p 182
^FILMLAND EVENTS: Sam Katzman Begins Busy Year at MGM Los Angeles Times 26 Dec 1964: 19.
^"Filmland Events: Sam Katzman Begins Busy Year at MGM". Los Angeles Times. 26 Dec 1964. p. 19.
^"CBS Film Unit Signs Producer". Los Angeles Times. 18 Sep 1967. p. d27.
^Mark McGee, Faster and Furiouser: The Revised and Fattened Fable of American International Pictures, McFarland, 1996 p263
^Kingsley, Grace (30 Nov 1928). "Lasky Signs Well Known Actor: Comedienne and Assistant Director Wed at Studio; Sally O'Neill Will Star in New Circus Story; Youthful Player Signs With M.-G.-M". Los Angeles Times. p. 14.
^"Film Producer Sam Katzman Sued by Wife". Los Angeles Times. 7 Dec 1955. p. 38.
^Thomas F Brady Special to The New York Times.. (2 May 1951). "Fox Movie Studio Suspends Grable: Actress' Refusal to Appear in 'Girl Next Door' Leads to Action--Film Starts July 1". New York Times. p. 49.
^"Philip Barry Jr. Lists Film". New York Times. 7 Jan 1958. p. 30.
^"Thalberg Award to Jack Warner: Studio President Cited for High Quality of Movies -Ladd's Co-Stars Named Special to The New York Times.". New York Times. 26 Mar 1959. p. 27.
^Martin, Betty (15 Apr 1967). "Role for Catherine Spaak". Los Angeles Times. p. 19.
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