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Of the thirty-one features released by RKO in 1944, for instance, ten were budgeted below $200,000, twelve were in the $200,000 to $500,000 range, and only nine cost more. In contrast, a clear majority of the features put out by the other top four studios were budgeted at over half a million dollars. [ 131 ]
- RKO: The Adventure Studio
- RKO’s Defining Films of The Era
- Notes and Availability
RKO (Radio-Keith-Orpheum) Pictures was formed in the late 1920s in a case of corporate synergy. Combining the KAO theater chain, the FBO production studio, and RCA’s sound technology, RKO was on the forefront of talking pictures. Its adaptation of the popular Broadway musical Rio Rita was an early hit for the studio, and also the first appearance o...
Rio Rita(1929) – Early hit for the studio. Costars Bert Wheeler and Robert Woolsey would go on to make a long running series of comedies for the studio.
Most of RKO’s films from this period are owned by Warner Bros. and released via Warner Archive.Sarnoff hired Selznick in October 1931 as RKO's vice president in charge of production, and the results were swift and significant. Selznick consolidated production at RKO-Radio (the main studio at 780 Gower Street) and cut production costs substantially.
Today, the modern RKO Pictures produces, finances, and distributes both original entertainment and remakes of its classic films. RKO draws upon its brand and intellectual property assets to develop entertainment properties for production and distribution.
Mar 18, 2012 · On this day, March 18, 1954 RKO Pictures was sold to become the first motion picture studio to be owned by an individual. That person was none other than Howard Hughes. The selling price? $23,489,478.
Despite its initial success, RKO struggled financially after World War II and was sold multiple times before ceasing production in the late 1950s. The legacy of RKO lives on through its classic films, which continue to influence filmmakers and are studied for their artistic contributions.
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UA President Grad Sears had to get approval from owners Pickford and Chaplin on proposed deals, whereas executives at other companies had much more freedom of action. 57 United Artists, like RKO, had too few films for its distribution pipeline, and therefore UA was losing $100,000 a week by 1951. 58