RKO Pictures - Golden Age Studio - Early Years

Early Years

Declaring that it would make only all-talking films, RKO began shooting at the small facility FBO shared with Pathé in New York City while the main FBO studio in Hollywood was technologically refitted. In charge of production was William LeBaron, who had held the same position at FBO. The new company's two initial releases were musicals: The melodramatic Syncopation premiered on March 29, 1929. The comedic Street Girl debuted July 30. This was billed as RKO's first "official" production—first to follow the formal incorporation of Radio Pictures, first to be made in Hollywood. A few nonsinging pictures followed, but the studio's first major hit was again a musical. RKO spent heavily on the lavish Rio Rita, including a number of Technicolor sequences. Opening in September to rave reviews, it was named one of the ten best pictures of the year by Film Daily. Cinema historian Richard Barrios credits it with initiating the "first age of the filmed Broadway musical". By the end of the year, RKO was making use of an additional production facility—five hundred acres had been acquired near Encino in the San Fernando Valley as a backlot for exteriors and large-scale standing sets.

RKO released a limited slate of twelve features in its first year; in 1930, that figure more than doubled to twenty-nine. Originally organized as the distinct business entities RKO Productions Inc. and RKO Distributing Corp., by July the studio was making a transition to the new, unified RKO Radio Pictures Inc. Encouraged by Rio Rita's success, RKO produced several costly musicals incorporating Technicolor sequences, among them Dixiana and Hit the Deck, both scripted and directed, like Rio Rita, by Luther Reed. Following the example of the other major studios, RKO had planned to create its own musical revue, Radio Revels. Promoted as the studio's most extravagant production to date, it was to be photographed entirely in Technicolor. The project was abandoned, however, as the public's taste for musicals temporarily subsided. From a total of more than sixty Hollywood musicals in 1929 and over eighty the following year, the number dropped to eleven in 1931. RKO was left in a bind: it still had a contract with Technicolor to produce two more features with its system. Complicating matters, audiences had come to associate color with the momentarily out-of-favor musical genre due to a glut of such productions from the major Hollywood studios. Fulfilling its obligations, RKO produced two all-Technicolor pictures, The Runaround and Fanny Foley Herself (both 1931), containing no musical sequences. Neither was a success.

Even as the U.S. economy foundered, RKO had gone on a spending spree, buying up theater after theater to add to its exhibition chain. In October 1930, the company purchased a 50 percent stake in the New York's Van Beuren studio, which specialized in cartoons and live shorts. RKO's production schedule soon surpassed forty features a year, released under the names "Radio Pictures" and, for a short time after the 1931 merger, "RKO Pathé". Cimarron (1931), produced by LeBaron himself, would become the only RKO production to win the Academy Award for Best Picture; nonetheless, having cost a profligate $1.4 million to make, it was a money-loser on original domestic release. The most popular RKO star of this pre-Code era was Irene Dunne, who made her debut as the lead in the 1930 musical Leathernecking and was a headliner at the studio for the entire decade. Other major performers included Joel McCrea, Ricardo Cortez, Dolores del Río, and Mary Astor. Richard Dix, Oscar-nominated for his lead performance in Cimarron, would serve as RKO's standby B-movie star until the early 1940s. The comedy team of Bert Wheeler and Robert Woolsey, often wrangling over ingenue Dorothy Lee, was a bankable mainstay for years. Constance Bennett, Ann Harding, and Helen Twelvetrees came over with Pathé. The Pathé acquisition, though a defensible investment in the long term for its physical facilities, was yet another major expense borne by the fledgling RKO, particularly as Pathé's stock price had been artificially inflated by some prepurchase finagling. After little more than a year of semiautonomous operation within RKO, Pathé was dissolved as a feature production unit.