Weiss Brothers
| Adolph, Louis and Max Weiss | |
|---|---|
| Born | December 21, 1890 New York |
| Died | December 14, 1963 Los Angeles |
| Occupation | film and television producer |
| Years active | 1920–1958 |
| Spouse(s) | Ethel Weiss |
| Children | Adrian (b 1919), Peggy (b 1921) |
Louis Weiss (December 21, 1890 – December 14, 1963, Los Angeles) together with the Weiss Brothers' was a low-budget independent producer of film serials such as Frank Buck's Jungle Menace (1937).
Louis Weiss was born in New York City and left school after third grade (elementary school), according to the 1940 US Census.
The brothers Adolph, Louis and Max Weiss entered film production in the early 1920s with money earned from a New York lamp-and-fixture store, phonograph sales and ownership of a theater that developed into a small chain. Operating under such monikers as Superior Talking Films, Stage and Screen Productions, Weiss Brothes Artclass Pictures, Exploitation Pictures, Consolidated Pictures and International Pictures Corporation, the brothers produced a variety of low-budget films.
Most were never reviewed or copyrighted, apparently deliberately avoiding press attention. The only record of their existence is found in an occasional release chart, a few advertisements and surviving prints. Though most Poverty Row producers averaged a six-reel length, or about 60 minutes, Weiss continually tried to pare that down to five reels, lasting just over 50 minutes.
A successful early Weiss film was The Revenge of Tarzan (1920). By the time Louis Weiss came to produce Jungle Menace for Columbia Pictures, he had had considerable experience making silent jungle films, as well as Westerns with plenty of action.
Unlike Universal Studios, in the early 1930s Columbia could not offer exhibitors a complete package including serials and newsreels. However, with the disappearance of such independent serial producers as Mascot Pictures Corporation and smaller companies, Columbia decided in 1937 to enter the serial field with Jungle Menace, competing primarily with Universal and Republic Pictures. Columbia was already a mainstay of the Saturday-afternoon audience through its westerns, and the steady profitability of these films may have convinced studio boss Harry Cohn to expand Columbia's participation in this market to include serials.
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