Curtleigh Productions

Curtleigh Productions

Company type	Independent film and television production company
Industry	Film and television production
Founded	1955
Founder	Tony Curtis, Janet Leigh
Headquarters	United States
Key people	Tony Curtis (president)
Products	Films including Mister Cory, Sweet Smell of Success, The Vikings, The Defiant Ones, Taras Bulba

Curtleigh Productions was an independent American film and television production company established in 1955 by actors Tony Curtis and Janet Leigh. The company was responsible for producing several significant films, including Mister Cory, Sweet Smell of Success, The Vikings, The Defiant Ones, and Taras Bulba. Although the company was originally designed to serve as a collaborative platform for the couple, Leigh showed minimal enthusiasm toward project development. Following their divorce in 1962, Curtis continued to produce the properties acquired by Curtleigh through his later ventures, Curtis Enterprises and eventually Reynard Productions.

A number of films produced by Curtleigh received nominations and awards from esteemed organizations such as the Academy Awards, Golden Globe Awards, British Academy Film Awards, as well as international festivals like Berlin and San Sebastián. Particularly, Sweet Smell of Success earned a place in the Library of Congress' National Film Registry due to its cultural importance.

Formation and contractual background (1949–1956)

Tony Curtis and Janet Leigh first worked together in 1949 on the short film How to Smuggle a Hernia Across the Border. At that time, Curtis was bound by a seven-year agreement with Universal-International Pictures, while Leigh was under contract with Metro-Goldwyn-Mayer. They married in 1951 and appeared jointly in films loaned between studios, including Paramount's Houdini (1953) and Universal's The Black Shield of Falworth (1954). By early 1955, they had expressed interest in co-starring in a remake of the 20th Century-Fox property Seventh Heaven.

Leigh's contract with MGM ended in April 1955, after which she signed two non-exclusive agreements with Columbia Pictures and Universal-International. Curtis’ contract with Universal was due to expire in September 1955, motivating the couple to establish their own production company to gain more creative autonomy. By May 1955, they announced the formation of Curtleigh Productions.

During mid-1955, Curtis arranged a new non-exclusive contract with Universal-International permitting him to produce independent projects; however, the studio retained first refusal rights on external properties. While shooting Trapeze in Paris that summer, Curtis gained insights into independent filmmaking from producers Burt Lancaster and Harold Hecht, who supported his initiative by providing office space for Curtleigh at their Beverly Hills location.

In August 1955, Curtleigh acquired its inaugural property: Massacre, a high-budget Western scripted by Blake Edwards, intended to star Curtis and co-produced alongside Milton Bren. Shortly thereafter, rights were secured for Leo Rosten's short story Cory, developed by Edwards with British director Carol Reed attached.

Curtleigh Productions was officially incorporated in September 1955, with Curtis appointed president and family members along with associates taking executive positions; Leigh did not become part of the corporate framework due to other business commitments. In November 1955, the company obtained rights to Jules Verne's adventure novel Five Weeks in a Balloon, commissioning Kathleen Dormer for screenplay adaptation and planning a Paris-based shoot featuring Alec Guinness as co-star—although this project was ultimately produced by another company.

In January 1956, Curtleigh purchased Paul Gallico's novel The Foolish Immortals, which was intended to be the first film co-starring and co-produced by Curtis and Leigh. The narrative centered on themes of youth and immortality, with Leigh cast as a wealthy woman’s secretary and Curtis portraying a promoter connected to an eternal youth formula.

Collaborative Production Agreement with Hecht-Lancaster Productions (1956–1957)

In February 1956, Music Corporation of America secured a new non-exclusive seven-year contract for Curtis with Universal-International Pictures, granting him the freedom to choose independent film projects without requiring studio consent. Despite this, Curtis had already committed to producing Curtleigh Productions' film Cory internally at Universal-International, resulting in neither Curtleigh nor Curtis receiving screen credits. Universal appointed Robert Arthur as co-producer of Cory, who subsequently worked on several projects alongside Curtis, Leigh, and Curtleigh Productions.

By the end of February 1956, Curtleigh entered into a multi-picture co-production arrangement with Hecht-Lancaster Productions (later Hecht-Hill-Lancaster Productions). They were provided office space within the Beverly Hills headquarters and administrative support. Due to Leigh’s pregnancy complications, plans to shoot The Foolish Immortals were delayed. Instead, Curtis took on dual roles as co-star and co-producer of the film noir The Sweet Smell of Success, marking his initial collaboration with Hecht-Lancaster. The screenplay, crafted by Ernest Lehman and Clifford Odets, drew from Lehman’s experiences as a press agent and was adapted from his novelette, which was part of a multi-picture agreement with United Artists.

In April 1956, Curtleigh revealed plans for two additional films with Hecht-Lancaster: Cry Tough, a noir exploring corruption within garment unions, and The Ballad of Cat Ballou, a musical western comedy featuring Lancaster and Curtis as estranged siblings. By May 1956, the project Cory was renamed Mister Cory; production commenced using CinemaScope and Eastmancolor at Universal Studios and Lake Arrowhead. Prior to The Sweet Smell of Success, Curtis fulfilled his obligations to Universal by starring in The Midnight Story.

In July 1956, Curtleigh acquired a new narrative from Blake Edwards titled Jada or Jadda, set in 1920s Chicago amidst Prohibition-era gangsters. Edwards adapted and directed the film, reuniting Curtis with Kathryn Grant from Mister Cory. Filming for The Sweet Smell of Success began in October 1956 in New York City before relocating to Samuel Goldwyn Studio by November; the cast included Curtis, Lancaster, Barbara Nichols, among others.

Mister Cory debuted in January 1957. The following month, Curtleigh announced intentions to produce a bullfighting drama featuring Curtis in dual roles as father and son, co-starring Gina Lollobrigida. This project was planned as a co-production with Harold Mirisch’s company for United Artists but was ultimately shelved in favor of other ventures such as Some Like It Hot.

In January 1957, Leigh intended to return to acting post-maternity leave and had planned to star alongside Curtis in a light comedy. Instead, both joined the $3 million production of The Vikings, produced by Kirk Douglas’s Bryna Productions and financed by United Artists. Curtis earned $150,000 for his role; Leigh received $60,000; and Curtleigh Productions secured 10% of the profits. The film also featured Ernest Borgnine and Michael Rennie.

By March 1957, Hecht-Hill-Lancaster showed interest in co-producing a film adaptation of Reginald Rose’s teleplay The Defender, with Curtis attached to star. In April, Curtis became involved with the World War II drama Kings Go Forth, co-produced by Frank Ross Productions and Eton Productions. For this project, Curtis negotiated profit participation for Curtleigh instead of a fixed salary—a tactic he would employ again on Some Like It Hot.

Production on The Vikings commenced in June 1957 utilizing Technirama and Technicolor technologies on location across Norway, France, and Germany. Impressed by cinematographer Jack Cardiff’s work during filming, Curtis offered him directing opportunities for upcoming Curtleigh films slated for spring 1958.

Sweet Smell of Success premiered on June 27, 1957, in New York City. Although it did not achieve immediate commercial success, it garnered critical praise: Curtis received the Bambi Award for Best Actor International and nominations from BAFTA and Laurel Awards; Barbara Nichols also earned a Laurel nomination. In 1993, the film was selected for preservation by the U.S. National Film Registry and inducted into the Online Film & Television Association Hall of Fame in 2012.

The soundtrack—composed by Elmer Bernstein and Chico Hamilton through Hecht-Lancaster’s Calyork Music publishing—was groundbreaking; Decca Records issued two distinct LPs featuring separate jazz scores alongside singles and an extended play record. During filming, Hamilton encouraged Curtis to learn flute; they planned a collaborative album release in 1958.

Filming for Kings Go Forth began on September 1, 1957, on location in France under director Delmer Daves.

Collaboration agreement with Stanley Kramer Productions (1957–1958)

Towards the end of 1957, Curtis received an offer to headline Stanley Kramer's drama The Long Road, centered on two prisoners fleeing a chain gang. Captivated by the script, Curtis suggested co-producing the project via Curtleigh Productions and recommended Sidney Poitier as his co-star. In his role as co-producer, Curtis and Curtleigh were entitled to 30% of the film's earnings. By January 1958, the title had been changed to The Defiant Ones, and Stanley Kramer Productions finalized a six-picture financing and distribution agreement with United Artists. Production commenced on February 28, 1958. Concurrently, Curtleigh Productions revealed plans for two additional ventures: Beach Boy, a Hawaii-based feature written and directed by Edwards featuring Curtis, and a television pilot adventure series produced by Edwards with Curtis serving as narrator.

The Vikings debuted on June 12, 1958, in New York City at the Victoria and Astor Theatres, with Bryna Productions promoting it through an extraordinary $105,000 three-dimensional marquee extending across the block. United Artists invested $2 million in marketing and promotional activities. The Los Angeles premiere occurred on June 19 at the Fox-Wilshire Theater, accompanied by Norse-themed decorations and an exclusive after-party attended by over 200 guests. The London premiere followed on July 8 at Leicester Square Theatre, graced by the presence of Prince Philip. The film was also showcased at European festivals such as San Sebastián and Brussels. The Vikings ranked among the highest-grossing films of 1958 and received multiple accolades including the Golden Laurel Award for Top Action Drama along with honors from international festivals.

In May 1958, Curtleigh Productions announced that Curtis would lead in A Most Contagious Game, a suspense thriller portraying an undercover journalist who ascends to mob leadership. Originally acquired by Victor Saville's Parklane Pictures in 1955 and subsequently by Bryna Productions in 1956, the project involved several writers and was poised for co-production with Universal-International Pictures following Curtis’s work on Some Like It Hot. However, production was postponed due to Bryna’s concentration on Spartacus, leading to the option expiring in January 1959; rights were then obtained by Dick Clark. Curtis later secured the rights through Curtis Enterprises in 1962 but ultimately did not move forward with production.

The premiere of The Defiant Ones took place at the Berlin International Film Festival on June 29, 1958; Poitier earned the Silver Berlin Bear for Best Actor while Kramer received a nomination for Best Director. Its U.S. debut was held on August 13 in Chicago. Although it did not achieve significant box office returns, it garnered widespread critical praise and numerous awards including a British Academy Film Award from the United Nations, a Golden Globe for Best Motion Picture – Drama, a New York Film Critics Circle Award for Best Film, as well as several nominations including Academy Awards for both lead performers and director. Screenwriters Young and Smith received Academy and Writers Guild Awards; cinematographer Sam Leavitt was honored with an Academy Award; supporting actors Theodore Bikel and Cara Williams earned nominations; editor Frederic Knudtson and composer Ernest Gold also attained award recognition.

In mid-August 1958, Curtleigh Productions secured Leslie Stevens' screenplay Bullfight, which tells the story of a matador turned prizefighter, intending to co-produce it alongside Daystar Productions with Curtis starring. By November, Stevens had been engaged to write The Perfect Love, a biographical film exploring poet Gabriele D'Annunzio’s romance with actress Eleonora Duse, scheduled for filming in Rome in 1959 as another Daystar co-production.

Ford Startime undertakings (1959–1960)

In June 1959, Curtis became involved with a long-awaited biographical film centered on singer Russ Columbo. Producer Maurice Duke had been developing this project since 1952, having obtained rights from Columbo's family members and initially casting Perry Como, then Johnny Desmond, followed by Tony Martin. Legal complications emerged when Desmond declined to give up the role, resulting in lawsuits that ultimately halted the film’s progress.

Duke invited Curtis to lead and co-produce The Russ Columbo Story under the Curtleigh Productions banner, with Duke serving as associate producer. Joseph Stefano was commissioned to adapt the script into a teleplay format, and Robert Mulligan was designated as director. Alan Dale was assigned to provide vocal overdubs, while Gary Crosby was cast as Bing Crosby. The concept involved a one-hour television presentation on Ford Startime, supplemented by additional footage intended for theatrical release and distribution across European markets.

Nevertheless, Desmond’s legal threats concerning exclusive rights forced both Curtleigh Productions and Ford Startime to abandon the project by mid-August 1959. Subsequently, Duke filed a $450,000 lawsuit against Desmond and his representative for damages.

Anticipating this obstacle, Curtis and Robinson redirected their efforts toward The Juggler, an adaptation of Anatole France’s fable about a homeless performer seeking sanctuary in a monastery. Curtleigh retained Stefano as screenwriter and Mulligan as director and co-producer; Curtis took on the lead role. Producer William Frye secured the filming rights.

Production commenced in January 1960 at Universal Studios over a ten-day schedule, employing high-quality sets and costumes with a budget of $200,000. The ensemble cast featured Nehemiah Persoff, Patricia Medina, Bert Freed, Elisha Cook Jr., Charles Morton, and Heather Ames. Curtleigh Productions pioneered shooting footage suitable for both television (51 minutes) and theatrical release (90 minutes), with the longer version dubbed into five languages for European audiences. Rights reverted to Curtleigh after the initial broadcast, granting them control over reruns and theatrical revenue.

Due to objections from Columbia Pictures over title conflicts with their 1953 film, the movie was renamed The Young Juggler. It debuted on NBC's Ford Startime on March 29, 1960, followed by a Canadian airing on April 26. After completion, Curtleigh announced plans to develop a series focused on progressive jazz and contemporary art.

On March 3, 1960, Curtleigh Productions joined the Screen Actors Guild amid ongoing discussions regarding residual payments for films sold to television post-1948.

In early March 1960, Curtleigh revealed its upcoming project: Draw Sabres, an original Western comedy about two U.S. Cavalry brothers entangled in rivalry over a woman. Written and directed by Blake Edwards, the film was intended to star Curtis alongside Laurence Harvey. Initially slated for late 1960 following Curtis’ work on The Great Impostor with director Mulligan at Universal-International Pictures, production was postponed until mid-1961 due to Curtis’ commitment to MGM’s Lady L directed by George Cukor. By November 1960, Curtis was considering Jack Lemmon, Dean Martin, or Frank Sinatra as potential co-stars for Draw Sabres.

Stanley Margulies' Tenure as Vice-President (1961–1962)

In January 1961, Stanley Margulies was appointed vice-president of Curtleigh Productions. Previously serving as Kirk Douglas' publicity director at Bryna Productions and executive producer for Brynaprod's television division, Margulies brought significant expertise in film publicity, having managed campaigns for titles such as The Vikings and Spartacus. His responsibilities at Curtleigh included overseeing film production and managing promotional activities.

By February 1961, Curtleigh had relocated to offices on the Revue Studios lot, enhancing its production infrastructure. Curtis was offered a starring role in Harold Hecht’s Taras Bulba, a project Hecht advanced through Harold Hecht Productions following the end of Hecht-Hill-Lancaster Productions. Curtis negotiated a co-production arrangement for Curtleigh Productions, securing 15% of the film’s profits rather than a fixed acting salary. Filming was slated to begin in August 1961 with $3 million financing provided by United Artists; by March, the budget had increased to $5 million with location scouting including Argentina. The cast featured Curtis alongside Yul Brynner, who replaced Anthony Quinn.

In late March 1961, Curtleigh announced plans to produce a comedy centered on Playboy founder Hugh Hefner, with Hefner joining as a partner and Curtis cast in the lead role. Initial casting considerations included Leigh and Jack Lemmon. This project marked Margulies’ debut as a producer, with Bernard Wolfe later contracted as screenwriter. In June 1961, Curtis extended his contract with Universal-International Pictures for three years. Financing and distribution arrangements for Playboy fluctuated between Universal and Columbia Pictures. To prepare for his role, Curtis studied Hefner’s mannerisms firsthand during a visit to Chicago.

Curtleigh also pursued development of a silent art film about Hollywood featuring music by André Previn. In August 1961, Marion Hargrove completed the script for 40 Pounds of Trouble, an adaptation of Damon Runyon’s Little Miss Marker, telling the story of a gambler’s daughter entrusted to a casino manager. Scheduled for mid-1962 filming in Nevada, the project was set to be financed and distributed by Universal-International.

Prior to departing for location shooting on Taras Bulba, Curtleigh engaged Ray Russell to write an original screenplay initially titled Exit 41, later renamed Soft Sell, which explored Madison Avenue culture. Curtis and his family traveled to Argentina in September 1961; principal photography commenced on October 12 using Panavision and Eastmancolor under director J. Lee Thompson. After approximately two and a half months on location, production moved back to Columbia Studios in Hollywood for post-production work. United Artists’ total investment reached $7 million.

While Curtis was overseas, Margulies continued advancing projects. Gower Champion was signed to direct Playboy, having been impressed by Wolfe’s script that portrayed the 1960s from a futuristic viewpoint. On October 6, 1961, Margulies registered Curtis Enterprises, Inc., with Curtis serving as president; this company operated alongside Curtleigh Productions throughout 1962. By December, Curtis, Lemmon, and Larry Storch were officially attached to Playboy.

In January 1962, Curtleigh secured Columbia Pictures’ commitment to finance and distribute the $2 million production of Playboy, with plans to shoot in Chicago and at Columbia’s Gower Street Studios following completion of 40 Pounds of Trouble. Wolfe's screenplay remained under development. Comedian Stan Freberg was also collaborating with Curtleigh on various projects.

By February 1962, Hargrove had finalized the script for 40 Pounds of Trouble, with television director Norman Jewison making his feature film debut; filming was scheduled to begin at Universal Studios in April 1962. Later that month, Curtleigh partnered with Harold Hecht Productions to acquire Dorothy Crider’s story I Married a Dog, which was adapted from a television episode into the feature film Monsieur Cognac, focusing on a musician and his brandy-loving dog who vie for the attention of the same woman.

Shift to Curtis Enterprises (1962)

In March 1962, Curtis and Leigh announced their separation, citing marital challenges and Curtis's departure from their Beverly Hills residence. Although they initially aimed to reconcile, Leigh officially filed for divorce on June 15, effectively ending any plans to revive Curtleigh Productions. During this period, Curtis and Margulies formally established Curtis Enterprises, progressively transferring all ongoing and upcoming film ventures to this new entity while retaining Curtleigh Productions to handle residuals and finalize the release of Taras Bulba, which had been filmed prior to their split.

Curtis Enterprises advanced productions on titles such as Playboy, 40 Pounds of Trouble, Soft Sell, and Monsieur Cognac. On August 3, 1962, Curtis and Margulies founded Reynard Productions, Incorporated, which took over film production responsibilities from Curtis Enterprises in 1963, reflecting a similar transition process previously experienced with Curtleigh Productions.

After private viewings late in 1962, Taras Bulba debuted at the Beacon Theatre in New York City on December 9 and was released throughout the United States and Canada during the Christmas season. Although marketed as a significant box office event, the film’s most notable aspect was Franz Waxman’s musical score, which received nominations for an Academy Award for Best Original Score, a Golden Globe, and an International Film Music Critics Award. Of the remaining Curtleigh properties, only two reached production: 40 Pounds of Trouble (produced by Curtis Enterprises and distributed by Universal-International Pictures in late 1962) and Monsieur Cognac (renamed Wild and Wonderful, produced by Reynard Productions alongside Harold Hecht Productions, with distribution by Universal Pictures in mid-1964).

Completed theatrical releases

Premiere date	Film	Production company	Distribution Company	Awards
Template:Date table sorting	Mister Cory	Curtleigh Productions / Universal-International Pictures	Universal-International Pictures
Template:Date table sorting	Sweet Smell of Success	Curtleigh Productions / Hecht-Hill-Lancaster Productions / Norma Productions	United Artists	Bambi Award for Best Actor - International National Film Registry Online Film & Television Association - Film Hall of Fame Nominated—BAFTA Award for Best Foreign Actor Nominated—Golden Laurel Award for Top Male Dramatic Performance Nominated—Golden Laurel Award for Top Female Supporting Performance
Template:Date table sorting	The Vikings	Curtleigh Productions / Brynaprod	United Artists	Golden Laurel Award for Top Action Drama San Sebastián International Film Festival Zulueta Prize Nominated—Directors Guild of America Award for Outstanding Directorial Achievement in Motion Pictures
Template:Date table sorting	The Defiant Ones	Curtleigh Productions / Stanley Kramer Productions / Lomitas Productions	United Artists	Academy Awards: Best Writing (Story and Screenplay), Best Cinematography (Black and White) BAFTA Awards: Best Foreign Actor, United Nations Award Berlin International Film Festival Silver Bear for Best Actor Bodil Award for Best American Film Edgar Allan Poe Award for Best Motion Picture Screenplay Golden Globe Award for Best Motion Picture – Drama Golden Laurel Awards: Top Cinematography (Black and White) Golden Reel Award for Best Sound Editing - Feature Film New York Film Critics Circle Awards: Best Film, Director, Screenplay Writers Guild of America Award for Best Written American Drama Multiple Academy, BAFTA, Bambi, Berlin, Directors Guild, Golden Globe, and Laurel nominations across major categories
Template:Date table sorting	Taras Bulba	Curtleigh Productions / Harold Hecht Productions / Avala Film	United Artists	Nominated—Academy Award for Best Original Score Nominated—Golden Globe Award for Best Original Score Nominated—International Film Music Critics Award for Best Archival Re-Recording

Television Films Completed

Broadcast Date	Program	Title	Production Firm	Network
Template:Date table sorting	Ford Startime	"The Young Juggler"	Curtleigh Productions	National Broadcasting Company

Projects Not Realized

• Massacre (1955)
• Five Weeks in a Balloon (1955–1956)
• The Foolish Immortals (1956)
• Cry Tough (1956–1957)
• The Ballad of Cat Ballou (1956–1957)
• Jada / Jadda (1956–1957)
• The Wound / Cortez and Son / Lopez and Son / Cornada (1957–1958)
• The Defender (1957)
• Beach Boy (1958)
• A Most Contagious Game (1958–1959)
• Bullfight (1958)
• The Perfect Love (1958–1959)
• Prisoner of Love / The Russ Columbo Story (1959)
• Draw Sabres (1960–1961)
• Playboy (1961–1962)
• Hollywood (1961)
• Exit 41 / Soft Sell (1961–1962)