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Archie Marshek
Archie Marshek
Archie Marshek
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Archie Marshek (February 15, 1902 – March 29, 1992) was an American film editor whose 44-year career spanned six decades.

Key Information

Biography

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Born in Cass Lake, Minnesota, in 1902, Marshek started his career at Joseph P. Kennedy's Film Booking Offices of America (FBO) in 1927. When Kennedy formed R.K.O. in 1929 by merging F.B.O. with the Keith-Albee-Orpheum vaudeville theater circuit and striking a deal with David Sarnoff of Radio Corporation of America to access his sound technology patents, Marshek moved to the new studio.[1] He was a staff editor at R.K.O. - Radio Pictures from 1929 to 1936 and at Paramount Pictures from 1937 to 1967.

Marshek was the first editor to cut a three-strip, live-action Technicolor film, 1934 short La Cucaracha. He also was the first to cut a full-length, three-strip Technicolor feature film, Becky Sharp (1935). He worked with directors King Vidor, Gregory La Cava, Lewis Milestone, Rouben Mamoulian, Frank Tuttle, Jack Smight and the actors Anthony Quinn and Marlon Brando when they made their feature-film directing debuts. He cut films featuring the top stars at Paramount, including Bing Crosby, Bob Hope, Dean Martin and Jerry Lewis, and Elvis Presley.[1]

Marshek died at the age of 90 in Lawton, Oklahoma.[1]

Selected filmography

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References

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Archie Marshek

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Archie Marshek was an American film editor known for his prolific 44-year career that spanned from 1927 to 1971, during which he contributed to more than 50 feature films across Hollywood's golden age and into the television era. He is particularly remembered for his work on the landmark adventure film King Kong (1933), as well as other notable pictures such as The Most Dangerous Game (1932), The Glass Key (1942), and One-Eyed Jacks (1961). Born on February 15, 1902, in Cass Lake, Minnesota, Marshek began his career in the silent film era and quickly established himself at studios like RKO Pictures, where he edited several classic films during the 1930s. His editing style supported dynamic storytelling in genres ranging from horror and adventure to drama and westerns, collaborating with directors on projects that became enduring parts of cinema history. Later in his career, he transitioned to television work while continuing to edit feature films until his retirement in 1971. Marshek died on March 29, 1992, in Lawton, Oklahoma, at the age of 90, leaving behind a legacy as one of Hollywood's reliable and long-serving editors whose contributions helped shape many memorable motion pictures.

Early life

Birth and background

Archie Marshek was born on February 15, 1902, in Cass Lake, Minnesota. Details about his family origins, parents, siblings, or early childhood environment remain undocumented in reliable sources. He later transitioned into the film industry, where he began his professional career as an editor.

Entry into the film industry

Archie Marshek entered the film industry in 1927, beginning his career as an editor at Film Booking Offices of America (FBO), a production and distribution company owned by Joseph P. Kennedy. His earliest known editing credits date from this period and include Legionnaires in Paris (1927), Her Summer Hero (1928), Sally of the Scandals (1928), and The Perfect Crime (1928). In 1929, following the merger of FBO into the newly formed RKO Pictures (Radio-Keith-Orpheum), Marshek transitioned to the new studio and served as a staff editor at RKO-Radio Pictures through 1936. This move solidified his early professional role in film editing during the industry's shift to sound technology. In 1937, Marshek joined Paramount Pictures, where he would establish his primary long-term affiliation.

Career

Early editing work (1930s–1940s)

Archie Marshek established himself as a film editor during the 1930s at RKO-Radio Pictures, where he served as a staff editor following the studio's formation in 1929 from the merger that included his prior employer, FBO. His work at RKO included credits on adventure and mystery films such as The Most Dangerous Game (1932), The Phantom of Crestwood (1932), and Men of Chance (1931). These early assignments reflected the studio's output in genre pictures, with Marshek contributing to tight pacing and narrative clarity in low- to mid-budget productions. A pioneering aspect of his 1930s career involved his role in early three-strip Technicolor filmmaking. Marshek edited La Cucaracha (1934), the first live-action short filmed in the three-strip Technicolor process, and Becky Sharp (1935), the first feature-length film using the same technology. These projects marked technical milestones in color motion pictures, requiring editors to adapt to new color separation and continuity challenges absent in black-and-white workflows. In 1937, Marshek moved to Paramount Pictures, where he remained for the next three decades. His Paramount credits during the 1940s included This Gun for Hire (1942) and Calcutta (1946), spanning film noir and adventure genres. This period demonstrated his versatility as he handled varied narrative structures and stylistic demands at a major studio.

Peak period and Paramount work (1940s–1950s)

Marshek's work at Paramount continued through the 1940s and 1950s, including contributions to a variety of feature films. His credits reflected the studio's diverse output during this era, though no major directorial collaborations are documented for this specific period beyond his ongoing staff editing roles.

Later career and final projects (1950s–1960s)

In the 1950s, Archie Marshek continued his long association with Paramount Pictures, editing a series of light comedies and musicals that reflected the studio's popular output during the decade. His credits included Fancy Pants (1950), The Lemon Drop Kid (1951, as supervising editor), Road to Bali (1953), Living It Up (1954), You're Never Too Young (1955), Pardners (1956), and The Sad Sack (1957). These projects often featured major stars of the era, such as Bob Hope, Bing Crosby, Dean Martin, and Jerry Lewis, maintaining Marshek's involvement in mainstream Hollywood entertainment. Toward the end of the 1950s and into the 1960s, Marshek's work included higher-profile assignments that marked directorial debuts. He edited The Buccaneer (1958), Anthony Quinn's first feature as director, and One-Eyed Jacks (1961), Marlon Brando's only film behind the camera. Other credits during this transition included My Geisha (1962), Paris When It Sizzles (1964), Boeing Boeing (1965), and Assault on a Queen (1966). In the mid-to-late 1960s, Marshek's output shifted toward a mix of genres and included his first documented television work. He edited episodes of Bonanza and The High Chaparral in 1967, alongside features such as Easy Come, Easy Go (1967), Warning Shot (1967), No Way to Treat a Lady (1968), and The Illustrated Man (1969). After departing Paramount in 1967, his projects reflected a more varied freelance phase. Marshek's final feature credits came in the early 1970s with Rabbit, Run (1970) and Shoot Out (1971), the latter serving as his last known editing project.

Personal life

Family and personal details

Little public information exists regarding Archie Marshek's family and personal life. Available biographical sources focus exclusively on his birth, death, and extensive career as a film editor, with no mention of marriage, spouse, children, or other personal relationships. Details such as residence history or personal interests beyond his Hollywood work are also undocumented in reliable records.

Death

Passing and immediate aftermath

Archie Marshek died on March 29, 1992, in Lawton, Oklahoma, at the age of 90. No cause of death or additional circumstances surrounding his passing were reported in available industry sources. Limited public records confirm his residence in Lawton at the time, consistent with the location of his death. No documented details on funeral services, burial, or immediate tributes appear in major biographical or film-related references.

Legacy

Recognition and influence

Archie Marshek received a Life Achievement award from the Motion Picture and Videotape Editors Guild (IATSE Local 776) in 1987, honoring his extensive career in film editing. The award was presented during the guild's 50th anniversary celebration on November 22, 1987, at the Century Plaza Hotel by Paul Haggar, Senior Vice President of Post-Production at Paramount Pictures. The guild recognized Marshek and fellow honoree Ving Hershon as "two well known and respected members of the Editors Guild." Marshek's early participation in efforts to professionalize film editing included serving as a representative for Film Booking Offices in the short-lived Film Editors group formed in 1934, reflecting the emerging push among editors for greater industry recognition. Beyond this late-career honor and his long-standing reputation within the guild, documented analysis of his specific influence on editing techniques or subsequent generations of editors remains limited in major industry sources.

Archival status and historical context

Marshek's contributions to cinema are preserved primarily through the films he edited, many of which remain accessible today via archival restorations, home media releases, and public domain distributions. A landmark example is Becky Sharp (1935), the first feature-length film produced in three-strip Technicolor, which Marshek edited; the UCLA Film & Television Archive undertook a restoration of the film, with comparisons showing enhanced color fidelity and visual clarity from the process. Original Technicolor nitrate prints of Becky Sharp have been preserved and screened at events such as the Nitrate Picture Show hosted by the George Eastman Museum, where one such print from the Eye Filmmuseum was presented as a rare surviving example from the film's original release. Other significant works edited by Marshek, including The Most Dangerous Game (1932), This Gun for Hire (1942), Ministry of Fear (1944), and One-Eyed Jacks (1961), continue to circulate through standard distribution channels and are recognized for their place in genre histories such as horror, film noir, and Westerns. These films' availability underscores the enduring technical and artistic impact of his editing, particularly in early color processes and studio-era productions. Despite the preservation and ongoing accessibility of his edited films, Marshek remains a comparatively underdocumented figure in film history, with scholarly and archival references largely confined to credits and brief mentions rather than dedicated biographical or analytical studies. This reflects the broader tendency for film editors to receive less attention than directors or performers, even when their contributions shaped historically significant works.
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