For most of his life, Frank Lee has been managing movie theaters. At 70 years old, after a lengthy career as an independent theater owner in San Francisco, he and his wife Lida, who is also a co-owner, are considering selling the Marina and Presidio theaters they have been operating since the early 2000s. However, Frank emphasizes that their love for movies doesn’t stop here.
Lee wants to “see these two theaters continue as movie theaters.”
He expresses regret at leaving the theaters situated on Chestnut Street within the Marina District, specifically those belonging to the Lee Neighborhood Theatres group, but acknowledges this is an opportune time for a fresh proprietor to take over.
As I reflect on my six decades of experience, I believe the moment has finally arrived. The current circumstances seem promising, and it might be the perfect time for a fresh start. In fact, I’m optimistic that this year’s release schedule could return to its pre-COVID normalcy, Lee shared with EbMaster.
The Lees have operated the four-screen Presidio since 2004 and two-screen Marina since 2008.
“The neighborhood needs these two theaters, obviously,” Lee said.
From 1992 through 2021, their initial successful venture was the two-screen 4 Star Theatre located in the Richmond District, which they managed until its sale.
The Lees will be remembered for their extensive contribution to community theater history, specifically in the realm of film culture within San Francisco. During the 1990s and early 2000s, they played a significant role by programming Asian cinema. They even organized an annual Asian Film Festival at the 4 Star venue.
The event will feature movies such as “The Wedding Banquet” directed by Ang Lee, “Raise the Red Lantern” from Zhang Yimou, “Sympathy for Mr. Vengeance” by Park Chan-wook, and Bong Joon Ho’s “Barking Dogs Never Bite,” along with numerous productions by filmmakers hailing from South Korea, Japan, Taiwan, the Philippines, Sri Lanka, Hong Kong, and China. The festival was also graced by the presence of Takashi Miike when they screened his movie, “Dead or Alive.
“We were showing some very good product out of all these Asian countries,” Lee said.
Back then, I was deeply immersed in a family tradition that my father had nurtured – the distribution and screening of Asian films, a passion that spanned from the mid-60s to the late 80s. Side by side with him, I learned the ropes and grew up within this cinematic business. As he put it, “I was his apprentice, learning every step of the way.
Frank Lee Sr., his father, owned movie theaters all over the U.S. and one in Toronto. Many of these theaters catered to the local Chinatown communities within their cities, as Lee often said, “Wherever there was a Chinatown, I had a theater.” Among his establishments were the Bella Union Theater in San Francisco, Cinema East and Europa (later known as the New Beverly) in Los Angeles, 55th St, Playhouse and Canal Cinema in New York City, and the College Theater in Toronto.
During a time when Chinese-speaking theaters served as vibrant cultural centers for the Chinese immigrant community, Frank Lee Sr. managed these establishments. Additionally, he played a significant role in facilitating the distribution of some Asian movies within the United States.
Born and nurtured in San Francisco’s Chinatown, Lee remembers going to the San Francisco International Film Festival at the age of 9, accompanied by his father, Frank Lee Sr. They watched a movie produced by the Hong Kong studio Shaw Brothers. Afterward, Frank Lee Sr., who was both a civil engineer and radio producer, secured a three-year contract with Shaw Brothers to distribute their films in the United States.
Lee mentioned that his father wondered aloud, “Why isn’t anyone showing this [referring to something]? During those days, they only showed the classic black-and-white movies from Hong Kong. The Shaw Brothers films were more like Hollywood productions – wide screen, in color, and of high quality.
The movies were an unusual decision since they were in Mandarin rather than Cantonese, which was more prevalent in the U.S. at the time, as stated by Lee. “He received a great deal of backing from New York media, San Francisco media, and Los Angeles media, particularly the newspapers of that era,” Lee explained. “They were genuinely supportive of the movies, and they critically evaluated every film he showcased, having been brought over from Hong Kong.
Frank Lee Sr. initially focused on distributing Hong Kong films, later shifting to Taiwanese movies, and eventually returned to Hong Kong cinema. “For two decades, roughly five to six movie distributors in this country fiercely competed for the rights to distribute films from Hong Kong and Taiwan. My father was one of the leading figures in this competition,” Lee explained.
In the ’70s and early ’80s, we purchased the distribution rights for films in Taiwan and displayed them on up to 50 screens,” Lee explained.
Lee shared that his father shut down his film production company by the late 1980s due to the increasing popularity of home video. During the pandemic, Lee returned film reels from his father’s business to film archives in Hong Kong and Taiwan. Lee’s dedication to showcasing Asian films ended post-2000s as competition within that area intensified. However, he remains proud of their contributions: “I would describe my father as a pioneer who introduced Asian films to non-Asian audiences in the 1960s, and I followed suit in the early ’90s.
Currently, they operate a cinema where a variety of films are screened. There’s a strong preference for comedies and movies tailored towards women, but the program also includes commercial, Oscar-nominated, and art films. The auditoriums are occasionally leased out for private functions such as birthday parties, corporate events, and Screen Actors Guild screenings. Local schools sometimes use these spaces for fundraising movie nights. Both cinemas were utilized during the San Francisco International Film Festival last April.
Lee states that there isn’t a lot of competition from other theaters in their location. He explains, “On the western side where we are situated, we are essentially the sole theater, the only six-plex currently operating.” As a result, they have the flexibility to book any movie they prefer since they are the only theaters in that region.
He imagines that the Marina and Presidio could transform, catering not only to the city’s theatrical needs but also its gastronomic preferences. “There seems to be a possibility,” he added, “that someone might take this chance to establish a dining establishment where patrons can enjoy a meal during their theater visit.
As a community supporter, I’m thrilled to share that the Marina has received city approval for setting up a food kitchen. Although there’s no active application for a similar permit at the Presidio yet, Lee mentioned that there’s a broad plan to incorporate dining facilities in both theaters if a new owner decides to take up this opportunity. Intriguingly, he also hinted at the possibility of operating a ghost kitchen at one of the theaters to cater to the other. Lee referred to the Chestnut Street area as a “foodie haven,” expressing that each new restaurant opening is like a special event for us food enthusiasts.
The parents, with their two medical-practicing sons, plan to retire this year and are eager to discuss with prospective buyers.
In anticipation of leaving the Marina and Presidio, Lee foresaw that their lasting impact in San Francisco would primarily stem from their significant contributions to the city’s local film scene as operators of a theater.
Over the years, my journey in the theater world has been marked by challenges such as the pandemic and a legal battle in the 2000s to preserve our 4 Star Theater when we were threatened with eviction by the property owners. However, I was fortunate enough to have the backing of the community during this tough time, with thousands of individuals taking the initiative to sign a petition in an effort to save our cherished theater.
Many recall us as being self-reliant, actively involved, willing to take risks after the fourth hour, and exhibiting things others typically don’t,” he further explained.
Read More
2025-06-11 02:17