| Actor: Louis B. Mayer |
| Biography: Louis Burt Mayer |
Louis B. Mayer (1885-1957) was one of Hollywood's original "moguls," a movie house pioneer who helped found one of the film industry's most prominent studios, Metro-Goldwyn-Mayer. From 1924 until 1951, Mayer ruled over a vast film empire, producing a string of classic hits and discovering countless stars. Mayer never strayed from a promise he made early in his career to create what he called "decent, wholesome pictures" the whole family could enjoy.
Louis Burt Mayer was born Eliezer Mayer in Minsk, Russia, on July 4, 1885. The product of a working-class Jewish family, he moved with his parents and two brothers in 1888, first to New York, then to St. John, New Brunswick, Canada. There, Mayer's mother peddled chickens door to door, while his father worked as a dealer in scrap metal. Upon completing grade school, Louis briefly joined his father's business before moving to Boston in 1904 to start his own junk enterprise. That same year he married Margaret Shenberg, the daughter of a kosher butcher.
Entered Film Business
Mayer's arrival in Boston coincided with the nickelodeon craze that was sweeping the nation. Intrigued by the commercial potential of these "flickers," Mayer began a side business buying up and renovating rundown nickelodeon arcades, starting with The Gem in Haverhill, Massachusetts in 1907. The huge crowds that turned out that Christmas season to see Pathe's hand-tinted Passion Play convinced Mayer for all time of the mass appeal of wholesome family entertainment. Promising to show "only pictures that I won't be ashamed to have my children see" in his refurbished auditoriums, Mayer turned a tidy profit and was able to leave the junk business entirely. He formed a partnership with Nat Gordon, another theater owner, and began acquiring movie houses all over New England. Within seven years, the two men had assembled the region's largest theater chain.
Mayer's next goal was to acquire distribution rights to the films themselves. His first foray into this arena was an overwhelming success. Without having seen it, Mayer paid filmmaker D.W. Griffith $25,000 for exclusive northeast distribution rights for Griffith's Civil War epic Birth of a Nation (1915). At the time, it was the highest bid ever made for the exhibition of a single film. The arrangement eventually netted Mayer more than $100,000.
Early Days in Hollywood
Having conquered exhibition and distribution, Mayer next moved into production. He joined the Alco Company (later Metro Pictures) in New York City, but was dissatisfied with the type of films the company was producing. He left Alco in 1917, moved to Los Angeles, and formed his own production house, The Mayer Company. The new company produced numerous romantic melodramas, many featuring starlet Anita Stewart. In 1923, Mayer hired Universal's Irving Thalberg as his production chief. The following year, at the instigation of Metro head Marcus Loew, Mayer merged his company with Metro Pictures and The Goldwyn Company and became West Coast head of the newly formed Metro-Goldwyn-Mayer (MGM). Thalberg was named production supervisor. The Big Parade (1926) and Ben-hur (1926) were among their early projects for the studio.
Mayer ran MGM with a ruthless efficiency. With wise use of resources and a strong promotional apparatus (including the slavish devotion of the Hearst newspapers), Mayer kept the studio profitable throughout the lean years of the 1930s. He discovered many of the era's top stars and got many others to swear an oath of fealty to the studio. Together with Thalberg, he helped launch the careers of such performers as Clark Gable, Jean Harlow, Spencer Tracy, Joan Crawford, Judy Garland, and Charles Laughton, along with numerous writers, directors, and producers. One of Mayer's personal "discoveries," Greta Garbo, went on to become a legendary Hollywood icon. The assemblage of talent paid off in the form of a string of classic features, including the first "talkie," 1927's The Jazz Singer, and such hits as Grand Hotel (1932), Dinner at Eight (1933), and Camille (1936).
The MGM Style
While Mayer thought of himself primarily as a businessman, and professed not to have any interest in motion pictures as an art form, he did exert enormous influence over the style and content of MGM films. "He likes vast, glittering sets," wrote Henry F. Pringle in a profile of Mayer published in The New Yorker. "He approves of gorgeous gowns, pretty girls, lingerie sequences, and expensive assignations." Escapist musicals, sumptuous costume dramas, and screwball comedies accounted for the bulk of MGM's output under Mayer's aegis, a reflection of his earlier pledge to produce only those pictures his children could see. Mayer's creative influence reached its apex with the Andy Hardy series, a string of hits starring Mickey Rooney that were as successful as they were saccharine. To its critics, MGM's output during Mayer's reign was formulaic pap, but to Mayer it was just the kind of wholesome family entertainment Depression-era audiences wanted.
Influential Figure
Few at MGM saw fit to argue with success, and for many of his 27 years there, Mayer was the highest-paid individual in the country. His annual salary, including bonuses, exceeded $1.25 million, a princely sum for the time. As his bankbook swelled, so did Mayer's influence-both inside and outside the film community. He took a leadership role within the movie industry, helping to found the Academy of Motion Picture Arts and Sciences in 1927. A staunch conservative, Mayer also became active in politics, at one point serving as state chairman of the California Republican Party. He formed a close personal friendship with President Herbert Hoover, who offered him the post of U.S. ambassador to Turkey in 1929. The mogul wisely declined. In 1934, Mayer threw the weight of his considerable influence behind California gubernatorial candidate Frank F. Merriam, in his campaign against muckraking author Upton Sinclair. Mayer produced a series of faux "newsreels" for Merriam (featuring paid actors) that were widely credited with swinging the election in favor of the Republican.
Though feared and respected, Mayer was little loved by his colleagues in Hollywood. Hot-tempered and imperious, Mayer made numerous enemies during his career. He was quick to punish those who did not accede to his wishes. When Clark Gable went to Mayer to ask for a raise, for example, Mayer threatened to tell Gable's wife about the actor's affair with Joan Crawford. Gable settled for a much lower figure than he originally requested. Others saw their careers cut off because of some perceived or actual slight to the great mogul. On at least one occasion, retribution was physical. Mayer reportedly struck one of MGM's biggest silent film stars, John Gilbert, for disparaging remarks Gilbert made about co-star Mae Murray.
Still other stars benefited from Mayer's largesse. Ann Rutherford, an MGM ingenue of the 1930s and 1940s, once successfully extracted a raise from the sentimental Mayer by lamenting her inability to buy a house for her aged mother. Perhaps Mayer recognized in her plea one of his own favorite tactics, using charm to gain his objective. Actor Robert Taylor fell victim to Mayer's charms when, upon asking for his raise, the weepy mogul hugged him and advised him to work hard and respect his elders and in due time he would get all that he deserved. Clark Gable had Mayer to thank for his freedom after the intoxicated star struck and killed a pedestrian with his car. Mayer reportedly convinced the district attorney to blame the homicide on a minor MGM executive (who was rewarded with a lucrative lifetime salary by the studio in exchange for his cooperation).
Decline of Influence
Some may have questioned Mayer's methods, but not many dared complain too loudly while he was still at the top of the heap. Mayer reigned as the most powerful man in Hollywood throughout the 1930s and early 1940s. At that point, his influence began to wane. Inexorably, MGM began to lose its edge in the studio wars. Mayer's top lieutenant, Irving Thalberg, died in 1936, leaving MGM bereft of visionary leadership. Public taste began to turn against the wholesome escapist that Mayer favored. With few hits to back up Mayer's bluster, patience started running thin with the studio chief's despotic style.
In 1951, MGM's East Coast executives ousted Mayer after a brief power struggle. A defiant Mayer issued a statement denying he was through in Hollywood. But Mayer never returned to his former position of influence. He became an adviser for the Cinerama group, and spent his last years relentlessly lobbying stockholders of MGM's parent company, Loew's Inc., to overthrow the studio's management team. His efforts proved unsuccessful. He contracted leukemia and died in Los Angeles on October 29, 1957.
That Mayer was widely reviled in the Hollywood of his time as a crass, cruel vulgarian does not diminish one whit from his influence on the history of film. In fact, it was precisely his willingness to use his immense power in the pursuit of his vision of family entertainment that made him the prototypical Hollywood mogul.
Further Reading
Altman, Diana, Hollywood East: Louis B. Mayer and the Origins of the Studio System Birch Lane Press, 1992.
Crowther, Bosley Hollywood Rajah: The Life and Times of Louis B. Mayer Holt, 1960.
Higham, Charles Merchant of Dreams: Louis B. Mayer, M.G.M., and the Secret Hollywood Dell, 1994.
Thomson, David A Biographical Dictionary of Film Knopf, 1994.
| Britannica Concise Encyclopedia: Louis Burt Mayer |
For more information on Louis Burt Mayer, visit Britannica.com.
| US History Companion: Mayer, Louis B. |
(1885-1957), motion picture producer. "This is the end of a volume, not a chapter," said the rabbi in his eulogy at Mayer's funeral. Mayer was the first to die of that pioneering generation of movie moguls whose careers spanned both the silent and the sound eras.
Born in Minsk, Russia, Louis was not yet four when his family immigrated to North America. Louis, his father, and two brothers rose from ragpicking to ship salvage, and in 1904, they opened an office in Boston, with Louis in charge.
His arrival coincided with the nickelodeon craze that was sweeping the United States. Enthralled by the potential of these "flickers," Louis opened a theater in Haverhill, Massachusetts, and announced that it would be "the home of refined entertainment devoted to Miles Brothers moving pictures and illustrated songs," all to the accompaniment of an organ. For his Christmas attraction, Mayer secured Pathé's hand-tinted Passion Play, whose overwhelming success convinced him that the future of motion pictures was in mass-appeal dramas in which "virtue sorely tried" is in the end richly rewarded. Years later, he said, "I will make only pictures that I won't be ashamed to have my children see."
Capitalizing on his success in Haverhill, Mayer developed a chain of nickelodeons throughout New England and founded the American Feature Film Company to serve as his distributor. His most notable acquisition was D. W. Griffith's Birth of a Nation in 1915. This film demonstrated to Mayer that the movie-going public was ready for feature-length motion pictures. He then founded the Metro Pictures Corporation of New York City, but, soon dissatisfied with the films Metro was producing, he moved to Los Angeles and opened Louis B. Mayer Productions.
A pending merger in 1924 between Metro Pictures and the Goldwyn Company was broadened to include Mayer Productions. Although it was initially viewed as a desperate move by his rivals, mgm, under the tutelage of Mayer and his young protégé Irving Thalberg, evolved into the most elaborate and profitable studio system in the history of motion pictures.
Mayer's career was now linked with Thalberg's. But their relationship was strained almost from the outset by disagreements and the perception in Hollywood that Thalberg, not Mayer, was the animating spirit at mgm. In 1927, for example, Warner Brothers released The Jazz Singer. Thalberg strongly argued the case for "talkies," while Mayer, just as strongly, doubted their practicality. When introduced to television twenty years later, Mayer dismissed it as a passing novelty.
One characteristic common to both men, however, was the recognition and nurturing of new talent. Separately or together, Mayer and Thalberg were responsible for the careers of Greta Garbo, Lon Chaney, Clark Gable, Jean Harlow, Greer Garson, Spencer Tracy, Wallace Berry, Joan Crawford, Judy Garland, Charles Laughton, and the Marx Brothers, plus countless writers, directors, and producers, including Lois Weber, Hollywood's first woman director. Beginning with He Who Gets Slapped in 1925, the team of Mayer and Thalberg produced such films as Camille, Ben-Hur, The Good Earth, and A Night at the Opera. After Thalberg's untimely death in 1936, Mayer maintained this tradition in The Wizard of Oz and An American in Paris.
World War II and its aftermath rendered the studio system and Mayer's cherished ideas of entertainment obsolete and prohibitively expensive. The war brought about a darkening view of the human condition, which he steadfastly ignored in approving projects for mgm, preferring to continue with the escapist tone of Andy Hardy. Mayer got his way as long as mgm turned a profit. But in August 1951, after several years of losses, the most powerful figure in Hollywood for nearly a quarter of a century was forced to resign from the company he had founded.
A brief tenure as chair of the fledgling Cinerama Production Corporation followed, during which Mayer waged an unsuccessful proxy fight to regain control of his former studio. Mayer died of leukemia soon after this final setback.
Bibliography:
Bosley Crowther, Hollywood Rajah: The Life and Times of Louis B. Mayer (1960); Samuel Marx, Mayer and Thalberg: The Make-Believe Saints (1975).
Author:
R. France
See also Movies.
| Columbia Encyclopedia: Louis Burt Mayer |
Bibliography
See biography by B. Crowther (1960); B. Crowther, The Lion's Share (1957).
| Quotes By: Louis B Mayer |
Quotes:
"Be smart, but never show it."
| Wikipedia: Louis B. Mayer |
| Louis B. Mayer | |
 Mayer with Joan Crawford, 1953 |
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| Born | Lazar Meir July 4, 1884 Minsk, Belarus |
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| Died | October 29, 1957 (aged 73) Los Angeles, California |
| Spouse(s) | Margaret Shenberg (1904-1947) Lorena Danker (1948-1957) |
Louis Burt Mayer (born Lazar Meir July 4, 1884 – October 29, 1957) was an early film producer,[1] most famous for his stewardship and co-founding of the Hollywood film studio Metro-Goldwyn-Mayer.
He is generally cited as the creator of the "star system" within Metro-Goldwyn-Mayer (MGM) in its golden years. Known always as Louis B. Mayer and often simply as "L.B.", he believed in "wholesome entertainment" and went to great lengths so that MGM had "more stars than there are in the heavens".
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Born to a Jewish family in Minsk, today the capital of Belarus[2], then in the Russian Empire, capital of the Minsk Province (Minskaja Guberniya). His actual birthdate is unknown; a patriotic Mayer chose July 4 when he became an American citizen, to honor his adopted country. Mayer emigrated with his family to Saint John, New Brunswick, Canada when he was still very young, and Mayer attended school there. His father started a scrap metal business, J. Mayer & Son. His parents, Sarah and Jacob Mayer, had five children: Yetta, Ida, Louis, Jerry and Rudolph. In 1904, the 19-year-old Mayer left St. John for Boston, where continued for a time in the scrap metal business, married, and took a variety of odd jobs to support his family when his junk business lagged.
Mayer renovated the "Gem Theater", a rundown, 600 seat burlesque house in Haverhill, Massachusetts,[3] which he reopened on November 28, 1907 as the "Orpheum", his first movie theater. To overcome the unfavorable reputation that the building once had in the community, Mayer decided to debut with the showing of a religious film. Years later, Mayer would say that the premiere at the Orpheum was From the Manger to the Cross,[4] although most sources place the release date of that film as 1912.[5] Within a few years, he owned all five of Haverhill's theaters, and, with Nathan H. Gordon, created the Gordon-Mayer partnership that controlled the largest theater chain in New England.[6]
In 1914, the partners organized their own film distribution agency in Boston. Mayer paid D.W. Griffith $25,000 for the exclusive rights to show The Birth of a Nation (1915) in New England. Although Mayer made the bid on a film that one of his scouts had seen, but he had not, his decision netted him over $100,000.[7] Mayer partnered with Richard A. Rowland in 1916 to create Metro Pictures Corporation, a talent booking agency, in New York City.
Two years later, Mayer moved to Los Angeles and formed his own production company, Louis B. Mayer Pictures Corporation. The first production was 1918's Virtuous Wives.[8] A partnership was set up with B. P. Schulberg to make the Mayer-Schulberg Studio. Mayer's big breakthrough, however, was in April 1924 when Marcus Loew, owner of the Loews Theatres chain, merged Metro Pictures, Samuel Goldwyn's Goldwyn Pictures Corporation, and Mayer Pictures into Metro-Goldwyn-Mayer under the supervision of Nicholas Schenck in New York City. As "Vice-President in Charge of Production" based in Los Angeles, Mayer effectively controlled MGM for the next 27 years.
In 1927, Loew died, leaving control of MGM to Schenck. In 1929, the head of rival studio Fox Film Corporation, William Fox, arranged to buy controlling interest from Schenck. Mayer and Thalberg were outraged -- they were in charge of MGM but had no say in the deal -- and this only served to worsen an already tense relationship between Schenck and Mayer (reportedly, Mayer called Schenck "Mr. Skunk" in private). Mayer went to the Justice Department and, through his political connections, got the department to file antitrust charges against Fox. The fact that Fox was seriously injured in the summer of 1929 in a car accident -- and the stock market crash took place in the fall of 1929 -- meant the Loews-Fox deal was doomed, even if the Justice Department had given its blessing. Nonetheless, Schenck blamed Mayer for the deal's collapse and never forgave him.
As a studio boss, Louis B. Mayer built MGM into the most financially successful motion picture studio in the world and the only one to pay dividends throughout the Great Depression of the 1930s. However he frequently clashed with production chief Irving Thalberg, who preferred literary works over the crowd-pleasers Mayer wanted. He ousted Thalberg as production chief in 1932 while Thalberg was recovering from a heart attack and replaced him with independent producers until Thalberg's death in 1936, when Mayer became head of production as well as studio chief. Under Mayer, MGM produced many successful films with high earning stars including Greta Garbo, Clark Gable, Spencer Tracy, Katharine Hepburn, Lon Chaney, Joan Crawford, Jean Harlow, Judy Garland and many others.
Mayer had a reputation for ruthless expediency and allegedly narrow views about what subjects were suitable topics for motion pictures. He was also widely viewed to be a particularly unpleasant man. The writer George S. Kaufman memorably said that "I'd rather have TB than L.B."[9] But Katharine Hepburn referred to him as a "nice man" (and claimed she personally negotiated many of her contracts with Mayer), while young actresses such as Debbie Reynolds, June Allyson, and Leslie Caron who matured as MGM contract players viewed him as a father figure.
By 1948, due to the introduction of television and changing public tastes, MGM suffered a considerable dropoff in its success. The glory days of MGM as well as other studios were also over because of United States v. Paramount Pictures, Inc. (1948), a Supreme Court decision that severed the connection between film studios and the movie theater chains that showed their films. In 1947, the HUAC hearings -- and later Sen. Joseph McCarthy -- accused some Hollywood stars, writers, and directors of being communists.
The MGM corporate office in New York decided that Dore Schary, a writer and producer recently hired from RKO Radio Pictures, might be able to turn the tide. In 1951, MGM had gone three years without a major Academy Award, which provoked further conflict between Mayer and Schenck. Under orders to control costs and hire "a new Thalberg," Mayer hired writer and producer Schary as production chief. Schary, who was 20 years Mayer's junior, preferred message pictures in contrast with Mayer's taste for "wholesome" films.
In 1951, Schenck fired Mayer from the post he'd held for 27 years. The firing reportedly came after Mayer called New York and issued an ultimatum--"It's either me, or Schary." Mayer tried to stage a boardroom coup but failed and largely retired from public life.
Mayer had two daughters from his first marriage to Margaret Shenberg. The eldest, Edith (Edie) Mayer (b. August 14, 1905 - d.1987), from whom he would later become estranged and disinherit, married producer William Goetz (who became president of Universal Pictures). The younger daughter, Irene Gladys Mayer (1907-1990), married producer David O. Selznick. Irene Mayer Selznick wrote in her autobiography A Private View (1983), about having to wait to marry her betrothed, David Selznick, until Edie, the older sister, was married, in accordance with her family's views on propriety. Irene, David, and L. B. Mayer had a fight about the date of Irene and David's wedding being too close after Edie's. Selznick protested, saying he had waited long enough while Edie was courted and planned her wedding, and that his schedule at Paramount Pictures, for whom he then worked, decreed he must get married when he and Irene wished, regardless of LB's protestations.
Active in Republican Party politics, Mayer served as the vice chairman of the California Republican Party from 1931 to 1932, and as its state chairman between 1932 and 1933. He and Thalberg played a role in attacking reformist Upton Sinclair's EPIC Movement in the 1934 California gubernatorial bid, in an early use of modern-day public relations and propaganda strategy, complete with specially-made short films disguised as newsreels, attacking Sinclair.[10]
Mayer owned or bred a number of successful thoroughbred racehorses at his 504-acre (2.0 km2) ranch in Perris, California, 72 miles (116 km) east of Los Angeles.
In the 2005 biography, Lion of Hollywood, author Scott Eyman wrote that: "Mayer built one of the finest racing stables in the United States" and that he "almost single-handedly raised the standards of the California racing business to a point where the Eastern thoroughbred establishment had to pay attention." Among his horses was Your Host, sire of Kelso, the 1945 U.S. Horse of the Year, Busher, and the 1959 Preakness Stakes winner, Royal Orbit. Eventually Mayer sold off the stable, partly to finance his divorce in 1947. His 248 horses brought more than $4.4 million.
In 1976, Thoroughbred of California magazine named him "California Breeder of the Century".
One version of the death of Ted Healy in December 1937 is that he was beaten to death outside the Trocadero nightclub by screen legend Wallace Beery, a young Albert R. Broccoli (later producer of James Bond films), and notorious gangster (and Broccoli's cousin) Pat DiCicco. This account emerges in a book about MGM's legendary "fixers," Eddie Mannix and Howard Strickling, in The Fixers: Eddie Mannix, Howard Strickling, and the MGM Publicity Machine (2004) by E.J. Fleming. MGM, supposedly under orders from Mayer, sent Beery, one of their most valuable properties, off to Europe for several months until everything cooled down, while a story about "drunk college boys" beating up Healy was fabricated to conceal the truth. (Immigration records confirm a four-month trip to Europe on Beery's part immediately after Healy's death, ending April 17, 1938.)[11]
In 1933, MGM star William Haines was arrested in a YMCA with a sailor he had picked up in Los Angeles' Pershing Square. Mayer delivered an ultimatum to Haines -- choose a lavender marriage to a woman and end his relationship with Haines' partner Jimmy Shields -- or be fired. Haines chose Shields; they ultimately remained together for 50 years. Mayer subsequently fired Haines and terminated his contract, quickly recasting Robert Montgomery in roles that had been planned for Haines. Haines made his final films, Young and Beautiful and The Marines Are Coming (both 1934) at Poverty Row studio Mascot Pictures, then retired to found a prosperous interior decorating business with Shields. (See William J. Mann's 1998 biography Wisecracker: The Life and Times of William Haines.)
In 1990, Samuel Marx and Joyce Vanderveen wrote Deadly Illusions, published by Random House. Marx was a story editor at MGM and a friend of both Irving Thalberg and Paul Bern, husband of MGM star Jean Harlow, at the time of Bern's death. On September 5, 1932, Marx had gone to Bern's house -- before the police were informed of the discovery of Bern's body -- and saw Thalberg tampering with the evidence. The next day, Marx was among the studio executives who were told by Mayer what the headlines would be to avoid scandal -- "Suicide Because of Impotence!"
In the 1980s, Marx investigated the case, and for the first time scrutinized the remaining available evidence. Marx concluded that Bern was murdered by his former common law wife, Dorothy Millette, who then committed suicide. Two days after Bern's death, she jumped from the ferryboat Delta King, traveling from San Francisco to Sacramento. Her body was found a few days later by men fishing on the Sacramento River. Millette's shoes and jacket were found on the boat -- she had taken them off before jumping into the water. The "suicide note" had in fact been written by Bern, but some weeks prior to his death, to apologize for a minor quarrel with Harlow about the secluded location of their home -- Harlow wanted to live in a livelier place. Bern had bought a bunch of roses and presented them to Jean with the note that became a "suicide note" in the eyes of Los Angeles district attorney Buron Fitts who was bribed by MGM to keep the lid on the case.
Louis B. Mayer died of leukemia on October 29, 1957 and was interred in the Home of Peace Cemetery in East Los Angeles, California. His last words (reportedly) were, "Nothing matters."[citation needed]
His sister, Ida Mayer Cummings, and brothers Jerry and Rudolph are also interred at the Home of Peace Cemetery. His mother Sarah and father are buried in the Shaarei Zedek Cemetery in Saint John, New Brunswick, in the small Jewish section of the Fernhill Cemetery on Westmorland Road.
The main theatre on Santa Clara University's campus in Santa Clara, California is named after Louis B. Mayer.
Son-in-law David O. Selznick refused any financial help from Mayer, and instead chose to establish an independent film production studio, after working for both Paramount Pictures and RKO Radio Pictures. Gone with the Wind, David O. Selznick's largest-scale picture, was released in 1939. Ironically, Gone with the Wind was eventually bought by MGM and now is one of several thousand films in the MGM library - which at the present is divided between MGM itself (1986-present) and Warner Bros. (which owns the pre-1986 films).
Mayer has been portrayed numerous times in film and television including:
Mayer has a star on Canada's Walk of Fame[12]
In Ayn Rand's novel The Fountainhead there is a satirical depicition of a fictional film company named "Cosmo-Slotnik", whose director "Mr. Slotnik" is mentioned as being forty-three in 1927 - Louis B. Mayer's age on that year. In Kim Newman and Eugene Byrne's alternate history novel Back in the USSA, Meyer is the Secretary of State under President Al Capone, as an apparent analogue of Vyacheslav Molotov.
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