Louis B. Mayer
Louis Burt Mayer was a Canadian-American film producer and co-founder of Metro-Goldwyn-Mayer studios in 1924. Under Mayer's management, MGM became the film industry's most prestigious movie studio, accumulating the largest concentration of leading writers, directors, and stars in Hollywood.
Mayer was born in the village of Dymer, Ukraine, and grew up poor in Saint John, New Brunswick. He quit school at 12 to support his family and later moved to Boston and purchased and renovated a small vaudeville theatre in Haverhill, Massachusetts. He renovated and expanded several other theatres in the Boston area catering to audiences of higher social classes. After expanding and moving to Los Angeles, he teamed with film producer Irving Thalberg and they developed hundreds of films. Mayer handled the business of running the studio, such as setting budgets and approving new productions, while Thalberg, still in his twenties, supervised all MGM productions.
Mayer claimed to believe in "wholesome entertainment" and went to great lengths to discover new actors and develop them into major stars. During his long reign at MGM, Mayer acquired many critics and supporters. Some stars did not appreciate his attempts to control their private lives, while others saw him as a concerned father figure. He was controversial for his treatment of the actors under his management, demanding compliance from female stars by threatening their livelihoods, such as in the case of Judy Garland, whom he forced to go on diets, take drugs, and work punishing schedules.
Mayer was forced to resign as MGM's vice president in 1951, when the studio's parent company, Loew's, Inc., wanted to improve declining profits. A staunch conservative, Mayer at one time was the chairman of the California Republican Party. In 1927, he was one of the founders of AMPAS, famous for its annual Academy Awards.
Early life
Mayer preferred to say that he was born in Minsk. Bosley Crowther, in an early biography, gave his birthplace as "a little town near Minsk". Other sources cite such places as Demre and Dmra, "a village between Minsk and Vilnius". Charles Higham and Scott Eyman state that Mayer was born in Dymer near Kiev; this accords with what Mayer himself stated in his naturalization filing in 1912, where he gave his birthplace as Dumier, Russia.According to his personal details in the U.S. immigration documents, the date was July 4, 1885. In addition he gave his birth year as 1882 in his marriage certificate while the April 1910 census states his age as 26. His parents were Jacob and Sarah Meir and he had two sisters — Yetta, born ca. 1878 and Ida, born ca. 1883. Mayer first moved with his family to Long Island, where they lived from 1887 to 1892 and where his two brothers were born—Rubin, in April 1888 and Jeremiah, in April 1891. Then, they moved to Saint John, New Brunswick, where Mayer attended school.
His father started a scrap metal business, J. Mayer & Son. An immigrant unskilled in any trade, he struggled to earn a living. Young Louis quit school at age twelve to work with his father and help support his family. He roamed the streets with a cart that said "Junk Dealer" and collected any scrap metal he came across. When the owner of a tin business, John Wilson, saw him with his cart, he began giving him copper trimmings which were of no use and Mayer considered Wilson to be his first partner and his best friend. Wilson remembered that he was impressed with the boy's good manners and bright personality. Whenever Mayer visited Saint John in later years, he placed flowers on Wilson's grave, just as he did on his mother's.
"It was a crappy childhood", said Mayer's nephew Gerald. His family was poor and Mayer's father spoke little English and had no valuable skills. It thus became young Mayer's ambition and drive that supported the family. With his family speaking mostly Yiddish at home, his goal of self-education when he quit school was made more difficult.
In his spare time, he hung around the York Theatre, sometimes paying to watch the live vaudeville shows. He became enamored of the entertainment business. Then in 1904 the 20-year-old Mayer left Saint John for Boston, where he continued for a time in the scrap metal business, got married and took a variety of odd jobs to support his new family when his junk business lagged.
Early career
Mayer renovated the Gem Theater, a rundown, 600 seat burlesque housein Haverhill, Massachusetts, which he reopened on November 28, 1907, as the Orpheum, his first movie theater. To overcome an unfavorable reputation that the building had, Mayer opened with a religious film at his new Orpheum, From the Manger to the Cross, in 1912. 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. During his years in Haverhill, Mayer lived at 16 Middlesex St. in the city's Bradford section, closer to city center at Temple Street and at 2 1/2 Merrimac St. Mayer also lived in a house he built at 27 Hamilton Ave.
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 in New England. Mayer made the bid on a film that one of his scouts had seen, but he had not, although he was well aware of the plot surrounding the Ku Klux Klan; his decision netted him over $100,000. Using earnings from the popularity of The Birth of a Nation, 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. A partnership was set up with B. P. Schulberg to make the Mayer-Schulberg Studio
In late 1922, Mayer was introduced to Irving Thalberg, then working for Universal Pictures. Mayer was searching for someone to help him manage his small, but dynamic and fast-growing studio. At that first meeting, Thalberg made an immediate positive impression on Mayer, writes biographer Roland Flamini. Later that evening, after Thalberg had left, Mayer told the studio's attorney, Edwin Loeb, to let Thalberg know that if he wanted to work for Mayer, he would be treated like a son.
Although their personalities were in many ways opposite, Mayer being more outspoken and nearly twice the younger man's age, Thalberg was hired as vice president in charge of production at Louis B. Mayer Productions. Years later, Mayer's daughter, Irene Mayer Selznick, found it hard to believe that anyone "so boyish could be so important". According to Flamini, Thalberg was hired because, although Mayer was an astute businessman, he lacked Thalberg's strong ability to combine making films of quality with gaining commercial success.
Heading new Metro-Goldwyn-Mayer (MGM) studios
Mayer's big breakthrough was in April 1924 when his company subsequently merged with two others to become Metro-Goldwyn-Mayer. The 24-year-old Thalberg was made part-owner and accorded the same position as vice president in charge of production.Marcus Loew, owner of the Loew's chain, merged Metro Pictures, Samuel Goldwyn's Goldwyn Pictures Corporation, and Mayer Pictures into Metro-Goldwyn. Loew had bought Metro and Goldwyn some months before, but could not find anyone to oversee his new holdings on the West Coast. Mayer, with his proven success as a producer, was an obvious choice. He was named head of studio operations and a Loew's vice president, based in Los Angeles, reporting to Loew's longtime right-hand man Nicholas Schenck. He would hold this post for the next 27 years. Before the year was out, Mayer added his name to the studio with Loew's blessing, renaming it Metro-Goldwyn-Mayer. Three years after the merger, MGM became the most successful studio in Hollywood.
Loew died in 1927, and Schenck became president of Loew's. Mayer and Schenck hated each other intensely; Mayer reportedly referred to his boss, whose name was pronounced "Skenk", as "Mr. Skunk" in private. Two years later, Schenck agreed to sell Loew's – and MGM – to William Fox, which angered Mayer. But despite his important role in MGM, Mayer was not a shareholder, and had no standing to challenge the sale. So he instead used his Washington connections to persuade the Justice Department to delay the merger on antitrust grounds. During the summer of 1929, Fox was severely injured in an auto accident. By the time he recovered, the stock market crash had wiped out his fortune, destroying any chance of the deal going through even if the Justice Department had lifted its objections. Nonetheless, Schenck believed Mayer had cost him a fortune and never forgave him, causing an already frigid relationship to become even worse.
Working with Irving Thalberg
Mayer and Thalberg were a brilliant team that worked well together. They relied on each other, and neither operated unilaterally. Mayer took charge of the business part of running the studio, such as setting budgets and approving new productions. Thalberg, eventually called the "boy wonder", took charge of all MGM productions. Director Joseph M. Newman said that their skills complemented each other well, with Thalberg having a great story mind, and Mayer having superior business acumen.They shared a guiding philosophy, to make the best motion pictures they could at any cost, even if it meant reshooting the entire picture. More important than showing a consistent profit with their films was, for them, to see MGM become a high-quality studio. That goal began with their early silent films, when stars such as Greta Garbo, Mayer's discovery, acted in lush settings with spectacular camera work.
Although they initially got along well, their relationship frayed over philosophical differences. Thalberg 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 producer David O. Selznick.
But MGM received a serious blow when Thalberg died on September 14, 1936, at age 37. His death came as a shock to Mayer and everyone at MGM and the other studios. Mayer issued statements to the press, calling Thalberg "the finest friend a man could ever have ... the guiding inspiration behind the artistic progress on the screen." His funeral was a major news event in Los Angeles. All the studios observed five minutes of silence, while MGM closed its studio for the entire day.
Mayer dedicated MGM's front office building and christened it the Thalberg Building. He had the Academy of Motion Picture Arts and Sciences establish the Irving G. Thalberg Memorial Award, given to producers to recognize their exceptional careers, now considered one of the most prestigious awards in the Hollywood film industry.