Mgm Quotes

Personally I like the English style better. It is not quite so brittle, and the people as a rule, just wear clothes and drink drinks. There is more sense of background, as if Cheesecake Manor really existed all around and not just the part the camera sees; there are more long walks over the Downs and the characters don’t all try to behave as if they had just been tested by MGM. The English may not always be the best writers in the world, but they are incomparably the best dull writers.

But the minute Ruby said what she said, the minute I heard the word lesbian, my blood started beating so fast that my pulse was all I could hear. I was not paying attention to what was flying out of Ruby’s mouth. I could only catch certain words, like girl and dyke and twisted. The skin on my chest felt hot. My ears burned. I did my best to calm myself. And when I did, when I focused on Ruby’s words, I finally heard the other piece of what she was trying to tell me. “You should probably get a better handle on your husband, by the way. He’s in Ari’s bedroom getting a blow job from some harpy from MGM.” When she said it, I did not think, Oh, my God. My husband is cheating on me. I thought, I have to find Celia.

Below, he could see down the entire Strip, from the radioactive green lion at the base of the MGM Grand to the glowing spire of the Stratosphere. The logjam street traffic just added to the visual effect: a thousand headlights blinking like neurons in the glowing spine that snaked down the center of the city.

MGM, nor did it lead to her receiving more adult parts. As soon as The Wizard of Oz was completed,

I was standing on the deck looking down at a gang of stevedores working on the dock thirty feet below. One of them recognized me, nudged his neighbor, and pointed. All at once the whole gang stopped working to yell, 'Booster! Booster Keaton!' They waved in wild excitement, and I waved back, marveling, because it was fifteen years of more since they could have seen my last M-G-M picture. And if there is sweeter music this side of heaven I haven't heard it. Dr. Avedon said I could live to be a hundred years old. I intend to do it. For who would not wish to live a hundred years in a world where there are so many people who remember with gratitude and affection a little man with a frozen face who made them laugh a bit long years ago when they and I were both young?

2001’s production notes contain a number of startlingly prescient glimpses of the world we live in today. As of mid-1965, approximately the same time that the US Department of Defense was conceiving of the internet’s direct predecessor, ARPANET (Advanced Research Projects Agency Network), Kubrick’s intrepid band of futurists had seemingly already visualized important aspects of the new technology’s implications. One document sent from Tony Masters to Roger Caras on June 29 listed matter-of-factly—under a letterhead replete with the roaring MGM lion—nine props that he asked Caras to help him with. Number one was “2001 newspaper to be read on some kind of television screen. Should be designed television screen shape; i.e., wider than it is high.

The harder you fight a decentralized opponent, the stronger it gets. The labels had the power to annihilate Napster and destroy Kazaa. But waging that battle was possibly the worst strategic move the labels made. It started a chain reaction that now threatens the entire industry. As the labels go after the Napsters and Kazaas of the world, little programs like eMule start popping up. Now, it's not that MGM and the other labels are stupid, nor are they alone. It's just that MGM hasn't stopped to fully understand this new force. What we've seen with the P2P companies is just the tip of the iceberg.

She’s a lesbian, Evelyn.” Until that point, the sounds of the party going on around us had been muted but still distinct. But the minute Ruby said what she said, the minute I heard the word lesbian, my blood started beating so fast that my pulse was all I could hear. I was not paying attention to what was flying out of Ruby’s mouth. I could only catch certain words, like girl and dyke and twisted. The skin on my chest felt hot. My ears burned. I did my best to calm myself. And when I did, when I focused on Ruby’s words, I finally heard the other piece of what she was trying to tell me. “You should probably get a better handle on your husband, by the way. He’s in Ari’s bedroom getting a blow job from some harpy from MGM.” When she said it, I did not think, Oh, my God. My husband is cheating on me. I thought, I have to find Celia.

To MGM fell the thankless task of policing the Garbo name and its commercial use. Several years earlier, J. Robert Rubin in MGM's New York office was panicked to learn of a trademarked product called Garbo - which turned out to be a new fangled garbage unit. The final cable from headquarters in Culver City concluded, 'It would be fairly hard to stop the word Garbo in connection with a refuse container. It does not seem anyone is going to confuse the two.

And there they are: skulky, cowardly, dirty, snively, skeevy, no-account hyenas lurking at the periphery, trying to grab a piece of the vittles. Marlin practically invites us to heap our contempt on the hyenas: scavengers. Now, it’s not entirely clear to me why we laud the predators so much and so disdain the scavengers, since most of us are hardening our arteries wolfing down carcasses that someone else killed, but that is our bias. Lions get lionized, while hyenas never get to vocalize at the beginning of MGM movies.

Particularly since Thalberg’s death, she felt like “Penelope with her needles” because others unraveled her work as soon as it was done. Screen-writing had become “writing on the sand with the wind blowing. They chew up and disgorge your stories until they’re so far removed from your original idea or conception that all you recognize is your name, and often that isn’t spelled correctly.” Or your name wasn’t on the screen at all. Even though she had signed over the rights to a dozen scripts she had completed for MGM since 1940, Frances had not received an on-screen credit in all that time.

Over the decade that movie producer Menahem Golan had retained the rights for Spider-Man, he’d managed to involve half a dozen different corporate entities. Golan had originally bought the Spider-Man rights for his Cannon Films; after leaving Cannon, he transferred them to 21st Century Films. Next, he raised money by preselling television rights to Viacom, and home video rights to Columbia Tri-Star; then he signed a $5 million deal with Carolco that guaranteed his role as producer. But after Carolco assigned the film to James Cameron, Cameron refused to give Golan the producer credit, and the lawsuits began. By the end of 1994, Carolco was suing Viacom and Tri-Star; Viacom and Tri-Star were countersuing Carolco, 21st Century, and Marvel; and MGM—which had swallowed Cannon—was suing Viacom, Tri-Star, 21st Century, and Marvel.

Bess Meredyth, Anita Loos and I were asked our advice on virtually every script MGM produced in the thirties,” Frances said with some resentment because she not only felt that their efforts were unappreciated, they were forced to conceal their influence and power. They were careful to always carry the scripts in “unmarked plain covers” because they were painfully aware of the whispers about “the tyranny of the woman writer.” Along with women like Kate Corbaley and Ida Koverman, Frances had “fed the machine” that the studio had become. They brought in talent before others discovered it and found stories in places others didn’t look. Adding to her frustration was her calculation that while only half of the stories she had worked on appeared on screen with her name on them, most men would demand screen credit “no matter how small their contribution to the final script.

Under the moon, the backlot was 30 acres of fairyland—not because the locations really looked like African jungles and French châteaux and schooners at anchor and Broadway by night, but because they looked like the torn picture books of childhood, like fragments of stories dancing in an open fire. I never lived in a house with an attic, but a backlot must be something like that, and at night of course in an enchanted distorted way, it all comes true. —F. SCOTT FITZGERALD, The Love of the Last Tycoon

Joan Blondell had it all: looks, talent, energy, humor. If she never became a top-flight superstar, the fault lies mostly with Warner Brothers. At MGM, Joan could have easily had Jean Harlow’s career; at Paramount, Claudette Colbert’s or Carole Lombard’s; at Fox, Loretta Young’s; at RKO, Ginger Rogers’. Some of the fault lies, too, with Blondell herself, who later admitted, “The instant they said ‘cut!’ I was whammo out of that studio and into the car . . . In order to be a top star and remain a top star and to get all the fantastic roles that you yearned for, you’ve got to fight for it and you’ve got to devote your twenty-four hours to just that; you’ve got to think of yourself as a star, operate as a star; do all the press that is necessary . . . What meant most to me was getting home, and that’s the truth.” But if Joan Blondell got slightly lost in the shuffle at Warners, she still managed to turn in some delightfully snappy performances and typify the warm-hearted, wisecracking Depression dame. And when she aged, she did so with grace and humor.

Mary was stretched out on the lounge by the pool reading Agatha Christie’s new book, Dumb Witness, which a friend had sent her from England. I was reading Erich Maria Remarque’s sadly beautiful, Three Comrades. MGM had purchased it and were making a film adaptation starring Margaret Sullavan, who I happened to adore. We’d be here all week so I’d also brought Erle Stanley Gardner’s new Perry Mason novel, The Case of the Dangerous Dowager.

went absolutely bat-shit. I could hear yelling and the unmistakable rumblings of an angry mob. Quickly, we made our way from the MGM sports complex into the casino,

Titled by year, Good News of 1939, 1940 became Maxwell House Coffee Time to begin the 1940–41 season, though the Good News title was still used for a few broadcasts. Maxwell House Coffee. CAST: Hosts: James Stewart, 1937; Robert Taylor, early to mid-1938; Robert Young, beginning in fall 1938; various hosts, 1939–40; Dick Powell, ca. 1940. Frank Morgan, resident comic. Fanny Brice as Baby Snooks beginning Dec. 23, 1937. Hanley Stafford as Daddy. Also many MGM film stars including Judy Garland, Joan Crawford, Mickey Rooney, Alice Faye, Spencer Tracy, Lionel Barrymore, Clark Gable,

Grace was tough and strong—mentally, emotionally and physically—and she cut through a lot of the nonsense. Hollywood was like a game for her. She was also a good businesswoman, and this allowed her to win in her struggles with MGM. She knew how to play the corporate game, and she played it so that it worked for her.

He convinced John Stainton to agree that there would be no CGI (computer-generated imagery) wildlife in the movie. We didn’t want to pretend to react to an animal in front of a green screen, and then have computer graphic technicians complete the shot later. That was how Hollywood would normally have done it, but that wasn’t an option for Steve. “All the animals have to be real,” he insisted to the executives at MGM. “I’m doing all of my own stunts. Otherwise, I am not interested.” I always believed that Steve would excel at anything he put his mind to, and a movie would be no different. The camera loved him. As talks ground on at MGM, we came up with a title: Crocodile Hunter: Collision Course. But mostly we had phone calls and meetings. The main sticking point was that no insurance company would touch us. No underwriter would write a policy for a project that required Steve to be working with real live crocodiles. As negotiations seemed to be grinding to a halt, we were all feeling frustrated. Steve looked around at John, Judi, and the others. He could see that everybody had gotten a bit stretched on all our various projects. He decided we needed a break. He didn’t lead us into the bush this time. Instead, Steve said a magic word. “Samoa.” “Sea snakes?” I asked. “Surfing,” he said.

Along with John and Judi, we took a big risk and started filming on the movie before we had a contract signed with MGM. There didn’t seem to be any choice. I imagined all the insurance underwriters across the world reacting to the phrase “live crocodiles.” Those two words would be enough to blow them right out of their cubicles. So we began shooting with our zoo crocodiles, but without signatures on the dotted line for the movie. A particular scene in the script--and a good example of an insurance man’s nightmare--had a crocodile trying to lunge into a boat. Only Steve’s expertise could make this happen, since the action called for Steve and me to be in the boat at the time. If the lunging crocodile happened to hook his head over the edge of the boat, he would tip us both into the water. That would be a one-way trip. “How are you going to work it?” I asked Steve. “Get the crocs accustomed to the dinghy first,” he said. “Then I’ll see if I can get them interacting with me while I’m in the boat.” First he tried Agro, one of our biggest male crocs. Agro was too wary of the boat. He’s a smart crocodile. I think he remembered back when he was captured. He didn’t want any of it. We decided to try with our friend Charlie. Charlie had been very close to ending up at a farm, his skin turned into boots, bags, and belts. He definitely had attitude. He spent a lot of his time trying to kill everything within range. Steve felt good about the possibility of Charlie having a go. Because he was filming a movie and not shooting a documentary, John had a more complex setup than usual, utilizing three thirty-five-millimeter cameras. Each one would film in staggered succession, so that the film magazine changes would never happen all at once. There would never be a time when film was not rolling. We couldn’t very well ask a crocodile to wait while a fresh mag was loaded into a camera. “You need to be careful to stay out of Charlie’s line of sight,” Steve said to me. “I want Charlie focusing only on me. If he changes focus and starts attacking you, it’s going to be too difficult for me to control the situation.” Right. Steve got no argument from me. Getting anywhere near those bone-crushing jaws was the furthest thing from my mind. I wasn’t keen on being down on the water with a huge saltwater crocodile trying to get me. I would have to totally rely on Steve to keep me safe.

You need to be careful to stay out of Charlie’s line of sight,” Steve said to me. “I want Charlie focusing only on me. If he changes focus and starts attacking you, it’s going to be too difficult for me to control the situation.” Right. Steve got no argument from me. Getting anywhere near those bone-crushing jaws was the furthest thing from my mind. I wasn’t keen on being down on the water with a huge saltwater crocodile trying to get me. I would have to totally rely on Steve to keep me safe. We stepped into the dinghy, which was moored in Charlie’s enclosure, secured front and back with ropes. Charlie came over immediately to investigate. It didn’t take much to encourage him to have a go at Steve. Steve grabbed a top-jaw rope. He worked on roping Charlie while the cameras rolled. Time and time again, Charlie hurled himself straight at Steve, a half ton of reptile flesh exploding up out of the water a few feet away from me. I tried to hang on precariously and keep the boat counterbalanced. I didn’t want Steve to lose his footing and topple in. Charlie was one angry crocodile. He would have loved nothing more than to get his teeth into Steve. As Charlie used his powerful tail to propel himself out of the water, he arched his neck and opened his jaws wide, whipping his head back and forth, snapping and gnashing. Steve carefully threw the top-jaw rope, but he didn’t actually want to snag Charlie. Then he would have had to get the rope off without stressing the croc, and that would have been tricky. The cameras rolled. Charlie lunged. I cowered. Steve continued to deftly toss the rope. Then, all of a sudden, Charlie swung at the rope instead of Steve, and the rope went right over Charlie’s top jaw. A perfect toss, provided that had been what Steve was trying to do. But it wasn’t. We had a roped croc on our hands that we really didn’t want. Steve immediately let the rope go slack. Charlie had it snagged in his teeth. Because of Steve’s quick thinking and prompt maneuvering, the rope came clear. We breathed a collective sigh of relief. Steve looked up at the cameras. “I think you’ve got it.” John agreed. “I think we do, mate.” The crew cheered. The shoot lasted several minutes, but in the boat, I wasn’t sure if it had been seconds or hours. Watching Steve work Charlie up close had been amazing--a huge, unpredictable animal with a complicated thought process, able to outwit its prey, an animal that had been on the planet for millions of years, yet Steve knew how to manipulate him and got some fantastic footage. To the applause of the crew, Steve got us both out of the boat. He gave me a big hug. He was happy. This was what he loved best, being able to interact and work with wildlife. Never before had anything like it been filmed in any format, much less on thirty-five-millimeter film for a movie theater. We accomplished the shot with the insurance underwriters none the wiser. Steve wanted to portray crocs as the powerful apex predators that they were, keeping everyone safe while he did it. Never once did he want it to appear as though he were dominating the crocodile, or showing off by being in close proximity to it. He wished for the crocodile to be the star of the show, not himself. I was proud of him that day. The shoot represented Steve Irwin at his best, his true colors, and his desire to make people understand how amazing these animals are, to be witnessed by audiences in movie theaters all over the world. We filmed many more sequences with crocs, and each time Steve performed professionally and perfected the shots. He was definitely in his element. With the live-croc footage behind us, the insurance people came on board, and we were finally able to sign a contract with MGM. We were to start filming in earnest. First stop: the Simpson Desert, with perentie lizards and fierce snakes.

outshines little Elizabeth Taylor as Velvet. The child is completely natural and unaffected, with a very sweet expressive face and the most beautiful soft blue eyes I’ve seen on the screen in a long time” (quoted in Haggerty, 2011). Taylor remained contracted to MGM for the next

Hollywood insider Roger D. McGrath was a consultant on the TV series The Young Riders, produced by MGM television. The program was supposed to be about the youthful and daring white horsemen of the Pony Express who delivered mail on the American frontier. McGrath writes: "There were no black Pony Express riders; however...it was decided one of the principal characters would be black. He would be one of the riders. He was named Noah and he was just like the white riders except--he was perfect...He was God. "It was also decided that there should be some Mexicans in the show. A Spanish mission suddenly appeared in Wyoming...That the nearest Spanish mission was actually in the upper Rio Grande Valley, 600 miles south, did not seem to matter. Now we could have Mexican heroes... " I probably do not have to tell you that our Indians were always perfect... Only whites perpetrated atrocities... Story lines that had Indians chasing Pony Express riders were rejected out of hand, although there are several true stories of lone Pony Express riders being chased by dozens of Indians, suffering terrible wounds.

Not for nothing was the MGM lot known as the "factory," a studio perfumed with sultry, busty creatures with long legs and tight haunches, and more than its quota of lecherous older men.

This MGM flurry of concern about my body was unnerving. Having always taken my appearance for granted, I felt suddenly misshapen. Even Mother, whose earlier comments had always been good-natured, joined the critical chorus. [...] Stuck with myself, once again I resolved to stay friends with my body.

BRONISLAU KAPER: As I said, or MGM said, more stars than there were in the heavens. And closer, too, just up there on the screen in your neighborhood theater. For fifty cents.

Ava Gardner was marketed as as ‘Hollywood’s most irresistible female’ and although Sinatra’s star was fading he remained an instantly recognisable name – and the two made explosive headlines across newspapers and magazines around the world. With the urging of his agents and the heavy hand of the MGM studios on his shoulders, Sinatra feebly tried to keep the affair secret. For him, his marriage was over, but Nancy Sinatra would not grant her husband a release. He chased Ava Gardner as if his life depended on it. The Mob told him to calm it but did not sanction him. Louis B. Mayer who was watching the reputation of his prime asset, Ava Gardner, be trashed, bought out Sinatra’s MGM contract a year early.

Brennan’s best small role is in Fritz Lang’s Fury (May 29, 1936), another MGM production. Brennan plays “Bugs” Meyers, a deputy who locks up Joe Wilson (Spencer Tracy), falsely accused of murder, and is almost lynched. Brennan’s portrayal goes way beyond the scope of what is actually in the film’s script. He plays a new modern type, an ordinary man suddenly elevated to importance because he plays a small but highly visible part in a widely publicized crime story. In short scenes, Bugs’s ego expands as he becomes recognized as an “authority” on what happened. Brennan’s conception of the character is profoundly original. Bugs becomes a creation of publicity—and, suddenly, a figure of significance to himself—and his enjoyment of his new, expanded role, is palpable in the joy that suffuses Bugs’s face with the excitement of being—or rather acting like—he is in the know.

MGM produced an occasional nonstar feature, although these were rare and usually had some obvious hook to draw audiences. A good example of this type of feature was The Fire Brigade, a 1926 project scheduled for a twenty-eight-day shoot and budgeted at $249,556. The picture starred May McAvoy, a “featured player” at MGM, and was directed by William Nigh. The second-class status of the project was obvious from the budget, with only $60,000 going for director, cast, story, and continuity. But the attractions in The Fire Brigade were spectacle, special effects, and fiery destruction rather than star and director. The budget allowed $25,000 for photographic effects and another $66,000 for sets, a relatively high figure since many of the sets for the picture had to be not only built and “dressed” but destroyed as well.

That evening I went over to Metro and found this long platinum-blond wig. I took it home and styled it, with curls and ringlets at the nape of the neck. The next day I brought it to Bette. She put it on, looked in the mirror, and in a loud voice said, 'It's the NUTS! I love it!' She wore it through the entire picture, and she never knew that it was an old wig of Joan's—one that Miss Crawford wore in an early M-G-M movie." Norma

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services as a tree trimmer.92 In the fall of 1975, while still promoting Cuckoo’s Nest, Nicholson played a very small part in his pal Sam Spiegel’s production of F. Scott Fitzgerald’s The Last Tycoon, based on the life of MGM wonder boy Irving Thalberg, who made Metro the dominant

Thalberg believed that “credit you give yourself isn’t worth having.

[joan crawford] slept with every male star at MGM, except lassie. [joan crawford] ha dormito con ogni star maschile della MGM, eccetto lassie.

Turner Films, which bought the MGM film library in 1986.

The star shaped the vehicle. It had to be tailored around their talents and personalities. Betty Grable was Fox. Judy Garland was MGM. And behind them were art directors and cinematographers with specific styles, too. It all added up, but it had to be shaped around the star. The public went to see the star, really.

el periodismo partidario prevaleció en Estados Unidos hasta la década de 1870, la narrativa sobre el nuevo “periodismo independiente” se concentró en dos personajes importantes: los editores Joseph Pulitzer y William Randolph Hearst. Algo similar podría decirse de los magnates del cine como Jack L. Warner (Warner Brothers), Louis B. Mayer y Samuel Goldwyn (MGM), Carl Laemmle (Universal Pictures), Darryl Zanuck (20th Century Fox) y William Fox (Fox Movie Corporation) o de creadores de contenido como Orson Welles y John Ford. Como

MGM Grand Hotel in Las Vegas killed

Michael Kidd, one of New York’s best choreographers, had already been working in Hollywood, but on Seven Brides he was essential, as his extremely athletic style matched the aggressive nature of the backwoodsman avatar. And, in a unique casting scheme, the brothers and brides were primarily dancers. Keel and Powell of course were singers, and, further, MGM was building Jeff Richards as a jeune premier and insisted on making him one of the brothers. A former baseball player, Richards was anything but a ballroom whiz, and Kidd had to work around him—Richards is especially awkward in “Goin’ Co’tin’,” ensconced in a chair almost throughout while Powell teaches his brothers how to dance—and, at that, MGM ended up dubbing some of the boys and girls. But Seven Brides is a dance piece in a way even the Astaire-Rogers RKOs aren’t. They dance because Astaire dances. Seven Brides dances because that’s how we understand the difference between what men want women to be (chattel) and what women want men to be (nice to them).

We see this even more in Seven Brides For Seven Brothers (1954), with Mercer again at MGM, collaborating with composer Gene De Paul. This one has a real Broadway score, every number embedded in the characters’ attitudes. Ragged, bearded, buckskinned Howard Keel has come to town to take a wife, and a local belle addresses him as “Backwoodsman”: it’s the film’s central image, of rough men who must learn to be civilized in the company of women. The entire score has that flavor—western again, rustic, primitive, lusty. “Bless Yore Beautiful Hide,” treating Keel’s tour of the Oregon town where he seeks his bride, sounds like something Pecos Bill wrote with Calamity Jane. When the song sheet came out, the tune was marked “Lazily”—but that isn’t how Keel sings it. He’s on the hunt and he wants results, and, right in the middle of the number, he spots Jane Powell chopping wood and realizes that he has found his mate. But he hasn’t, not yet. True, she goes with him, looking forward to love and marriage. But her number, “Wonderful, Wonderful Day,” warns us that she is of a different temperament than he: romantic, vulnerable, poetic. They don’t suit each other, especially when he incites his six brothers to snatch their intended mates. Not court them: kidnap them. “Sobbin’ Women” (a pun on the Sabine Women of the ancient Roman legend, which the film retells, via a story by Stephen Vincent Benét) is the number outlining the plan, in more of Keel’s demanding musical tone. But the six “brides” are horrified. Their number, in Powell’s pacifying tone, is “June Bride,” and the brothers in turn offer “Lament” (usually called “Lonesome Polecat”), which reveals that they, too, have feelings. That—and the promise of good behavior—shows that they at last deserve their partners, whereupon each brother duets with each bride, in “Spring, Spring, Spring.” And we note that this number completes the boys’ surrender, in music that gives rather than takes. Isn’t

after a luncheon party with Clark Gable, Spencer Tracy, Luise Rainer, Greta Garbo, and two producers—“I think it was a psychological test to see how I would act”—Knopf offered O’Brien work as MGM’s “European Scenario Editor.

He had learned many lessons simply by watching these battles, he told me. ‘M-G-M is like a medieval monarchy,’ he said. ‘Palace revolutions all the time.’ He leaned back in his swivel chair. ‘L. B. is the King. Dore is the Prime Minister. Benny Thau, an old Mayer man, is the Foreign Minister, and makes all the important deals for the studio, like the loan-outs of big stars. L. K. Sidney, one vice-president, is the Minister of the Interior, and Edgar J. Mannix, another vice-president, is Lord Privy Seal, or, sometimes, Minister without Portfolio.

Gable suited MGM because Gable was larger than life. Cagney suited Warner Brothers because Cagney was life.

Porter’s next new Hollywood work, MGM’s High Society (1956), was second-division Porter. It hit his characteristic points—the Latin rhythm number in “Mind If I Make Love To You,” the charm song full of syncopation and “wrong” notes in “You’re Sensational.” Porter even turned himself inside out in two numbers for Louis Armstrong, “High Society Calypso” (the Afro-Caribbean anticipation of reggae had just begun to trend in America) and, in duet with Bing Crosby, “Now You Has Jazz.” And the film’s hit, “True Love,” is a waltz so simple neither the vocal nor the chorus has any syncopation whatever. This is smooth Porter, the Tin Pan Alley Porter who wants everyone to like him, even the tourists. Everything about High Society is smooth—to a fault. Armstrong gives it flair, but everyone else is so relaxed he or she might be bantering between acts on a telethon. These are pale replicas of the characters so memorably portrayed in MGM’s first go at this material, The Philadelphia Story, especially by Katharine Hepburn and Cary Grant. In their first moment, the two are in mid-fight; she breaks his golf clubs and he starts to take a swing at her, recalls himself to manly grace, and simply shoves her self-satisfied mug out of shot. This is not tough love. It’s real anger, and while Philip Barry, who wrote the Broadway Philadelphia Story, is remembered only as a boulevardier, he was in fact a deeply religious writer who interspersed romantic comedies with allegories on the human condition, much as Cole Porter moved between popular and elite composition. Underneath Barry’s Society folderol, provocative relationships undergo scrutiny as if in Christian parable; his characters are likable but worrisome—and, from First Couple Bing Crosby and Grace Kelly on down, there is nothing worrisome in this High Society.

In the spring of 1935, an editor at the New York publishing house Macmillan, while on a scouting trip through the South, was introduced to Mitchell and signed her to a deal for her untitled book. Upon its release in the summer of 1936, the New York Times Book Review declared it “one of the most remarkable first novels produced by an American writer.” Priced at $3, Gone with the Wind was a blockbuster. By the end of the summer, Macmillan had sold over 500,000 copies. A few days prior to the gushing review in the Times, an almost desperate telegram originated from New York reading, “I beg, urge, coax, and plead with you to read this at once. I know that after you read the book you will drop everything and buy it.” The sender, Kay Brown, in this missive to her boss, the movie producer David Selznick, asked to purchase the book’s movie rights before its release. But Selznick waited. On July 15, seeing its reception, Selznick bought the film rights to Gone with the Wind for $50,000. Within a year, sales of the book had exceeded one million copies. Almost immediately Selznick looked to assemble the pieces needed to turn the book into a movie. At the time, he was one of a handful of major independent producers (including Frank Capra, Alfred Hitchcock, and Walt Disney) who had access to the resources to make films. Few others could break into a system controlled by the major studios. After producing films as an employee of major studios, including Paramount and MGM, the thirty-seven-year-old Selznick had branched out to helm his own productions. He had been a highly paid salaried employee throughout the thirties. His career included producer credits on dozens of films, but nothing as big as what he had now taken on. As the producer, Selznick needed to figure out how to take a lengthy book and translate it onto the screen. To do this, Selznick International Pictures needed to hire writers and a director, cast the characters, get the sets and the costumes designed, set a budget, put together the financing by giving investors profit-participation interests, arrange the distribution plan for theaters, and oversee the marketing to bring audiences to see the film. Selznick’s bigger problem was the projected cost.

It’s only because MGM wants complete control of our lives. Movie stars are products the whole world buys. We have to keep a wholesome public image.

Among them, you are almost certain to see Apple, Microsoft, Alphabet, Amazon, and Meta.2 How would you classify these companies? To say they're tech companies would be an oversimplification. Apple offers credit cards and runs the App Store, which provides customers with everything from food delivery to exercise classes to ride sharing. Amazon runs a large chain of grocery stores and owns the movie studio MGM. The difference between the list of top companies in years past and today reflects a colossal economic reorientation, the significance of which is only now beginning to be felt.

It is possible that one of the seven other major studios might have bought and made a movie from Everybody comes to Rick's, an unproduced play about a cynical American who owns a bar in Casablanca. (One producer at M-G-M, Sam Marx, did want to buy the play for $5.000, but his boss didn't think it was worth the money.) It wouldn't have been the same movie, not only because it would have starred Gary Cooper at Paramount, Clark Gable at M-G-M, or Tyrone Power at Fox but because another studio's style would have been more languid, less sardonic, or opulently Technicolored.

The lion in the MGM logo killed its trainer and two assistants.

MGM’s 1956 science fiction film, Forbidden Planet. This cult classic movie centers on a rather eccentric but brilliant scientist named Dr. Edward Morbius (played by Walter Pidgeon) and his innocent teenage

Other fan pages devoted to Hollywood stars of the studio era have similar ambitions, but the Garland pages surpass them in the sheer density of their archival documentation.

The most notable thing about the show in all its forms was the commercial. Since 1933, when the first “Calllll for Philip Mor-raisss!” spot went over the air, millions of cigarettes had been sold by a four-foot midget with an uncanny ability to hit a perfect B-flat every time. Johnny Roventini was a $15-a-week bellhop at the Hotel New Yorker when a chance encounter changed his life. Milton Biow, head of the agency handling the Philip Morris account, arrived at the hotel, saw Roventini, and had a stroke of pure advertising genius. Roventini was auditioned there in the hotel lobby: under Biow’s direction, he walked through the hotel paging Philip Morris, and he was soon in show business at $20,000 a year. As the brilliance of the ads became apparent to all, he was given a lifetime contract that was still in effect decades after the last “call” for Philip Morris left the air. He was a walking public relations campaign, reminding people of the product wherever he appeared. “Johnny” ads were prominent on billboards and in magazines. Always in his red bellhop’s uniform, he was “stepping out of storefronts all over America” to remind smokers that they got “no cigarette hangover” with Philip Morris. When MGM’s Leo the Lion died, it was said that Roventini was the only remaining living trademark.

And this is not Fosse. Yes, he made it: but it turns on one of those stupid frauds that American show biz can’t get enough of, that “You haven’t lived until you’ve played the Palace,” that “You’ll never make the big time because you’re small-time in your heart,” that MGM dream of a culture made entirely of show biz, for which Mickey and Judy filmed manuals for do-it-yourself stardom while, behind a prop tree, little Jackie Cooper was fucking Joan Crawford. It’s naïve—a condition that has nothing to do with Bob Fosse. Yet, came Fosse’s third act, there was “Mr. Bojangles,” again from Dancin’, and another risibly sentimental number. Fosse wasn’t a romantic; Fosse was a satirist. Fosse was enjoyable, of course, and a thrilling showcase for the dancers. But it was an incorrect piece, not dishonest but concentrating on rather a lot of irrelevant material.

In 1934, with the country nowhere near able to climb out of the Great Depression, Upton Sinclair, famous for his muckraking novel The Jungle and his socialistic solutions for the ailing economy, had swept the Democratic primary for governor of California. (He was hardly alone in turning to socialism at such a dire time.) Mayer, fearful Sinclair would tax the movie studios to pay for his socialist programs, warned that MGM and other studios would move back east if Sinclair won—not anything he was prepared to let happen. Calling in Irving Thalberg, head of production, Mayer told him to create a fake newsreel showing the disasters that would follow such an election outcome. Movie theaters were forced to show the film when they booked an MGM movie, and William Randolph Hearst would see to its distribution to all other theaters in the state. And indeed, as soon as the fake exposé hit the screens, Sinclair’s huge lead vanished, and Frank Merriam became governor. The dirty politics and stealth tactics of Richard Nixon? As you can see, just a rerun.

Sam Goldwyn hated above all others was Mayer, who had forced Sam out after he and Louis had formed MGM. “Once Mayer told him to dump you, your future was secure.

Four years earlier, Weissmuller had been the first to break the one-minute barrier in the 100-meter freestyle. (That he would later go on to play Tarzan in MGM’s blockbuster films and become an international movie star of the era is also worthy of note.)

At MGM, Arthur Freed and Vincente Minnelli made their last musical together, Bells Are Ringing (1960), reunited with Comden and Green. Dean Martin joined the Broadway package, replacing Sydney Chaplin, Charlie’s eldest son.13 Adding Martin’s star persona to the Judy Holliday vehicle produced another close match of movie star to musical role. As Jeff Moss, a Broadway playwright who’s been hitting the bottle harder than the typewriter, Martin fit the public perception of his romance with the grape. Even those who don’t care for the liquid Martin style find him charming in this musical.14 The vivacious answering-service operator Holliday nurses him back to sobriety and success, and the laid back, breezy Martin hoofs with Holliday in casual soft-shoe duets like “Just in Time.” In “Drop that Name,” Minnelli’s eye adds stylish brilliance to a satire of New York’s pretentious social elite, a Black-and-White Ball of burlesques and grotesques in answer to An American in Paris. Though Bells Are Ringing is neither vintage Freed nor vintage Minnelli—cramped by a middle-class present, a CinemaScope frame imprisoned in stageset interiors, and self-conscious disguises for Holliday’s shape—it is pleasant enough Holliday and Martin.

I don’t write lovely music.” He was willing, however, to compose the score for the MGM production of The Good Earth. His demands were appropriate but unacceptable. He wanted fifty thousand dollars, and complete control of the soundtrack; the actors were to speak in the same pitch and key he composed in (as if Paul Muni and Luise Rainer didn’t have enough difficulty playing Chinese peasants!).

The most likely explanation of Greene’s desire to leave MI6 for a less demanding position lies in a scriptwriting contract he signed with MGM on 3 February 1944, providing him with twelve weeks of work in each of two years at the handsome rate of £250 per week.

We passed the Monte Carlo and the MGM. We

Sidney provides the commentary on the DVD, and he tells us that he wanted “a train song.” Warren and Mercer gave him much more than that, for “On the Atchison, Topeka and the Santa Fe” is really an “entire town song.” It starts in the saloon—an important location, as it will be at war with the restaurant the Harvey girls wait table in—then moves to the train’s passengers, engineers, and conductor as it pulls in and the locals look everyone over, especially the newly mustered Harveys themselves. Warren’s music has imitated the train’s chugging locomotion, but now comes a trio section not by Warren and Mercer (at “Hey there, did you ever see such pearly femininity … ”), and the girls give us some individual backstories—one claims to have been the Lillian Russell of a small town in Kansas, and principals Ray Bolger and Virginia O’Brien each get a solo, too. The number is not only thus detailed as a composition but gets the ultimate MGM treatment on a gigantic set with intricate interaction among the many soloists, choristers, and extras. But now it’s Garland’s turn to enter the number, disembark, and mix in with the crowd. According to Sidney, Garland executed everything perfectly on the first try—and it was all done in virtually a single shot. Fred Astaire would have insisted on rehearsing it for a week, but Garland was a natural. Once she understood the spirit of a number, the physics of it simply fell into place for her. In any other film of the era, the saloon would be the place where the music was made. And Angela Lansbury, queen of the plot’s rowdy element, does have a floor number, dressed in malevolent black and shocking pink topped by a matching Hippodrome hat. But every other number is a story number—“The Train Must Be Fed” (as the Harveys learn the art of waitressing); “It’s a Great Big World” for anxious Harveys Garland, O’Brien, and a dubbed Cyd Charisse; O’Brien’s comic lament, “The Wild, Wild West,” a forging song at Ray Bolger’s blacksmith shop; “Swing Your Partner Round and Round” at a social. Marjorie Main cues it up, telling one and all that this new dance is “all the rage way

What suits you, tickles me plumb to death.

We embarked on a twelve-city North American promotion tour, and then hit London, Dublin, and Glasgow. To buzz us around, MGM provided the corporate jet, with a crocodile painted on the side. It was a whirlwind tour. Bindi would get into a limousine in one city, we would carry her sleeping onto the plane, and then she would wake up in a limousine in a different city. It was nonstop. My sister Bonnie came with us to care for Bindi while Steve and I did interviews, one after another, from the morning shows to late-night television. We spoke as well with reporters from newspapers, magazines, and radio programs. Over the course of six weeks, we did twelve hundred interviews. Our publicist, Andrew Bernstein, gave Steve one of his favorite compliments. “I’ve never seen anybody promote a movie harder,” he said, “except maybe Tom Cruise.

I never wavered from the mission: getting the best possible number and price on every game. And no matter the obstacles, via trial and error, I became the best in the world at finding that number and concealing the source. The business of sports betting might seem like quantum physics to the general public. At the highest level, it is closer to psychological warfare between bettor and bookmaker—cat and mouse, hunter and prey. The posted line is just a way to trigger the game. Some cynics assume that my goal was to put every bookie out of business—but nothing could be further from the truth. Bookmakers strive for balance. They never want to tilt too far on one side of the action. Bookies breathe easiest in the middle, taking equal money and profiting off the 10 percent juice. If a bookie was destroyed, it meant he either closed his shop or reduced his limits. Neither scenario did me any good. My goal was to keep the bookmakers in business and expand their limits. This served to increase the size of the market, which meant more potential profit for me. The smartest bookies had solved this riddle and wanted to do business with me directly. They wanted to know straight from the horse’s mouth what games I liked. If they were smart, they took my information and profited by shading their line and forcing customers to the other side, extending limits. A smart bookmaker knows there will be winners and losers. They also understand that there is no business if there are no winners. Translated: the smartest bookmakers are open to all comers—just like baccarat, blackjack, and craps. The brightest bookmakers know they can use smart money for their own benefit. Early in my career, the major-league bookmakers were Bob Martin, Johnny Quinn, Gene Maday, and Scotty Schettler. Following in their footsteps are Nick Bogdanovich, Jimmy Vaccaro, Richie Baccellieri, Matt Metcalf, and Chris Andrews. They are grand masters of the art. They know how to book. How smart are they? Well, Nick ran the William Hill U.S. sportsbook operation and then oversaw Caesars Sports trading for nearly a decade before being hired as sportsbook manager at Circa. Jimmy is the senior linemaker at the sports-betting network VSiN and vice president of sports marketing at the South Point Hotel, Casino & Spa. Richie B., who ran the counter at the MGM, Caesars, and the Palms, now works as the director of product development at Circa alongside Nick. Chris Andrews, legendary oddsmaker Jack “Pittsburgh Jack” Franzi’s nephew, is the sportsbook director and Jimmy’s sidekick at the South Point, owned and operated by Michael Gaughan, another Las Vegas legend. In 1992, Jack Binion was Nick Bogdanovich’s boss at the Horseshoe. I could bet $25,000 on a game of college football at eight o’clock Monday morning, and $50,000 on a pro football game.

Early in my career, the major-league bookmakers were Bob Martin, Johnny Quinn, Gene Maday, and Scotty Schettler. Following in their footsteps are Nick Bogdanovich, Jimmy Vaccaro, Richie Baccellieri, Matt Metcalf, and Chris Andrews. They are grand masters of the art. They know how to book. How smart are they? Well, Nick ran the William Hill U.S. sportsbook operation and then oversaw Caesars Sports trading for nearly a decade before being hired as sportsbook manager at Circa. Jimmy is the senior linemaker at the sports-betting network VSiN and vice president of sports marketing at the South Point Hotel, Casino & Spa. Richie B., who ran the counter at the MGM, Caesars, and the Palms, now works as the director of product development at Circa alongside Nick. Chris Andrews, legendary oddsmaker Jack “Pittsburgh Jack” Franzi’s nephew, is the sportsbook director and Jimmy’s sidekick at the South Point, owned and operated by Michael Gaughan, another Las Vegas legend. In 1992, Jack Binion was Nick Bogdanovich’s boss at the Horseshoe. I could bet $25,000 on a game of college football at eight o’clock Monday morning, and $50,000 on a pro football game.

A person who refuses to give up will always succeed, eventually. Henry Ford failed and went broke five times before he succeeded. NBA superstar Michael Jordan was once cut from his high school basketball team. After his first audition, screen legend Fred Astaire received the following assessment from an MGM executive: “Can’t act. Slightly bald. Can dance a little.