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Louis Burt Mayer (/'me?.?r/; born Lazar Meir, July 12, 1884[2] – October 29, 1957) was an American film producer and co-founder of Metro-Goldwyn-Mayer studios (MGM) 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 Russian Empire 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 a small vaudeville theater in Haverhill, Massachusetts, called the "Garlic Box" because it catered to poorer Italian immigrants.[not verified in body] He renovated and expanded several other theaters 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 high-quality story-based films, noted for their wholesome and lush entertainment. 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.
During his long reign at MGM, Mayer acquired many enemies as well as admirers. Some stars did not appreciate his attempts to control their private lives, while others saw him as a solicitous father figure. He believed in wholesome entertainment and went to great lengths to discover new actors and develop them into major stars.[3] 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. Mayer was a staunch conservative, at one time the chairman of California's Republican party.[4][5] In 1927 he was one of the founders of AMPAS, famous for its annual Academy Awards.[6] Contents 1 Early life 2 Early career 3 Heading new Metro-Goldwyn-Mayer (MGM) studios 3.1 Working with Irving Thalberg 3.2 Continued success after Thalberg's death 4 Managing MGM 4.1 Management style 4.2 Growth of the studio 4.3 Creating a "star system" 4.4 Hiring actors and staff 4.5 Working with studio people 4.6 Response to technical innovations 4.7 Being a father figure 4.8 Developing child stars 5 Themes, musicals and formula 6 World War II problems 7 Declining years at MGM 8 Personal life 8.1 Family 8.2 Entertainment and leisure 8.3 Politics 8.4 Horse racing hobby 9 Death 10 Legacy 11 Honors and recognition 12 Filmography 12.1 Producer 13 Portrayals in popular culture 13.1 Characters based on Mayer 14 See also 15 Notes 16 References 17 Further reading 18 External links

Early life Mayer was born possibly[7][8] Lazar Meir to a Jewish family in Dymer,[2][8] Russian Empire (now Ukraine). According to his personal details in the U.S. immigration documents,[9][10] the date was 4 July 1885; according to some studies based on the March 1901 Canada census, the date may have been[11][12] 12 July 1884.[2][8] In addition he gave his birth year as 1882 in his marriage certificate[13] while the April 1910 census states his age as 26 [14](b.1883). His parents were Jacob Meir and Sarah Meltzer and he had two sisters—Yetta, born in c. 1878 and Ida, born in c. 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[15] and Jeremiah, in April 1891.[16] Then, they moved to Saint John, New Brunswick, where Mayer attended school.[17] 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.[17] 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.[18] Whenever Mayer visited Saint John in later years, he placed flowers on Wilson's grave, just as he did on his mother's.[18] I had been to his hometown. I knew from whence he sprang. He taught himself grammar. He taught himself manners. If anybody on earth ever created himself, Louis B. Mayer did. —actress Ann Rutherford[19] "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 thereby became young Mayer's ambition and drive which supported the family.[20] With his family speaking mostly Yiddish at home, his goal of self-education when he quit school was made more difficult.[20] In his spare time, he hung around the York theater, sometimes paying to watch the live vaudeville shows. He became enamored with 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 house in Haverhill, Massachusetts,[21] 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.[22] 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.[23] During his years in Haverhill, Mayer lived on 16 Middlesex St. in the city's Bradford section, closer to city center on Temple Street and at 2 1/2 Merrimac St. Mayer also lived in a house he built at 27 Hamilton Ave.[24][25] 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.[26] 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.[27]:46 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."[27]:47 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.[27]:47 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 (MGM). 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.[28] 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 get even worse. Working with Irving Thalberg Mayer (r) with Irving Thalberg and Thalberg's wife, actress Norma Shearer, 1932 Mayer and Thalberg were a brilliant team that worked well together. They relied on each other, and neither operated unilaterally.[29] 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 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.[30] 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 on lush settings with spectacular camera work.[30] 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 suddenly on September 14, 1936, at age 37. His death came as a shock to Mayer and everyone at MGM and the other studios.[31] 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.[31] Mayer dedicated MGM's front office building and christened it the Thalberg Building.[32] 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.[33] Continued success after Thalberg's death After Thalberg died, many in Hollywood expected Mayer to "stumble and fall."[34] Director Joseph M. Newman saw the studio start to change for the worse.[35] Some actors were affected, such as Luise Rainer, winner of Hollywood's first back-to-back Oscars, who felt that the death of Thalberg marked the death of her career: "Had it not been that he died, I think I may have stayed much longer in films." [36] Joan Crawford was also concerned, feeling that with Thalberg gone, the concept of the quality "big" picture "pretty much went out the window."[37] However, MGM under Mayer's leadership continued to produce successful movies. Mayer was made head of production as well as studio chief. For the next ten years, MGM grew and thrived.[34] 1939 was an especially "golden" year: besides distributing Gone with the Wind, MGM released The Wizard of Oz, Babes in Arms, At the Circus, and The Women. Garbo laughed in Ninotchka, Goodbye, Mr. Chips, won an Oscar, and was nominated for seven, and Hedy Lamarr, another of Mayer's personal discoveries, made her film debut. Mayer became the first person in American history to earn a million-dollar salary. For nine years from 1937, when he earned $1,300,000—equivalent to $23,120,139 today,[38]Mayer was the highest-paid man in the United States

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