Metro-Goldwyn-Mayer

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Metro-Goldwyn-Mayer Studios Inc. (initialized as MGM; often referred to as Metro; common metonym: the Lion or Leo) is an American media company, involved primarily in the production and distribution of feature films and television programs. One of the world's oldest film studios, MGM's corporate headquarters are located at 245 North Beverly Drive in Beverly Hills, California.

MGM was founded in 1924 when the entertainment entrepreneur Marcus Loew gained control of Metro Pictures, Goldwyn Pictures, and Louis B. Mayer Pictures.

In 1971, it was announced that MGM was to merge with 20th Century Fox, but the plan never came to fruition. Over the next 39 years, the studio was bought and sold at various points in its history until, on November 3, 2010, MGM filed for Chapter 11 bankruptcy. MGM emerged from bankruptcy on December 20, 2010, at which time the executives of Spyglass Entertainment, Gary Barber and Roger Birnbaum, became co-chairmen and co-CEOs of the holding company of Metro-Goldwyn-Mayer.

MGM Resorts International, a Las Vegas-based hotel and casino company listed on the New York Stock Exchange under the symbol "MGM", was created in 1973 as a division of Metro-Goldwyn-Mayer. The company was spun out in 1979, with the studio's then owner Kirk Kerkorian maintaining a large share, but it ended all affiliation with Metro-Goldwyn-Mayer in 1986.

History

Founding and early years

In 1924, movie theater magnate Marcus Loew had a problem. He had bought Metro Pictures Corporation in 1919 for a steady supply of films for his large Loew's Theatres chain. With Loew's lackluster assortment of Metro films, Loew purchased Goldwyn Pictures in 1924 to improve the quality. However, these purchases created a need for someone to oversee his new Hollywood operations, since longtime assistant Nicholas Schenck was needed in New York headquarters to oversee the 150 theaters. Approached by Louis B. Mayer, Loew addressed the situation by buying Louis B. Mayer Pictures on April 17, 1924. Mayer became head of the renamed Metro-Goldwyn-Mayer, with Irving Thalberg as head of production.

MGM produced more than 100 feature films in its first two years. In 1925, MGM released the extravagant and successful Ben-Hur, taking a $4.7 million profit that year, its first full year. Also in 1925, MGM, Paramount Pictures and UFA formed a joint German distributor, Parufamet. When Samuel Goldwyn left he sued over the use of his name.

Marcus Loew died in 1927, and control of Loew's passed to Nicholas Schenck. In 1929, William Fox of Fox Film Corporation bought the Loew family's holdings with Schenck's assent. Mayer and Thalberg disagreed with the decision. Mayer was active in the California Republican Party and used his political connections to persuade the Justice Department to delay final approval of the deal on antitrust grounds. During this time, in the summer of 1929, Fox was badly hurt in an automobile accident. By the time he recovered, the stock market crash in the fall of 1929 had nearly wiped Fox out and ended any chance of the Loew's merger going through. Schenck and Mayer had never gotten along (Mayer reportedly referred to his boss as "Mr. Skunk"), and the abortive Fox merger increased the animosity between the two men.

1920s and 1930s

From the outset, MGM tapped into the audience's need for glamor and sophistication. Having inherited few big names from their predecessor companies, Mayer and Thalberg began at once to create and publicize a host of new stars, among them Greta Garbo, John Gilbert, William Haines, Joan Crawford, and Norma Shearer (who followed Thalberg from Universal). Established names like Lon Chaney, William Powell, Buster Keaton, and Wallace Beery were hired from other studios. They also hired top directors such as King Vidor, Clarence Brown, Erich von Stroheim, Tod Browning, and Victor Seastrom. The arrival of talking pictures in 1928–29 gave opportunities to other new stars, many of whom would carry MGM through the 1930s: Clark Gable, Jean Harlow, Robert Montgomery, Spencer Tracy, Myrna Loy, Jeanette MacDonald, and Nelson Eddy among them.

MGM was one of the first studios to experiment with filming in Technicolor. Using the two-color Technicolor process then available, MGM filmed portions of "The Uninvited Guest" (Metro, 1924), "The Big Parade" (1925), and "Ben–Hur" (1925), among others, in the process. MGM released "The Viking" (1928), the first complete Technicolor feature with a synchronized score and sound effects, but no spoken dialogue.

With the arrival of talkies, MGM moved slowly and reluctantly into sound era, releasing features like "White Shadows in the South Seas" (1928) with music and sound effects, and "Alias Jimmy Valentine" (1928) with limited dialogue sequences. Their first full-fledged talkie, the musical The "Broadway Melody" (1929), however, was both a box-office success and won the Academy Award as Best Picture of the Year.

MGM, however, was the last studio to convert to "talkies" with its first all-color, "all-talking" sound feature with dialogue being the musical "The Rogue Song" (1930). MGM included a sequence made in Technicolor's superior new three-color process, a musical number in the otherwise black-and-white The "Cat and the Fiddle" (1934), starring Jeanette MacDonald and Ramon Novarro. The studio then produced a number of three-color short subjects including the musical "La Fiesta de Santa Barbara" (1935); their first complete feature in the process was "Sweethearts" (1938) with MacDonald and Nelson Eddy, the earlier of the popular singing team's two films in color. From then on, MGM regularly produced several films a year in Technicolor with "Northwest Passage" being one of the most notable.

In addition to a large short-subjects program of its own, MGM also released the shorts and features produced by Hal Roach Studios, including comedy shorts starring Laurel and Hardy, Our Gang and Charley Chase. MGM's distribution deal with Roach lasted from 1927 to 1938, and MGM benefited in particular from the success of the popular Laurel and Hardy films. In 1938, MGM purchased the rights to the Our Gang series and moved the production in-house, continuing production of the successful series of children's comedies until 1944. From 1929 to 1931, MGM produced a series of comedy shorts called "All Barkie Dogville Comedies", in which trained dogs were dressed up to parody contemporary films and were voiced by actors. One of the shorts, "The Dogway Melody" (1930), spoofed MGM's hit 1929 musical "The Broadway Melody""".

MGM entered the music industry by purchasing the "Big Three" starting with Miller Music Publishing Co. in 1934 then Robbins Music Corporation. In 1935, MGM acquired a controlling interest in the capital stock of Leo Feist, Inc., the last of the "Big Three". During the first musical craze of 1928–1930, a custom MGM label was created by Columbia using tunes from MGM productions that were recorded by Columbia. These records were sold only at Loew's theaters. (Columbia also created a label called Publix for Paramount music and sold only at Paramount Theaters.)

MGM produced approximately 50 pictures a year, though it never met its goal of releasing a new motion picture each and every week (it was only able to release one feature film every nine days). Loew's 153 theaters were mostly located in New York, the Northeast, and Deep South; Gone with the Wind (1939) had its world premiere at Loew's Grand Theatre in Atlanta, Georgia. A fine reputation was gained for lavish productions that were sophisticated and polished to cater to an urban audience. Still, as the Great Depression deepened, MGM began to economize by "recycling" existing sets, costumes, and furnishings from yesteryear projects. This recycling practice never let up once started. In addition, MGM saved money because it was the only one of the big five studios that did not own an off-site movie ranch. Until the mid-1950s, MGM could make a claim its rivals could not: it never lost money, although it did have an occasional disaster like "Parnell" (1937), Clark Gable's biggest flop. It was the only Hollywood studio that continued to pay dividends during the 1930s.

MGM stars dominated the box-office during the 1930s, and the studio was credited for inventing the Hollywood stable of stars system, as well. MGM contracted with the American Musical Academy of Arts Association to handle all of their press and artist development. The AMAAA's main function was to develop the budding stars and to make them appealing to the public. Stars such as Norma Shearer, Joan Crawford, Greta Garbo, Myrna Loy and Jeanette MacDonald reigned as the top-paid figures at the studio. Another MGM sex symbol actress, Jean Harlow, who had previously appeared in the Howard Hughes film "Hell's Angels" (1930), now had a big break and became one of MGM's most admired stars, as well. Despite Harlow's gain, Garbo still was a big star for MGM. Shearer was still a money maker despite screen appearances becoming scarce, and Crawford continued her box-office power until 1937. MGM also received a boost through the man who would become "King of Hollywood", Clark Gable. Gable's career took off to new heights after he won an Oscar for the Columbia film "It Happened One Night" (1934).

Mayer and Irving Thalberg's relationship began warmly, but eventually the two became estranged; Thalberg preferred literary works to the crowd-pleasers Mayer wanted. Thalberg, always physically frail, was removed as head of production in 1932. Mayer encouraged other staff producers, among them his son-in-law David O. Selznick, but no one seemed to have the sure touch of Thalberg. As Thalberg fell increasingly ill in 1936, Louis Mayer could now serve as his temporary replacement. Rumors began circulating that Thalberg was leaving to set up his own independent company; his early death in 1936, at age 37, cost MGM dearly.

After Thalberg's untimely death, Mayer became head of production, as well as studio chief, becoming the first million-dollar executive in American history. The company remained profitable, although a change toward "series" pictures (Andy Hardy starring Mickey Rooney, Maisie starring Ann Sothern, Thin Man starring William Powell and Myrna Loy, et al.) is seen by some as evidence of Mayer's restored influence. Also playing a huge role was Ida Koverman, Mayer's secretary and right hand.

In 1937, Mayer hired Mervyn LeRoy, a former Warner Bros. (WB) producer/director as MGM's top producer and Thalberg's replacement. LeRoy talked Mayer into purchasing the rights to make a film version of the popular book "The Wonderful Wizard of Oz", which MGM did on June 3, 1938, from Sam Goldwyn for $75,000.

Hits in 1939 included "The Wizard of Oz," "Boys Town" and "Gone with the Wind", starring Vivien Leigh as Scarlett O'Hara and Clark Gable as Rhett Butler. Although "Gone With the Wind" was produced by Selznick International Pictures, it was distributed by MGM as part of a deal for producer David O. Selznick, Mayer's son-in-law, to obtain the services of Gable as well as financial assistance to complete the film. While The Wizard of Oz was a critical hit, the film took 20 years before turning a profit.

1940s

Within one year, beginning in 1942, Mayer released his five highest-paid actresses from their studio contracts: Joan Crawford, Norma Shearer, Greta Garbo, Myrna Loy and Jeanette MacDonald. After a two-year hiatus, Crawford moved to Warner Brothers, where her career took a dramatic upturn. Shearer and Garbo never made another film after leaving the lot. Of the five stars, Loy and MacDonald were the only two whom Mayer rehired, in 1947 and 1948 respectively.

Increasingly, before and during World War II, Mayer came to rely on his "College of Cardinals" — senior producers who controlled the studio's output. This management-by-committee resulted in MGM losing its momentum, developing few new stars and relying on the safety of sequels and bland material. (Dorothy Parker memorably referred to it as "Metro-Goldwyn-Merde.") Production values remained high, and even "B" pictures carried a polish and gloss that made them expensive to mount. After 1940, production was cut from 50 pictures a year to a more manageable 25 features per year. During this time, MGM released very successful musicals with players such as Judy Garland, Fred Astaire, Gene Kelly, and Frank Sinatra.

1950s

Audiences began drifting to television in the late 1940s. MGM found it difficult to attract them to theaters. With its high overhead expenses, MGM's profit margins continued to decrease. Word came from Nicholas Schenck in New York: find "a new Thalberg" who could improve quality while paring costs. Mayer thought he had found this savior in Dore Schary, a writer and producer who had found success at running RKO. Top notch musicals were Schary's focus, with hits like Easter Parade and the various films of Mario Lanza (most famously, The Great Caruso) keeping MGM afloat.

In August 1951, Mayer was fired by MGM's East Coast executives and was replaced by Schary. Gradually cutting loose expensive contract players (including $6,000-a-week Judy Garland in 1950), saving money by recycling existing movie sets instead of building costly new scenery, and reworking pricey old costumes, Schary managed to keep the studio running much as it had through the early 1940s though his sensibilities for hard-edged, message movies would never bear much fruit. One bright spot was MGM musical pictures, under the aegis of producer Arthur Freed, who was operating what amounted to an independent unit within the studio. MGM produced some well-regarded and profitable musicals that would be later acknowledged as classics, among them "An American in Paris" (1951), "Singin' in the Rain" (1952), and "Seven Brides for Seven Brothers" (1954). However, "Brigadoon" (1954), "Deep in My Heart" (1954), It's "Always Fair Weather" (1955), and "Invitation to the Dance" (1956), were extravagant song and dance flops, and even the now-classic "The Band Wagon" (1953) lost money in its initial release. Movie audiences more and more were staying home and watching television.

In 1952, as a settlement of the government's restraint-of-trade action, United States v. Paramount Pictures, Inc. 334 US 131 (1948), Loews, Inc. gave up control of MGM. It would take another five years before the interlocking arrangements were completely undone, by which time both Loews and MGM were sinking. Schary bowed out of MGM in 1956 in another power struggle against the New York-based executives.

As the studio system fade===d in the late 1950s and 1960s, MGM's prestige faded with it. In 1957 (by coincidence, the year Mayer died), the studio lost money for the first time in its 34-year history. Cost overruns and the failure of the big-budget epic "Raintree County" (1957) prompted the studio to release Schary from his contract. Schary's reign at MGM had been marked with few bona-fide hits, but his departure (along with the retirement of Schenck in 1955) left a power vacuum that would prove difficult to fill. Initially Joseph Vogel became president and Sol Siegel head of production. By 1960, MGM had released all of its contract players, with many either retiring or moving on to television.

In 1958, MGM released what is generally considered its last great musical, Arthur Freed's Cinemascope color production of "Gigi", starring Leslie Caron, Maurice Chevalier, and Louis Jourdan. It was adapted from the novel by Colette, and written by the team of Lerner and Loewe, who also wrote My "Fair Lady" and "Camelot". Gigi was a box-office and critical success which won nine Academy Awards, including Best Picture. From it came several hit songs, including "Thank Heaven For Little Girls", "I Remember It Well", the "Waltz at Maxim's", and the Oscar-winning title song. The film was the last MGM musical to win a Best Picture Oscar, an honor that had previously gone to "The Broadway Melody" (1929), "The Great Ziegfeld" (1936), and "An American in Paris" (1951). The very last musical film produced by the "Freed Unit" was an adaptation of the Broadway musical "Bells Are Ringing" (1960) with Judy Holliday and Dean Martin. However, MGM did release later musical films, including an adaptation of Meredith Willson's "The Unsinkable Molly Brown" (1964) with Debbie Reynolds and Harve Presnell.

MGM enters television

MGM's first television program, The MGM Parade, was produced by MGM's trailer department as one of the compilation and promotional shows that imitated Disney's series Disneyland which was also on ABC. Parade was canceled by ABC in the 2nd quarter of 1956. MGM took bids for its movie library in 1956 from Lou Chesler and others, but decided on entering the TV market itself. Chesler had offered $50 million for the film library. MGM-TV was started with the hiring of Bud Barry to head up the operation in June 1956. MGM-TV was to distribute its films to TV (starting with the networks), TV production and purchasing TV stations. TV production was expected to start with the 1957–58 season and was to include half-hour remakes of, or series based on, its pictures. Initial feature film sales focused on selling to the networks.

The year 1957 also marked the end of MGM's animation department, as the studio determined it could generate the same amount of revenue by reissuing older cartoons as it could by producing and releasing new ones. William Hanna and Joseph Barbera, by then the heads of the MGM cartoon studio, took most of their unit and made their own company, Hanna-Barbera Productions, a successful producer of television animation.

In 1956, MGM sold the television rights for The Wizard of Oz to CBS, which scheduled it to be shown in November of that year. In a landmark event, the film became the first American theatrical fiction film to be shown complete in one evening on prime time television over a major American commercial network. (Olivier's version of "Hamlet" was shown on prime time network TV a month later, but split in half over two weeks, and the 1950 film, "The Titan: Story of Michelangelo" was telecast by ABC in 1952, but that was a documentary.) Beginning in 1959, and lasting until 1991, telecasts of The Wizard of Oz became an annual tradition, drawing huge audiences in homes all over the U.S. and earning additional profits for MGM. The studio was all too happy to see Oz become, through television, one of the two or three most famous films MGM has ever made, and one of the few films that nearly everybody in the U.S. has seen at least once. Today "The Wizard of Oz" is regularly shown on the Turner-owned channels, no longer just once a year.

MGM cartoons

In animation, MGM purchased the rights in 1930 to distribute a series of cartoons that starred a character named Flip the Frog, produced by Ub Iwerks. The first cartoon in this series (entitled Fiddlesticks) was the first sound cartoon to be produced in two-color Technicolor. In 1933, Ub Iwerks canceled the unsuccessful "Flip the Frog" series and MGM began to distribute its second series of cartoons, starring a character named "Willie Whopper", that was also produced by Ub Iwerks.

In 1934, after Iwerks' distribution contract expired, MGM contracted with animation producers/directors Hugh Harman and Rudolph Ising to produce a new series of color cartoons. Harman and Ising came to MGM after breaking ties with Leon Schlesinger and Warner Bros., and brought with them their popular Looney Tunes character, Bosko. These were known as Happy Harmonies, and in many ways resembled the Looney Tunes' sister series, Merrie Melodies. The Happy Harmonies regularly ran over budget, and MGM dismissed Harman-Ising in 1937 to start its own animation studio.

After initial struggles with a poorly received series of The Captain and the Kids cartoons, the studio rehired Harman and Ising in 1939, and Ising created the studio's first successful animated character, Barney Bear. However, MGM's biggest cartoon stars would come in the form of the cat-and-mouse duo Tom and Jerry, created by William Hanna and Joseph Barbera in 1940. The Tom and Jerry cartoons won seven Academy Awards between 1943 and 1953. In 1941, Tex Avery, another Schlesinger alumnus, joined the animation department. Avery gave the unit its image, with successes like "Red Hot Riding Hood", "Swing Shift Cinderella", and the "Droopy" series.

Avery left the studio in 1953, leaving Hanna and Barbera to focus on the popular "Tom and Jerry" and "Droopy" series. After 1955, all cartoons were filmed in CinemaScope until MGM closed its cartoon division in 1957.

In 1961, MGM resumed the release of new "Tom and Jerry" shorts, and production moved to Rembrandt Films in Prague, Czechoslovakia (now the Czech Republic) under the supervision of Gene Deitch, who had been hired away from UPA. Although Deitch's Tom and Jerry cartoons were considered to be vastly inferior to the earlier Hanna and Barbera shorts, they did receive positive reviews in some quarters. In 1963, the production of Tom and Jerry returned to Hollywood under Chuck Jones and his Sib Tower 12 Productions studio (later absorbed by MGM and renamed MGM Animation/Visual Arts). Jones' group also produced its own works, winning an Oscar for The "Dot and the Line" (1965), as well as producing the classic television version of Dr. Seuss's "How the Grinch Stole Christmas!" (1966) featuring the voice of Boris Karloff. Tom and Jerry folded in 1967, and the animation department continued with television specials and one feature film, The Phantom Tollbooth. A revived Metro-Goldwyn-Mayer Animation was in existence from 1993 to 1999.


More information is available at [ Wikipedia:Metro-Goldwyn-Mayer ]
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