moive assignment

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Emergence of the Studio System Hollywood 1920—studio released The Cabinet of Dr. Caligari. -Americans loved it.

-The Samuel Goldwyn Company--the independent producer-- distributed the film.

-The film opened 21 April 1921 with an audience that day of 20, 824.

-It averaged 10,000 spectators each weekday—financial success. -German films were perceived as prestige films

-Germany was one of the most influential countries in relation to Hollywood filmmaking

-Hollywood quickly absorbed and morphed the German aesthetic into the Hollywood film

Between 1920 and 1946 Hollywood approximately 14,000 to 15,000 films are produced Major U.S. Studios into the 1920s and 1930s The Big Five: MGM, Warner Bros., Paramount, RKO, and Fox vertically integrated The Little Three: Columbia, Universal, United Artists not vertically integrated Moguls: Eastern European Jews

-Most fled their countries of origin because of persecution—anti- semitism

-America—the land of freedom and promise

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All of the first movie-moguls arrived to the US as poor immigrants They had a vision of what America was to be They created that vision on the Hollywood screen

-Paradox: The immigrant Jew (detested by the American White landed gentry—the Wasps) formed the dominant idea of what America was to look like

Paramount Pictures: -Adolph Zukor (b. 1873-d. 1976) -Immigrates at age 15, quickly becomes a major furrier -1903—owns penny arcades -1905—joins Marcus Loew in buying theater chains -1912—makes a fortune with Queen Elizabeth

-May 1914, signed (with Jesse Lasky) a distribution agreement with Paramount for distribution

-Zukor wants more control—kicks out W.W. Hodkinson president of Paramount

-Zukor brings in his friend Samuel Goldfish on board (later Samuel Goldwyn) to serve as chairman of the board of Famous Players in Famous Plays.

-Zukor and Goldfish don’t get along, he is kicked out.

-1916—Famous Players-Lasky-Paramount formed a producer/distributor combine

-Zukor and the new Paramount had terrific star appeal: Mary Pickford, Douglas Fairbanks, William S. Hart, Gloria Swanson, Pola Negri, Clara Bow, Rudolph Valentino, and Wallace Reid.

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-They also had a key film director: Cecil B. De Mille— The Squaw Man (1914), The Cheat (1915), Male and Female (1919)

-Paramount begins Block-Booking.

Exhibitors had to “buy blind.” (1921 the Federal Trade Commission begins an investigation into block booking)

-1919—the company started a major theater acquisition program (1920 major studio in Astoria, Queens—Paramount Acting School— Woody Allen sometimes shoots there)

-Purchased Grauman’s Million Dollar Theater in Los Angeles and New York’s Rialto and Rivioli Theaters—book-ended the country with two of the most prestigious theaters.

-1920s and 30s—1200 theaters Top stars: Marlene Dietrich Maurice Chevalier Mae West Marx Brothers (until mid 30s) Betty Boop Strong Directors: (“European” Sensibility) Ernst Lubitsch Joseph von Sternberg Preston Sturges Billy Wilder

-1923—two biggest money makers in history of film: The Covered Wagon (Cruze) and Ten Comandments (De Mille)

-In July 1917, Charlie Chaplin signed with the company.

-Chaplin had built new studios on Sunset and LaBrea to have more control over his filmmaking.

But…

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-A rumour swept L.A. that First National Studios and Paramount were merging

-Fairbanks, Pickford, and Chaplin see this as a monopoly that will prevent the star’s control in Hollywood -They convince D.W. Griffith that Paramount mergers (and others) were leading to the ruin of creativity in Hollywood -They form United Artists on 7 April 1919.

United Artists

-Griffith was a bit uncertain of UA because he wanted complete control over his films, including distribution—he left the company in 1931

-UA to release twelve films per year from the organization’s founders and any other product they saw as befitting to United Artists

Only seven films were released in 1920. No theaters, no production facilities

-The environment was not always pleasant at UA -Chaplin did not release anything until 1923. -Between 1919 and 1927 UA claimed a loss in all but two years.

-At the end of 1924 Joseph Schenck was hired to reorganize the company, made an equal partner and elected Chairman of the Board.

-He brought his wife Norma Talmadge’s contract with him

-Schenck also signed Rudolph Valentino, Buster Keaton, Gloria Swanson, British producer Alexander Korda, and producer Samuel (now) Goldwyn to the UA roster.

-None of these stars helped the UA financial problem—

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-They all ran into personal and professional difficulties - Valentino - died in 1926

-Schenck wanted to merge with MGM in 1925 but Chaplin rejected the plan.

-Very Minor player during the 1930s—released John Ford’s Stagecoach (1939)

Metro -Goldwyn- Mayer

-1920 Marcus Loew (1870-1927) -Theater owner in New York, acquired all the stock of Metro Pictures Corporation (originally organized in 1915 by the Alco Corp.). -May 1924 Loew merged Metro with Goldwyn Pictures Corp. (even though Sam had been kicked out, the company still bore his name). -Importantly, Goldwyn owned the Triangle lot in Culver City as well as the talent of King Vidor and Erich von Stroheim. -In Los Angeles: Louis B. Mayer was brought in to operate the studio as well as Irving Thalberg and attorney J. Robert Rubin. -This new “Mayer Group” would have final say on all studio production -When Loew died his chief Lieutenant, Nicholas Schenck (Joseph’s Brother) took over the New York Executive Branch

-Louis B. Mayer was born 4 July 1885 in Minsk Russia (d. 1957).

-To escape anti-semitic Russia, family moved to New York as a child and worked for his father. -Begins in Exhibition: 1907 he bought a small run-down movie theater in Havervill, Mass.

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-He renovated it and advertised top-quality films. He later developed a chain. -1914 he went into distribution, makes a huge profit in 1915 with Birth of a Nation - rumor was that he screwed Griffith and Co. -Between 1914 and 1917, he went into production with Metro. -1924 when Loew merged into Metro-Goldwyn-Mayer, he retained Mayer as vice-president and general manager—a position he held until 1951. -Develops MGM into the “Tiffany” of Hollywood Studios with “more stars than there are in the heavens” -The tailored made star (directors as well—perfect home life to match perfect on screen life) -He exercised a ruthless, quick tempered, paternalistic and tyrannical executive rule. -He saw MGM as one big family, and acted as the father figure who rewarded good behavior and punished disobedience (i.e. Judy Garland). -He wasn’t well read and hated intellectualism -Expected the movies to be wholesome escapist entertainment that extolled virtue, patriotism, and family life. -His annual salary was more than one and a quarter million dollars - he was the highest paid person in the US at this time. -Chairman of the Republican party in CA and was instrumental in the 1927 founding of the Academy of Motion Picture Arts and Sciences. -He supported the conservative political agenda in the U.S.

-Irving Thalberg was born 30 May 1899 in Brooklyn, sickly child.

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-Doctors told him that he would not live past the age of 30. -With this in mind he skipped college and became an expert shorthand writer and speed reader. -1918—works as Carl Laemmle’s assistant secretary; then his private secretary. -He was so trusted and good at what he did Laemmle appointed him head of production at Universal. -Barely 20, Thalberg took firm control of Universal productions: while a taskmaster, he was also an intuitive judge of what would sell to the public. -He also became famous for putting the stops on von Stoheim’s often out of control productions. -He became known as “The Boy Wonder” in Hollywood -Fitzgerald based his unfinished novel, The Last Tycoon, on Thalberg. -With the MGM merger in 1924 he was hired as vice-president and supervisor of production. -Ironically one of the first projects he had to oversee was von Stroheim’s Greed which had built up to 42 reels or seven hours. -Thalberg was actively involved in the re-edited version -Marries the MGM star, Norma Shearer in 1927 -Spared no expense when it came to creating the ideal product, firm believer in polished craftsmanship. -His name rarely appeared on the screen credits. First to introduce the SNEAK PREVEIW -At a Christmas party in 1932 he suffered a heart attack.

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-Mayer and Schenck wanted him out at this point—Thalberg wanted too much of the cut -While he was out sick, they devised the demise of his authority at the studio -He died of pneumonia at the age of 37. -The Academy created a memorial award given every year “for the most consistent high level of production acievement by an individual producer.”—the Irving Thalberg Award

-Key directors: King Vidor George Cukor Gene Kelly and Stanley Donen Vincente Minnelli Mervyn LeRoy -MGM introduces Production Units after Thalberg dies. For example; MGM musicals had three production units: Arthur Freed (the Freed Unit), Jack Cummings, and Joe Pasternak -“More Stars than there are in the Heavens” Garbo Garland Rooney Gable Tracy Dressler Esther Williams Greer Garson -Extremely rigid studio in terms of presentation: stars, films, advertising

William Fox (1879-1952)

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-After fighting the Trust, went into production in 1914 with his company Box Office Attractions. -Reorganized in February 1915 as the Fox Film Corporation -Fox expanded production in Fort Lee as well as Hoboken, Flushing, Manhattan, and Edendale, CA. -Fox’s greatest star asset was Theda Bara (the vamp) and Tom Mix (the cowboy). -He produced melodramas and action films. -1925 he added the Fox Theater Corporation to his holdings. -By late 1920s, Fox would control over 500 houses -Instrumental in developing one of the synchronized sound systems in Hollywood—MovieTone Newsreels -Fox also tries to buy-out Loews and almost succeeds in 1929 Market Crash practically destroys Fox -Has to sell $18 million of his shares in Fox Corporation declares bankruptcy

-Darryl F. Zanuck (writer/producer at Warners) leaves because Warners won’t give more money.

Connects with Joe Schenck (UA) who as has started a production company called Twentieth Century.

This company is supporting UA.

-Fox is bankrupt; Zanuck and Schenck join Fox in order to rescue studio

-Hence 20th Century Fox -Fox’s boldest creative move was to hire the German filmmaker F. W. Murnau

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-Gave him full creative control on his first American film Sunrise (1927). -Fox encouraged his own set of directors to learn from Murnau: John Ford, Raoul Walsh, Frank Borzage. -The result was a new style to emerge from Fox differing from his melodramas and action films.

Universal (formerly IMP)

-Carl Laemmle (1867-1939) -Predominantly made westerns, melodramas and short comedies serving the need of small exhibitors -1916 the studio was putting out 54 reels a week Laemmle saw Universal as the Woolworth of the motion picture industry—profit through merchandising vast quantities of cheap goods. -Laemmle decried the feature film as ridiculous as it cut into this high production mode. -Thalberg helped to get this massive amount of goods under control -John Ford, Rudolph Valentino, Rex Ingram, Lon Chaney spent time working there. -Universal was strikingly committed to women directors in the late teens: Lois Weber Ida May Clark Cleo Madison Ruth Stonehouse Elsie Jane Wilson Grace Cunard Ruth Ann Baldw

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-All were directing by 1917 - interestingly they were all hired before the military draft when the loss of men might have necessitated women directors -1925 Laemmle decides to get into domestic exhibition on a large scale, they really had no first run theaters. -But Laemmle was a major owner of German theaters and attempts merger with Ufa in 1926. -Because of his relationship with Germany Laemmle had hired the European talent of Paul Fejos, Conrad Veidt, and Edgar Ulmer by the end of the silent period—later Douglas Sirk -Laemmle Jr. steps in in 1929 and produces All Quiet on the Western Front (1931)—huge success -Universal continues to waste money bankrupt 1932-34 -Studio survives only with their Horror Films Dracula (Tod Browning, 1931) Frankenstein (James Whale, 1931—Of Gods and Monsters)

Columbia

Founded in 1920 by the Cohn Brothers: Harry and Jack -Incorporated 1924

-Low budget films throughout the 1920s “Every Friday the front door opens and I spit a movie out into Gower Street....I want one good picture a year.” Harry Cohn at Columbia on production policy. -Philosophy: Make one or two good pictures a year

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-No Stars on Contract -No Theaters -Becomes a major player in the 1930s with director Frank Capra Huge hit with It Happened One Night (1934)—Gable and Claudette Colbert Mr. Smith Goes to Washington (1939) Only Angels Have Wings (1939, Hawks) -Heavily into B Film Series—short, quick and cheap films

Warner Bros.

-Harry, Sam, Albert and Jack -They were touring exhibitors, exchange operators, and states rights distributors in Ohio -1918 begin production -Built their first Hollywood studio. -Production got off to a slow start, one film in 1920, three in 1921. -April 1923 they reorganized as Warner Bros. Pictures Inc. -They acquired the rights to a series of David Belasco (theater producer) properties and initiated a series about a dog - Rin Tin Tin— huge success -Appealed to a non-urban audience during the 1920s. -As part of their expansion they hired director Ernst Lubitsch and actor John Barrymore -1924 they bought their first theater in their hometown of Youngstown, Ohio—opened 13 more the following year -23 April 1925 they took control of the Vitagraph Company of America and First National Pictures.

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-Not only did Vitagraph operate 34 domestic and 20 foreign exchanges, they created the Vitaphone Corporation of America. -The Vitaphone process was a sound on disc system developed by Western Electric that Sam Warner originally considered as a tool for supplying cheap canned musical accompaniments for features – eliminating orchestras. -This new venture in sound was no stranger to the Warners—they had earlier set up operations for radio station KFWB in LA -1927—Released the first film with synchronized songs and lines of dialogue—The Jazz Singer -Sound changed their world -More urban audience: Gangster films

Stars in the 1930s—James Cagney, Edward G. Robinson, Bette Davis, Errol Flynn, Paul Muni

-Public Enemy (William Wellman, 1931)

RKO

-Radio Keith Orpheum Created by RCA to exploit its Photophone sound system. -Founded in 1928 as a holding company—a vertically integrated giant over night -Assets of over $100 million -Owned in part by Albee Theaters, Kennedys, Rockefellars -RKO becomes the distributor of Disney in 1935-1953 (Buena Vista) -Snow White (1938)—RKO makes a killing, largest grossing film of 1938

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-Their mini-star system included Katherine Hepburn (1932-38) and the Astaire/Rogers team. -Emphasis on production values. -Sets supervised and designed by Van Nest Polglase. -In 1933 they released King Kong. -1940 they bring Orson Welles to Hollywood from his radio work. He makes Citizen Kane(1941). -RKO also distributed many independent features including Sam Goldwyn’s Best Years of Our Lives (1946). -Strong B series produced by Val Lewton: Cat People (1942) -Studio has a history of management problems. -In 1947, studio was sold to Howard Hughes (1905-1976) who ran the show until 1957. -Hughes was the non-traditional mogul Loves aviation -Loved movies and starlets—boys and girls -Dated them, hired them and spent a fortune on them without concern for profit. -Under Hughes, RKO came up against hard times in the 1950s. -He began to sell off the studio holdings piece by piece until nothing was left.

Darryl Zanuck (1902-1979) Born in Wahoo, Nebraska

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-Fought in France during WW I -Used his military experience to script his first material which was published in Stars and Stripes -Had a prolific career as a magazine writer/short stories began writing screenplays -1923—joined Warner Bros. as a staff screenwriter -He became known as a writer with inventive plots—Rin Tin Tin was his baby -Direct, forward, and aggressive—the Warners liked his administrative style and appointed him studio manager in 1928 -1929—he was put in charge of studio production -1933—Zanuck quits Warners and forms new company with Joe Schenck—20th Century stays in charge until 1956 when he assumed an independent producer position operating in Europe Key films as producer: Young Mr. Lincoln (Ford, 1939) Drums Along the Mohawk (Ford, 1940) The Grapes of Wrath (Ford, 1940) How Green Was My Valley (Ford, 1941) Gentlemen’s Agreement (Kazan, 1947) Pinky (Kazan, 1949) All About Eve (Mankiewicz, 1950) -He was called back during the 1960s to rescue 20th Century Fox from the Cleopatra debacle -Quote: “For God’s sake, don’t say yes until I finish talking”

David O Selznick (1902-1965) Pittsburgh

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-Son of Lewis Selznick (Russian Jew) Independent film producer who didn’t to too well with the growth of the major studio’s competition -David worked with his father until Lewis’ company went bankrupt in 1923 -Lewis’ rival Louis B. Mayer hire him in 1926 where he worked a story editor and associate producer of MGM “B” Films -Married Irene Mayer while working there -1927—went to work as an associate director at Paramount -1931—made vice-president in charge of production at RKO -1933—when Thalberg was ill, Mayer brought Selznick back to MGM as vice president and producer -1936—Selznick founded his own production company, Selznick International -1939—produces one of the most profitable films of all time: Gone with the Wind

-production and distribution heavily financed through MGM

-1940—brings Alfred Hitchcock to Hollywood: released Rebecca and Spellbound in 1945 Duel in the Sun (1945) The Paradine Case (1945) The Third Man (Carol Reed, 1949:co-financed) -During the 1940s, Selznick was one of the first to begin packaging film productions -He became both producer and agent -organized talent, stories, scripts

Samuel Goldfish/Goldwyn (1882, Warsaw-1974)

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-Age 11, sets sail on his own to England -Age 13, leaves for US, arrives penniless -Apprentices as a glove-maker in Gloversville, NY -Age 15, expert glovemaker -the importance of detail in the production of good product -1910 marries Blanche Lasky, sister of Jesse Lasky -convinces Jesse to go into film production around 1913 Jesse L. Lasky Feature Film Company Cecil B. De Mille—studio house director

-Each studio was known for its house style—product differentiation

-MGM-Tiffany image/stars—Cedric Gibbons’ sets -Paramount—Continental Flair -Warner Bros.—gritty, contemporary stories -Fox—tried to foster a prestige image -RKO—modernist (Van Nest Poglase sets for Astaire and Rogers)

-While, in general, most narratives followed a similar plot formula, the studios packaged these stories in a recognizable style

1924—the Hollywood mythos had emerged.

-Movies from Hollywood would become the first American cultural export to conquer the marketplace.

-The New York studio was anomaly by 1922 -84% of production was now being done in Hollywood. -Costs for production in 1926: -average feature cost $750,000 and 800,000 (finished negative)

-The Stars: in 1916 the $1,000 a week contract was standard

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-But by 1926: Harold Lloyd -$1.5 million (per year) Charlie Chaplin: 1.25 million Douglas Fairbanks: 1 million Mary Pickford: 1 million Tom Mix: 15,000 per week.