By Neal Gabler
Publish 12 months note; First released September 1st 1988
Winner of the Los Angeles Times e-book Award for heritage, this "wonderful background of the golden age of the motion picture moguls" (Chicago Tribune ) is a provocative, unique, and richly exciting workforce biography of the Jewish immigrants who have been the relocating forces in the back of the construction of America's movie industry.
From the alternate Paperback edition.
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He made a gigantic profit on the gagged-up which he produced in 1959 ; his friends say that he makes no distinction between that and Cary Grant always looks as if he'd just come from a workout in a miracle gym . And it's easy for audiences to forget about his stinkers (they're not held against him) , because he himself isn't very different in them from the way he is when he has a strong director and a script with some drive . It's his sameness that general audiences respond to ; they may weary of him, but still he's a guaranteed product.
He was able to keep his independence because he had a good head for business. Within a short time of leaving Paramount , he could command a hundred and fifty thousand dollars a picture , and that was only the beginning. Later, he formed partnerships and produced his pictures through his own corporations-Grandon , Granart , Granley , and Granox. He didn't do what stars like Kirk Douglas did when they gained control over their productions: he didn't appear in Westerns , for the virtually �uara nteed market.
And the same dog trots through the pictures, as Mr. Smith in as George in (and as Mr. Atlas in and Asta in the movies) . That dog was a great actor: he appeared to adore each master in turn. Once Grant's Paramount contract ended, there seemed no stopping him. As long as the screwball-comedy period lasted, he was king. After in 1937 , he did two pictures with Katharine Hepburn in and It was a true mating-they had the same high-energy level, the same physical absorption in acting. In 1939 he did and and in 1940 and During those peak years-1937 to 1940--he proved himself in romantic melodrama, high comedy, and low farce .
An Empire of Their Own: How the Jews Invented Hollywood by Neal Gabler