By Whyburn G. T.
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Visitor’s chairs and sofas were small. According to Maurice Rapf, when you sat there it was like being a child in the principal’s o‡ce. Adjacent to the desk was a massive fireplace. Management styles and personal foibles aside, in the beginning the biggest challenge facing Mayer and his managers was operating in a creative environment. Most of the their employees were not business-minded. They were creative, easygoing verging on lazy, and indi›erent to the commercial demands of the business. In short, what made the directors, writers and actors so special also made them di‡cult.
A family conflict with Laemmle led Thalberg to Mayer in ¡922. For several years Laemmle had tried to arrange a relationship with Thalberg and his daughter Rosabelle. He approached Thalberg’s mother but Henrietta didn’t want Irving to marry, afraid the rigors of a sexual relationship would weaken his feeble heart. She once found him playing tennis and walked onto the court and took his racquet from his hands. When Irving rejected Rosabelle, her father denied a promised contract and raise. ”5 Coincidently, at that moment Mayer was looking for a studio manager and arranged a meeting at the home of their mutual lawyer, Edwin Loeb, just before Christmas ¡922.
I was blind when it came to him. It was just the opposite with Mayer. ” Close to both men, Sam Marx said, “Thalberg was naïve, Mayer was sharp. Thalberg was frail, Mayer was robust. Thalberg was retiring, Mayer was pugnacious. Thalberg was searching for new meanings in life, Mayer satisfied with the old. ”62 Thalberg believed that a studio must control every aspect of the filmmaking process— everything. This unwavering core belief would direct Thalberg’s entire career. ” Thalberg had a photographic memory for details.