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The Fixers: Eddie Mannix, Howard Strickling and the MGM by E. J. Fleming

By E. J. Fleming

Eddie Mannix and Howard Strickling are nearly unknown outdoor of Hollywood and little-remembered even there, yet as common supervisor and Head of exposure for Metro-Goldwyn-Mayer Studios, they lorded over all of the stars in Hollywood's golden age from the Nineteen Twenties during the Forties - together with legends like Garbo, Dietrich, Gable and Garland.

When MGM stars came across themselves in hassle, it used to be Eddie and Howard who took care of them - solved their difficulties, concealed their crimes, and stored their secrets and techniques. They have been the Fixers. the studios that owned them, Mannix and Strickling have been an important males at MGM. via a posh internet of contacts in each area, from journalists and medical professionals to deprave police and district legal professionals, they coated up probably the most infamous crimes and scandals in Hollywood background, protecting stars out of penitentiary and, extra importantly, their names out of the papers.

They dealt with difficulties as assorted because the homicide of Paul Bern (husband of MGM's greatest famous person, Jean Harlow), the studio-directed drug addictions of Judy Garland, the homicide of Ted Healy (creator of the 3 Stooges) by the hands of Wallace Beery, and arranging for an single Loretta younger to undertake her personal baby - a baby fathered by means of a married Clark Gable. Never-before-told tale of Eddie Mannix and Howard Strickling. the twin biography describes how a mob-related New Jersey laborer and the quiet son of a grocer grew to become the main strong males on the greatest studio on the planet.

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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.

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