Word: mgm
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Dates: during 1930-1939
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...highball, Martini or three beers), even the most sensitive drinker displays no ill effects. Above a concentration of 1.5 mgms. every one is drunk. Between these rates lie in dividual variations of sullenness, hilarity, recklessness and melancholy. Hence, Dr. Haggard proposed that police set a stand ard of 0.5 mgm. as the "arbitrary dividing line between sobriety and an appreciable influence of liquor...
Grand Tour. They have, in fact, made the grand tour of Hollywood-Warner Bros., Paramount, United Artists, MGM. This assortment of alliances comes from their disliking to sign for more than a one-picture contract. Of their six pictures they, like the public, vote Love Me Tonight, with Jeanette MacDonald and Maurice Chevalier, the best. There pours out of them an old familiar tale-of a Hollywood cockeyed, imbecile, exciting, exasperating. The medium: marvelous. The methods: terrible. "Music," they insist, "must be written for the camera. People can't just stand around and sing songs." For Rodgers, the usual...
Last week weather-frightened Hollywood, eyes cocked on horizontal thunderheads, unfurled a million-dollar umbrella. Theatre attendance had been falling off; reports had come from Manhattan that Marie Antoinette, which cost MGM $2,500,000, was actually being hissed; exhibitors had called some of the studios' most valuable properties "poison at the box office"; in Washington the ground was being leveled for Thurman Arnold's anti-trust suit against the major Hollywood studios. Hollywood's answer to all this was characteristic...
...friend whether he expected their romance to be celebrated by a cinema like the one in which this ironic little conversation occurs, any sensible young Swede, no matter how well-mannered, would certainly have answered no. Hollywood's tumbrils began rumbling five years ago, when an MGM story reader reported that Stefan Zweig's Marie Antoinette was "thoroughly modern, thoroughly plausible and slightly censorable." The picture was listed on the late Irving Thalberg's last production schedule, with his wife in the title role. The French Revolution, MGM, Shearer & Power, Director W. S. Van Dyke...
...Marie Antoinette, MGM furnishes its fussiest star with her first role since Romeo and Juliet and maintains its position as the industry's supreme spendthrift. The picture presents French royalty as what it always has been for the cinema: a field day for dressmakers and writers of "O Sire" dialogue. The peak moment of Marie Antoinette occurs when Miss Shearer appears in a little number run up for her by MGM's famed Adrian, the skirt of which is held out by three-foot fenders on each side with two handles for its occupant to hold when turning...