Sodom and Gomorrah : the story of Hollywood (1935)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

214 SODOM AND GOMORRAH to curb the salaries of the executives to the point where the difference would net them something in dividends. The incomes enjoyed by some of the Hollywood stuffed-shirts for 1932 are given in a liberal magazine as follows : Louis B. Mayer, M-G-M vice-president in charge of production $800,000.00 (including, of course, bonuses). Jesse Lasky, Fox producer $520,000.00 Irving Thalberg. M-G-M associate producer $400,000.00 Nicholas Schenck. President of Loew's Incorporated $404,000.00 (plus 2Y2% of all the profits). Benjamin P. Schulberg, then production manager for Paramount Publix $400,000.00 Each of the Warner Brothers $520,000.00 Now let us examine the financial set-up of the various companies whose officials drew the abovementioned stipends. It is only to be expected that in return for the magnificent salaries they enjoy, these executives must accomplish wonderful things for their corporations. The only picture company in Hollywood that has any claim to art is the United Artists, including Twentieth Century Pictures, which company most nearly approaches the goal of producing consistently fine pictures. The rest of them make either mediocre or downright poor films, their occasional good ones merely constituting the exception that proves the rule. This being the case, the only thing left