Death of the Moguls is a detailed assessment of the last days of
the “rulers of film.” Wheeler Winston Dixon examines the
careers of such moguls as Harry Cohn at Columbia, Louis B.
Mayer at MGM, Jack L. Warner at Warner Brothers, Adolph Zukor at
Paramount, and Herbert J. Yates at Republic in the dying days of
their once-mighty empires. He asserts that the sheer force of
personality and business acumen displayed by these moguls made the
studios successful; their deaths or departures hastened the
studios’ collapse. Almost none had a plan for leadership
succession; they simply couldn't imagine a world in which they
didn’t reign supreme. Covering 20th Century-Fox, Selznick
International Pictures, Metro-Goldwyn-Mayer, Paramount Pictures,
RKO Radio Pictures, Warner Brothers, Universal Pictures, Republic
Pictures, Monogram Pictures and Columbia Pictures, Dixon briefly
introduces the studios and their respective bosses in the late
1940s, just before the collapse, then chronicles the last
productions from the studios and their eventual demise in the late
1950s and early 1960s. He details such game-changing factors as the
de Havilland decision, which made actors free agents; the Consent
Decree, which forced the studios to get rid of their theaters; how
the moguls dealt with their collapsing empires in the television
era; and the end of the conventional studio assembly line, where
producers had rosters of directors, writers, and actors under their
command. Complemented by rare, behind-the-scenes stills, Death of
the Moguls is a compelling narrative of the end of the studio
system at each of the Hollywood majors as television, the de
Havilland decision, and the Consent Decree forced studios to slash
payrolls, make the shift to color, 3D, and CinemaScope in desperate
last-ditch efforts to save their kingdoms. The aftermath for some
was the final switch to television production and, in some cases,
the distribution of independent film.
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