Publishers Weekly
"The world probably will not see anything quite like it again," concedes talk show host Dick Cavett about the Culver City home to some of the 20th century’s most renowned and respected actors, actresses, screenwriters, and artists. A production company in its truest sense, the eventual 1924 merger of Metro, Goldwyn, and Mayer pioneered an assembly-line approach to filmmaking and initial profits paved the way for the introduction of sound stages and innovations in set design, special effects, and many other aspects of film production. Chapters are sub-divided into "Lots"—as was the MGM site itself—and readers are transported into a bygone era through candid b&w photographs, lucid commentaries, testimonials, and anecdotes that bestow a behind-the-scenes experience. But the tale had a darker side as well: cracks were showing in the pristine veneer and the editors aptly include the studio’s undignified demise amidst squandered assets and disillusioned takeover attempts. Film-buffs, historians, sociologists, and economists will swoon at the intricacy and insider information here; detailed balance sheets of frequently over-blown production budgets are even included. Readers will be educated, inspired, and enthralled by this handsome book. Photos. (Feb.)
Library Journal
For all aficionados of Hollywood's golden age, when MGM was at the apex of U.S. film production, with stars like Clark Gable, Greta Garbo, and Judy Garland (to name just the Gs), this book is rewarding because it isn't just another celebration of MGM's luster. But it's also a tearjerker. What was the most glorious back lot in film history is gone. The book's final section, "Backlot Babylon," narrates the studio's postwar decline and its 1969 purchase by Kirk Kerkorian, whose top executive declared "The old MGM is gone," and then bulldozed and sold off the back lots. Authors Bingen (Warner Brothers: The Stuff That Dreams Are Made Of); Stephen X. Sylvester, who explored the MGM back lots before they were demolished and captured oral histories of many studio employees; and Michael Troyan (A Rose for Mrs. Miniver: The Life of Greer Garson), a film archives specialist, reveal the entire MGM infrastructure, including fascinating documentation (with hundreds of photographs) of the use and reuse of film sets across many years and genres. The oral histories of studio employees are treasures amid many in this revelation of all the workings behind that gloss. An appendix of "Films Shot on the Backlot" is invaluable. VERDICT Highly recommended to buffs and specialists alike; for all comprehensive film collections.—Margaret Heilbrun, Library Journal
