Irving Grant Thalberg Net Worth

Irving Grant Thalberg Net Worth is
$17 Million

Irving Grant Thalberg Bio/Wiki, Net Worth, Married 2018

Irving Grant Thalberg (May 30, 1899 – September 14, 1936) was an American film producer during the early years of motion pictures. He was called "The Boy Wonder" for his youth and his extraordinary ability to select the right scripts, choose the right actors, gather the best production staff and make hundreds of very profitable films, including Grand Hotel, China Seas, Camille, Mutiny on the Bounty and The Good Earth. His films carved out a major international market, "projecting a seductive image of American life brimming with vitality and rooted in democracy and personal freedom," states biographer Roland Flamini.He was born in Brooklyn, NY, and as a child was afflicted with a congenital heart disease that doctors said would kill him before he reached the age of thirty. After graduating high school he took night classes in typing and worked as a store clerk during the day. He then took a job as a secretary at Universal Studios' New York office, and was later made studio manager for their Los Angeles facility, where he oversaw production of a hundred films during his three years with the company. Among the films he produced was The Hunchback of Notre Dame.He then partnered with Louis B. Mayer's studio and, after it merged with two other studios, helped create Metro-Goldwyn-Mayer (MGM). He was made head of production of MGM in 1925, at the age of twenty-six, and after three years MGM became the most successful studio in Hollywood as a result of his supervision. During his twelve years with MGM, until his early death at age 37, he produced four hundred films, most of which bore his imprint, and their production had adapted his innovations. Among those innovations were story conferences with writers, sneak previews to gain early feedback, and extensive re-shooting of scenes to improve the film. In addition, he introduced horror films to audiences and coauthored the “Production Code,” guidelines for morality followed by all studios. During the 1920s and 1930s, he synthesized and merged the world of stage drama and literary classics with Hollywood films.Thalberg created numerous new stars and groomed their screen images. Among those whose stardom was guided by Thalberg were Lon Chaney, Ramon Novarro, John Gilbert, Joan Crawford, Clark Gable, Jean Harlow, Wallace Beery, Luise Rainer, Greta Garbo, Lionel Barrymore, and Norma Shearer, who became his wife. He had the ability to combine quality with commercial success, and was credited with bringing his artistic aspirations in line with the demands of audiences. After his death, Hollywood's producers declared him to have been, despite his young age, "the foremost figure in motion-picture history" throughout the world. President Roosevelt wrote, "The world of art is poorer with the passing of Irving Thalberg. His high ideals, insight and imagination went into the production of his masterpieces."

Date Of BirthMay 30, 1899
Place Of BirthBrooklyn, New York City, New York, USA
Height5' 11" (1.8 m)
ProfessionProducer, Writer, Director
SpouseRichard Anderson
Star SignGemini
1So often referred to solutions for complex problems as "a lead pipe cinch," it became his catchphrase.
1Novelty is always welcome, but talking pictures are just a fad.
2[to Louis B. Mayer, regarding Gone with the Wind (1939)] Forget it, Louis. No Civil War picture will make a nickel.
3Hit a fellow in old clothes with a snowball and it won't mean a thing. But dress a man up in tails and a silk hat and then knock his hat off, and you'll get a laugh.
4[Instruction to the writers of the updated 'Camille', 1936] The problem of a girl's past ruining her marriage doesn't exist anymore. Whores can make good wives. That has been proven.
5If they don't want to come to the can't stop them.
6A story never looks as good as when the other fellow buys it.
7[on bringing in director George W. Hill to shoot additional night battle scenes for King Vidor's The Big Parade (1925)] Movies aren't made, they're remade.
8[Screenwriter Charles MacArthur, who was a close friend, commenting on why Thalberg never took a producer's credit on his films] Entertainment is Thalberg's god. He's content to serve him without billing.
9Credit you give yourself is not worth having. Thalberg would not allow his name on his pictures; the one exception being The Good Earth (1937), posthumously.
1In her December 1972 interview to Leonard Maltin in Film Fan Monthly, Madge Evans gives the following testimony about Thalberg's methods: "The only time you really ever had any sense of rehearsal was in a Thalberg film. It wasn't that there were any advance rehearsals, but he would come on the set and watch rehearsals, and then there would be great conferences while the actors sat around. He was a very quiet man; he would confer with the director, then the director would come back and the scene would be redirected. One film I made that Thalberg did was 'What Every Woman Knows' with Helen Hayes. We'd been shooting for about six or seven days and he stopped production because he didn't like the wardrobe that Adrian had designed. Everything was thrown out and we all made clothes tests. Then we went home and when they were ready, they called us.".
2Film historian Bob Thomas on Thalberg: He was a creative producer, etc., but he was determined to turn out 52 pictures a year.".
3Critic Dwight MacDonald on Thalberg: "... in the country of the blind, Schary and Thalberg were literate compared to others, were mistaken for Goethes... A Thalberg is to an actual movie what a hamburger is to an actual steak.".
4Critic Graham Greene n reviewing "Romeo and Juliet": "... not a producer of uncommon talents.".
5Writer Budd Schulberg on Thalberg: "He had the accouterments of an artist; he was like a young pope.".
6Film writer Heywood Gould on Thalberg: "Perhaps only foreigners could have seen America through the worshipful, distorted prism of an immigrant's sensibility. Only an immigrant could idealize the homely fortitude of Tom Mix, the cherry pie goodness of Mary Pickford; only an outsider could be taken with a popular culture that many Amerians considered beneath contempt... The mixture of opulence , melodrama, intrigue, mass culture for the masses... It was Thalberg's personality, not his oeuvre, that created the legend. He had a retailer's mind and contempt for those who worked for him.".
7Cousin of Louis M. Heyward.
8Writer Charles MacArthur said about him, "He's too good to last. The lamb doesn't lie down with the lion for long.".
9On the evening of his death, during the live performance of Lux Radio Theater, "Quality Street", Cecil B. DeMille announced of the passing of Irving Thalberg and offered 10 seconds of silence in tribute.
10He was reportedly the person who created the term "film editor" as opposed to simply "cutter." He first applied the term to Margaret Booth.
11Was a notorious hard worker, often putting in 12-hour workdays. He was also notorious for running behind schedule with his appointments. Actors, directors, writers and others would wait days if not weeks on the bench outside of his office before finally meeting face-to-face with Thalberg. Writer George S. Kaufman once quipped about that famous bench that on a clear day you can see Thalberg.
12Is portrayed by Robert Evans in Man of a Thousand Faces (1957)
13The father of two daughters, Metro-Goldwyn-Mayer Vice President-Production Louis B. Mayer originally thought of Thalberg, his production chief, as a son, but Thalberg's ambitions and his view of himself as the man behind the success of MGM eventually brought them into conflict. After Thalberg's 1933 heart-attack forced the young executive to take a long vacation, Mayer introduced a producer system he likened to a college of cardinals to replace Thalberg as the central producer. When Thalberg returned to MGM, he became just an ordinary producer, albeit one who had first choice on projects and MGM resources, including its stars, due to his closeness to Nicholas Schenck, the president of MGM corporate parent Loews's Inc. Schenck, who was the true power and ultimate arbiter at the studio, usually backed up Thalberg. Some Hollywood observers believe that Mayer was relieved by Thalberg's untimely death, though he professed a great deal of grief publicly and likely was saddened by his former mentor's demise as Thalberg had been instrumental in building MGM into the greatest studio in Hollywood and the world.
14Is portrayed by John Rubinstein in The Silent Lovers (1980)
15Contracted rheumatic fever at the age of 17, and the prognosis was negative. His mother, Henrietta, ignored the physicians' opinions and sent Irving back to high school to finish up and get his diploma.
16After director King Vidor complained to Thalberg that he was tired of shooting pictures that played in theaters for just one week, he told him about a new kind of realistic war movie he had envisioned. Thalberg was enthusiastic about Vidor's vision, and tried to buy the rights to the hit Broadway play "What Price Glory?" co-written by Maxwell Anderson and World War I Marine veteran Laurence Stallings. Since the rights to the popular anti-war play had already been acquired, he hired Stallings to come to Hollywood and write a screenplay for the new, realistic war picture that Vidor had dreamed about making. Stallings came up with The Big Parade (1925), an anti-war film that dispensed with traditional concepts of heroism, focusing instead on a love story between a Yank soldier and a French girl. After Vidor completed principal photography, Thalberg took the rough cut and previewed it before live audiences in Colorado. Although the audiences responded favorably, Thalberg decided to expand the scope of the picture, as Vidor had created a war picture without many war scenes. He had Vidor restage the famous marching army column sequence with 3,000 extras, 200 trucks and 100 airplanes, adding about $45,000 to the negative cost of the film. After Vidor moved on to another project, Thalberg had other battle scenes shot by director George W. Hill. The result was a classic, a major hit that proved to be MGM's most profitable silent picture. "The Big Parade" was an example of Thalberg's perfectionism as a managing producer.
17After a preview of the Marie Dressler-Wallace Beery picture Tugboat Annie (1933), Thalberg asked director Mervyn LeRoy if a scene could be improved by making Beery's shoes squeak. LeRoy agreed, but detailed how it would be economically prohibitive to reshoot the scene as the sets had been dismantled and the cast had dispersed. Thalberg responded, "Mervyn, I didn't ask you how much it would cost, I asked you whether it would help the picture." The scene was reshot, an example of Thalberg's perfectionism.
18Took a screen credit only once in his lifetime: He credited himself as "I.R. Irving" for the screenplay he wrote for The Dangerous Little Demon (1922).
19On the day of his funeral, MGM closed for the entire day, and every Hollywood studio shut down operations for five minutes of silence at 10:00 AM PST. Such honors were rare, but Marie Dressler and Jean Harlow received similar consideration.
20Owing to Thalberg's habit in his lifetime of not seizing the spotlight for himself, Hollywood's memorials to him after his death were relatively sedate, although heartfelt. MGM renamed their administration facility the Thalberg Building, and the Academy of Motion Picture Arts & Sciences created the Thalberg Award to acknowledge "Creative producers, whose bodies of work reflect a consistently high quality of motion picture production."
21Had two children, Irving, Jr. and Katherine. As adults, Irving, Jr. became a professor of philosophy at the University of Illinois at Chicago, and Katherine owned a bookstore in Colorado.
22Before marrying Norma Shearer, he was romantically linked to Rosabelle Laemmle (daughter of film mogul Carl Laemmle), actress Constance Talmadge and socialite Peggy Hopkins Joyce.
23Brother-in-law of Douglas Shearer and Athole Shearer, son-in-law of Edith Shearer.
24Interred at Forest Lawn, Glendale, California, USA, in the Great Mausoleum, Sanctuary of Benediction, end of the hall, on the left hand side, the very last private room marked "Thalberg."
25One of the 36 founders of the Academy of Motion Picture Arts and Sciences (AMPAS)
26The character of Monroe Stahr, the hero of F. Scott Fitzgerald's final novel ("The Last Tycoon ) was based on him. Fitzgerald also based the story "Crazy Sunday", on a party he attended at his home.


Marie Antoinette1938producer - uncredited
Broadway Melody of 19381937executive producer - uncredited
A Day at the Races1937producer - uncredited
Maytime1937executive producer - uncredited
The Good Earth1937executive producer - uncredited
Camille1936producer - uncredited
Romeo and Juliet1936producer - uncredited
Riffraff1936executive producer - uncredited
A Night at the Opera1935executive producer - uncredited
Mutiny on the Bounty1935producer - uncredited
China Seas1935executive producer - uncredited
No More Ladies1935producer - uncredited
La veuve joyeuse1935producer
Biography of a Bachelor Girl1935producer - uncredited
What Every Woman Knows1934executive producer - uncredited
The Merry Widow1934producer - uncredited
Outcast Lady1934executive producer - uncredited
The Barretts of Wimpole Street1934producer - uncredited
Riptide1934producer - uncredited
Eskimo1933producer - uncredited
Tugboat Annie1933producer - uncredited
Rasputin and the Empress1932executive producer - uncredited
Red Dust1932producer - uncredited
Smilin' Through1932producer - uncredited
Strange Interlude1932producer - uncredited
Red-Headed Woman1932producer - uncredited
As You Desire Me1932producer - uncredited
Letty Lynton1932executive producer - uncredited
Grand Hotel1932/Iproducer - uncredited
Tarzan the Ape Man1932executive producer - uncredited
Freaks1932producer - uncredited
Mata Hari1931producer - uncredited
Private Lives1931producer - uncredited
Possessed1931producer - uncredited
The Champ1931/Iproducer - uncredited
The Guardsman1931producer - uncredited
The Sin of Madelon Claudet1931producer - uncredited
Menschen hinter Gittern1931producer
Just a Gigolo1931executive producer - uncredited
A Free Soul1931executive producer - uncredited
The Secret Six1931producer - uncredited
Trader Horn1931producer - uncredited
Inspiration1931producer - uncredited
A Lady's Morals1930producer - uncredited
Way for a Sailor1930producer - uncredited
Billy the Kid1930producer - uncredited
Let Us Be Gay1930producer - uncredited
The Unholy Three1930producer - uncredited
The Big House1930producer - uncredited
The Rogue Song1930producer - uncredited
The Divorcee1930producer - uncredited
Redemption1930producer - uncredited
Anna Christie1930/Iproducer - uncredited
The Kiss1929producer - uncredited
His Glorious Night1929producer - uncredited
Hallelujah1929producer - uncredited
The Last of Mrs. Cheyney1929producer - uncredited
The Hollywood Revue of 19291929producer - uncredited
Where East Is East1929producer - uncredited
The Voice of the City1929producer - uncredited
The Trial of Mary Dugan1929producer - uncredited
The Broadway Melody1929producer - uncredited
West of Zanzibar1928producer - uncredited
Show People1928producer - uncredited
White Shadows in the South Seas1928producer - uncredited
The Adventurer1928producer - uncredited
Laugh, Clown, Laugh1928producer
The Crowd1928producer - uncredited
London After Midnight1927producer - uncredited
The Student Prince in Old Heidelberg1927executive producer - uncredited
Twelve Miles Out1927producer - uncredited
Flesh and the Devil1926producer - uncredited
Valencia1926producer - uncredited
The Temptress1926producer - uncredited
The Road to Mandalay1926producer
Brown of Harvard1926producer - uncredited
La Bohème1926producer - uncredited
Torrent1926producer - uncredited
Ben-Hur: A Tale of the Christ1925producer - uncredited
The Big Parade1925producer - uncredited
The Tower of Lies1925producer
The Merry Widow1925producer - uncredited
The Unholy Three1925producer - uncredited
Greed1924producer - uncredited
He Who Gets Slapped1924producer - uncredited
His Hour1924producer - uncredited
The Hunchback of Notre Dame1923/Iproducer - uncredited
Foolish Wives1922producer - uncredited
Reputation1921producer - uncredited


The Trap1922story
The Dangerous Little Demon1922as I.R. Irving


Queen Kelly1929uncredited


Goodbye, Mr. Chips1939we wish to acknowledge here our gratitude to, whose inspiration illuminates the picture of "Goodbye, Mr. Chips". James Hilton, Victor Saville, Sam Wood, Sidney a Franklin, RC Sherriff, Claudine West, Eric Maschwitz - as the late Irving Thalberg
The Good Earth1937we dedicate this picture to the memory of - as Irving Grant Thalberg


1925 Studio Tour1925Documentary shortHimself - MGM Associate Executive

Archive Footage

Short and Spicy Skits from the Other Side of Hollywood: The Home Movies of William Randolph Hearst2013ShortThe Chased
Irving Thalberg: Prince of Hollywood2005TV Movie documentaryHimself
So Funny It Hurt: Buster Keaton & MGM2004TV Movie documentaryHimself
On Your Marx, Get Set, Go!2004Video documentary shortHimself (photo)
Checking Out: Grand Hotel2004Video documentary shortHimself - Producer
Biography2003TV Series documentaryHimself
Complicated Women2003TV Movie documentaryHimself (uncredited)
The Kid Stays in the Picture2002DocumentaryHimself
Greta Garbo: A Lone Star2001TV Movie documentaryHimself (uncredited)
Captured on Film: The True Story of Marion Davies2001TV Movie documentaryHimself (uncredited)
Without Lying Down: Frances Marion and the Power of Women in Hollywood2000TV Movie documentaryHimself (uncredited)
Lon Chaney: A Thousand Faces2000TV Movie documentaryHimself (uncredited)
Hollywoodism: Jews, Movies and the American Dream1998TV Movie documentaryHimself
Frank Capra's American Dream1997TV Movie documentaryHimself
The First 100 Years: A Celebration of American Movies1995TV Movie documentaryHimself
Ben-Hur: The Making of an Epic1993Video documentaryHimself (uncredited)
The Unknown Marx Brothers1993TV Movie documentaryHimself
MGM: When the Lion Roars1992TV Mini-Series documentaryHimself
Greta Garbo: The Temptress and the Clown1986TV Movie documentaryHimself
Hollywood1980TV Mini-Series documentaryHimself
Hollywood: The Dream Factory1972TV Movie documentaryHimself - film clips
Cavalcade of the Academy Awards1940Documentary shortHimself

Won Awards

2008OFTA Film Hall of FameOnline Film & Television AssociationCreative
1960Star on the Walk of FameWalk of FameMotion PictureOn 8 February 1960. At 7006 Hollywood Blvd.
1935Medal of HonorPhotoplay AwardsThe Barretts of Wimpole Street (1934)
1933Medal of HonorPhotoplay AwardsSmilin' Through (1932)
1926Medal of HonorPhotoplay AwardsThe Big Parade (1925)

Known for movies

IMDB Wikipedia

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