Get a closer look at some of Hollywood's perfect pairs.

Hollywood Power Couples

Get a closer look at some of Hollywood&#39;s perfect pairs.

See which big screen releases you can watch from the comfort of your couch.

Theatrical Releases Coming to Streaming

Get a closer look at these actors from their many TV and streaming series roles.

Streaming Stars, Then and Now

Adolph Zukor was a poor Hungarian immigrant when he arrived in the United States in 1889. He tried his hand in the fur trade (starting as a sweeper for $2 a week pay) and proved his entrepreneurial acumen by steady advancement, eventually setting up successful businesses in New York and Chicago. By the time he reached thirty, he had already amassed a considerable personal fortune. As early as 1903, Zukor astutely forecast the prospective financial rewards to be made from the burgeoning celluloid medium. Within a decade, he became heavily involved in the independent production of 'flickers', setting up penny arcades with nickelodeons and shooting galleries. In partnership with Marcus Loew, Zukor soon operated a major chain of cinemas. In 1912, he acquired the American rights to a popular French four-reel feature film, Les amours de la reine Élisabeth (1912), starring Sarah Bernhardt. The picture premiered at New York's Lyceum Theatre and its inevitable box office success led Zukor to challenge the notion -- commonly held by thespians of the period -- that motion pictures were inferior to the stage and were 'beneath' stage actors. In short order, he succeeded in persuading important Broadway-based stars like Minnie Maddern Fiske and James K. Hackett to join his Famous Players Film Company (set up in partnership with Loew Enterprises and veteran impresario Daniel Frohman). Other big names soon followed: Marie Doro, Pauline Frederick, Henry Ainley, Florence Reed, to name but a few. The undisputed star on the Famous Players roster, however, was Mary Pickford -- signed for two years in August 1916.

Four days after Pickford signed her contract, Zukor inaugurated the forthcoming wave of Hollywood mergers by combining his interests with those of pioneer producer Jesse L. Lasky to create Famous Players-Lasky. Several other companies -- Morosco, Bosworth and Pallas -- were also acquired. The distribution chain Paramount Pictures Corporation, jointly created by Zukor and Lasky in 1914, served to ensure nationwide distribution (more than a hundred additional cinemas were purchased near the end of the decade, including prestige venues such as the Rialto and Rivoli on Broadway). By 1919, Zukor effectively dominated the film industry in America. At least half of the major stars in the business were on his payroll. Realart Pictures Corporation was added to the mix as an outlet for second features while the A-grade output was released through Artcraft. Two production facilities were in place, one in Hollywood, the other, Astoria Studios, in New York. A partnership between Zukor and newspaper tycoon William Randolph Hearst also resulted in the formation of Cosmopolitan Productions (as a vehicle for films starring Hearst's mistress, Marion Davies). In 1924, Zukor's theatres began to proliferate even in Europe with the opening of the Paris Paramount and the London Plaza. Zukor further cemented this pre-eminent position in the industry by promoting the practice of 'block-booking'. This was a way of coercing independent theatre owners who wished to exhibit the films of a bankable box office star to also take a package -- sight unseen -- which was bound to include much of the lesser Realart product.

Between 1920 and 1923, Paramount averaged an annual profit of $4.5 million. By 1930, that figure had risen to $18.4 million. While this was largely the result of clever marketing and effective distribution, Zukor's shrewd, multifarious financial machinations had also contributed greatly to that success. He was not particularly concerned with film making itself, other than the monetary aspects (a long-standing dispute between Zukor and Cecil B. DeMille over budgets and salary demands led to Paramount's premier director departing the company in 1925). The artistic impetus for Paramount's rise to preeminence in the 20's was provided by the likes of Lasky and the creative genius of B.P. Schulberg (an independent producer with a keen eye for talent, hired in 1926 to head the West Coast studios as vice president in charge of production). Zukor, conversely, rarely left New York (except for a brief visit West in 1936 to help restructure the company).

In 1932, Paramount went bankrupt and declared a $ 15.8 million deficit. Chiefly to blame for this decline was an over-expansion propelled by Zukor himself, in particular the acquisition of the Publix theatre chain which had been bought with Paramount stock -- stock rendered all but worthless after the Wall Street Crash. Heads rolled, including those of Schulberg, sales chief Sidney Kent, and, ultimately, Lasky. Zukor, the consummate survivor, remained in place as company president until 1936, thereafter holding the position of chairman of the board and chairman emeritus until his death at the extraordinary age of 103. He went on to preside over a revitalised and profitable organisation (though no longer the industry leader it had been the 1920's -- a mantle now held by MGM). During the 1940's, Paramount showed record profits ($39.2 million in 1946)), a trend which continued through the 50's.

Zukor was described as mild-mannered, lean and aquiline in appearance, a reserved man who did not make friends easily. He also had a reputation for ruthlessness, which people like Samuel Goldwyn and Lewis J. Selznick could certainly attest to. Above all, he was a shrewd financier, never more than a self-proclaimed merchant with a 'calculated vision' who 'looked ahead a little and gambled a lot'.

Those of us who became film producers hailed from all sorts of
occupations--furriers, magicians, butchers, boilermakers--and for
this reason highbrows have often poked fun at us. Yet one thing is
certain: every man who succeeded was a born showman. And once in show
business he was never happy out of it.

[After first reading the script of <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0027400/?ref_=nmqu_qu">Broken Blossoms (1936)</a>] You bring me a picture like this and want money for it? You may as well put your hand
in my pocket and steal it. It isn&#39;t commercial. Everyone in it dies.

[on <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0001966/?ref_=nmqu_qu">Clara Bow</a>] She danced even when her feet were not moving.

[on <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0884388/?ref_=nmqu_qu">Rudolph Valentino</a>] His acting is largely confined to protruding his large, almost occult eyes until the vast areas of white are visible, drawing back the lips of his wide, sensuous mouth to bare his gleaming teeth, and flaring his nostrils.

[on <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0366586/?ref_=nmqu_qu">William S. Hart</a>] He was the actor I loved the most. Although the scenarios of the first westerns were less complicated than those of today, he had a fastidiousness and a professional conscience without parallel to see that each line of the script was minutely respected. He was a gentleman of the kind not found today.

If I&#39;d known I was going to live this long, I&#39;d have taken better care of myself.

I was impressed by the moral potentialities of the screen.

Quotes

Adolph Zukor

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