Samuel Goldwyn

Was forced out of Famous Players-Lasky on 9/14/16, and incorporated Goldwyn Pictures with brothers Edgar Selwyn and Archibald Selwyn two months later on 11/19/16. At that point in his career he needed the highly respected Selwyns, who were successful Broadway producers and owned a library of filmable plays. The Selwyns went into business with him because he had Mabel Normand, the biggest star in the movies, under contract. He had signed her to a personal contract on 9/15/16, two days after resigning from Famous Players-Lasky. The contract was set to kick in after her contract with Mack Sennett expired in 1917. Normand had been voted the top movie comedienne in a July 1916 "Motion Pictures Magazine" readers' poll, and going into business with him gave the Selwyns access to her; without her, he would probably not have been able to convince them to go into business with him. By partnering with him, they gained access to some of the finest production facilities in Hollywood and one of the top female stars.

In 2002 he was portrayed on Broadway in "Alan King as Mr. Goldwyn" by actor/comedian/producer Alan King. Play focuses on Goldwyn in the early 1950s when he is making Hans Christian Andersen (1952).

Is portrayed by Olivier Pierre in RKO 281 (1999), by Lee Wallace in This Year's Blonde (1980) and by Vernon Weddle in Malice in Wonderland (1985)

Inducted into the United States Croquet Hall of Fame in 1979.

At one time he was scheduled to appear as the "Mystery Guest" on the TV game show What's My Line? (1950), in which panelists are blindfolded and have to guess who the Mystery Guest is. The show's rules required that panelists who found out the Mystery Guest's identity before he or she appeared on the show had to disqualify themselves. A few days before his scheduled appearance, Goldwyn ran into panelist Dorothy Kilgallen in a restaurant and said, "Guess what, Dorothy? I'm going to be on your show Sunday night!" She told him that since she now knew he would be the Mystery Guest, she'd have to disqualify herself. A few days later Goldwyn ran into Bennett Cerf, also a panelist on the show, and said, "Guess what, Bennett? I did a really dumb thing the other day and told Dorothy that I'm going to be on your show Sunday night!" Cerf also was forced to disqualify himself, resulting in the only double disqualification in the show's history.

Produced eight Oscar Best Picture nominees: Arrowsmith (1931), Dodsworth (1936), Dead End (1937), Wuthering Heights (1939), The Little Foxes (1941), The Pride of the Yankees (1942), The Best Years Of Our Lives (1946) and The Bishop's Wife (1947). "The Best Years of Our Lives? is the only winner in the category.

In the 1930s and 1940s the Hollywood studio system was dominated by a handful of men who ran their domains largely by themselves, and with an iron hand: Louis B. Mayer (MGM), Adolph Zukor (Paramount), Harry Cohn (Columbia), Carl Laemmle (Universal), Jack L. Warner (Warner Bros.), Herbert J. Yates (Republic), Darryl F. Zanuck (Warners in the 1930s and 20th Century-Fox in the 1940s) and Goldwyn and David O. Selznick as independent producers. By 1959 all of these men--with the exception of Warner--had either died, retired or been forced out of their own companies.

In 1917 he merged his production company with All-Star Feature Films Corp., owned by brothers Edgar Selwyn and Archibald Selwyn, creating the Goldwyn Pictures Corp. The symbol of the new company was a reclining lion, surrounded by a banner made from a strip of celluloid film with the words "Ars Gratia Artis" ("Art for Art's Sake") at the top, which was designed by Howard Dietz. The trademark adorned the front gate of the studio's Culver City, CA, production facilities, which ranked with the finest in Hollywood (the inspiration for the original "Leo the Lion" likely were the stone lions at the New York Public Library on 44th St., which was across from the All-Star Feature Corp.'s offices). Goldfish liked the name of the new studio so much that he renamed himself Samuel Goldwyn. He was forced out of the company in 1922. It was merged with Loew's Inc.'s Metro Pictures in 1924 through a stock swap, creating Metro-Goldwyn, which subsequently merged with Louis B. Mayer Productions, and Metro-Goldwyn-Mayer was born--even though Goldwyn himself had nothing to do with the company that bore his name (he tried legal action to prevent the new company from using it, but lost). Goldwyn, who had also been ousted from an earlier company he had owned, did not get along well with partners and remained an independent producer for the rest of his career.

The new company's first film, The Squaw Man (1914), was one of the first features made in Hollywood; the company later became the nucleus of what would later become Paramount Pictures. As his marriage fell apart, Goldfish dissolved his partnership with Lasky. His next enterprise was the Goldwyn Co.

He reached the US, probably via Canada, in 1898. He gravitated to Gloversville, New York, in the Adirondack foothills, which was then the capital of the US leather glove industry; he became one of the country's most successful glove salesmen. After moving his base of operations to Manhattan and marrying the sister of Jesse L. Lasky, who was then a theatrical producer, Goldfish convinced Lasky and Cecil B. DeMille to go into film production.

In 1895 he made his way to England, where relatives Anglicized his name to Samuel Goldfish. There he begged (or stole) enough money for a ticket in steerage across the Atlantic.

Famed for his relentless ambition, bad temper and genius for publicity, Samuel Goldwyn became Hollywood's leading "independent" producer -- largely because none of his partners could tolerate him for long. Born Shmuel (or Schmuel) Gelbfisz, probably in 1879, in the Jewish section of Warsaw, he was the eldest of six children of a struggling used-furniture dealer.