- The Life and Legend of Louis B. Mayer
- By SCOTT EYMAN
Lillian Gish had made The Scarlet Letter, La Boheme, Annie Laurie, The Enemy, and The Wind for MGM. The cumulative result for the five pictures— three financial successes and two failures (Annie Laurie and The Wind)— was $418,000 in profits. But after the successive failures of Annie Laurie and The Wind, the relationship between Gish and the studio cooled off. They had a serious argument over time off, then Thalberg asked her to cut her salary, offering her 15 percent of the gross after the studio had recouped its costs in an attempt to placate her. As always, MGM played hardball: “They all point to the harm they could do me by putting me out in bad pictures,” Gish wrote to her lawyer, “which, of course, is only too true. They also tell me that it would do them no harm, as they are so organized that they would go on just the same, but that I would suffer irreparable loss.” By October 1927, with The Wind finished but the studio postponing its release, Gish was writing that “I hardly think that I will continue with Metro. Theirs is such a large organization that I feel they haven’t the room or the time for me.” Shortly afterward, MGM let the greatest film actress of her generation go—not because her films didn’t make money, but because they didn’t make enough. Gish was “difficult” and single-minded about her work, which was more important to her than the MGM method.