THE MACHINATIONS OF MEGLOMANIAC LOUIS B. MAYER

According to Sharon Rich, the author of Sweethearts, Louis B. Mayer objected to Jeanette MacDonald going back to Nelson Eddy who he called "that god damn baritone." Mayer called her in and told her it was over between her and Nelson and go back to Gene Raymond.  Apparently, though Nelson blamed her mother, it was Mayer who was behind the marriage. At the end of her life, Jeannette's mother admitted she had been wrong about Nelson and that she'd mess up Jeanette's life. Nelson had begged her mother to agree that Jeanette could marry him, even telling her he would not restrict her visiting with Jeanette or demand that Jeanette stop supporting her...

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One would think that Mayer would be delighted that his two 'singing sweethearts" were in love.  But Mayer didn't see things that way. "Anticipation is greater than consummation," was Mayer's philosophy, explained Sandy Reiss. "On the screen the dynamics became more powerful.  By keeping them apart, Mayer kept the passion high."  Mayer also feared that if the two married they would soon after land in the divorce courts and he would have no team left...

In an attempt to force Jeannette's hand, Mayer resorted to posting security police by her dressing room so she couldn't meet intimately with Nelson.  Her mother, meantime, monitored her movements away from the studio. When Jeannette still refused to break up with Nelson, Mayer began threatening more that simply her career, "Mayer told Jeanette they'd put Nelson in a cement overcoat," ... "And they would blind him. He's be a blind baritone, and would never see again."

(The author retells stories of other famous stars who bore the wraith of Mayer who put them out of the business, including silent screen star Lillian Gish.)

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