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For decades, hidden from the public eye, William Morris agents made the deals that determined the fate of stars, studios, and networks alike. Mae West, Frank Sinatra, Marilyn Monroe, Danny Thomas, Steve McQueen--the Morris Agency sold talent to anyone in the market for it, from the Hollywood studios to the mobsters who ran Vegas to the Madison Avenue admen who controlled television. While the clients took the spotlight, the agency operated behind the scenes, providing the grease that made show business what it's become.
The story begins more than a century ago, when a fiery young immigrant named William Morris opened a vaudeville-booking office on New York's Fourteenth Street and went up against the trust that ruled the leading entertainment medium of the day. Led after Morris's death by the legendary Abe Lastfogel, a cherubic little man who treated agents and clients alike as family, the firm transformed the agent's image from garish flesh-peddler to smooth-talking professional. But when Lastfogel's successor brutally sacrificed his best friend--the man who'd brought Barry Diller and Michael Ovitz out of the mail room--William Morris gave birth to its own nemesis: Ovitz's new firm, CAA. Throughout the '80s and '90s, as the Morris Agency made, and lost, such stars as Mel Gibson, Julia Roberts, Kevin Costner and Tom Hanks, Ovitz's power grew inexorably as Morris's waned. Lulled by the phenomenal success of Bill Cosby and the upward spiral of the Beverly Hills real estate market, Morris's board failed to act as death and defection thinned its ranks. Finally, with its flagship motion-picture department on the brink of collapse, the board was faced with the stark reality of having to buy its way back into the business it had once owned.
- Sales Rank: #461495 in Books
- Brand: Brand: HarperCollins
- Published on: 1995-07
- Original language: English
- Number of items: 1
- Dimensions: 9.50" h x 6.50" w x 2.00" l,
- Binding: Hardcover
- 528 pages
- Used Book in Good Condition
From Publishers Weekly
The growth of the William Morris Agency, founded in 1898, has mirrored the evolution of the entertainment industry. The agency began by booking vaudeville acts, then continued to supply talent to the ever-changing show biz formats?silent movies, radio, "talkies" and TV. And as entertainment become more of a big business, the power of the Morris Agency grew along with it. Rose's descriptions of the formative years of the agency and show business is slow-moving, but his narrative picks up as he details the era of Abe Lastfogel, who headed Morris from the early 1930s to 1969. Rose (West of Eden) really hits his stride in the last third of the book, when his focus shifts from the stars to the Morris agents themselves. Here he vividly describes the Machiavellian tactics employed by the firm's agents against other agencies and against each other to steal clients to advance their own power. Infighting among the Morris agents became public in 1975 when Michael Ovitz and four others bolted to form Creative Artists Agency. Entertainment-industry junkies will find Rose's entire work enjoyable, but more casual readers will likely skim the early sections. Photos not seen by PW.
Copyright 1995 Reed Business Information, Inc.
From Booklist
This would be a fascinating enough story if it was limited to the history of the William Morris Agency, the theatrical agency that has dominated the entertainment industry since the days of vaudeville. But you can't tell the William Morris story without immersing yourself in the history of show business in the twentieth century--how it evolved, who the movers and shakers were, where the business might be heading as the century draws to a close. Rose's exhaustive research is evident throughout. More than 200 sources were used, and while these personal remembrances are what gives the book its depth, the numerous anecdotes also occasionally weigh it down. Not that there's anything very dishy here. One would expect that a story featuring a cast of characters like Marilyn Monroe, Barbra Streisand, Frank Sinatra, and Bill Cosby, to name a few, would have a few tales to tell, but Rose sticks pretty much to the business side of their lives. The real stars here are the agents themselves. For once, the backstage boys get to step center stage, and it's power and influence that give them their glow. Ilene Cooper
Review
"A cram course on the modern entertainment business as seen...from the point of view of the humble apparatchiks who doggedly tried to prevent the lunatics from wrecking their asylum." --New York Times Book Review
"The Agency is more than a titillating string of boldface names... Rose uses the saga of the Morris Agency's rise and fall as a prism through which to examine the constantly evolving nature of show business." --Los Angeles Times Book Review
"If you like to read juicy details of the usually dysfunctional lifestyles of movie and television stars, this is a book for you." --Chicago Tribune
"Reveals the shark tank at its most lethal and hilarious." --San Francisco Chronicle
"It's a darker side of show biz than one sees on Entertainment Tonight." --USA Today
Most helpful customer reviews
0 of 0 people found the following review helpful.
A Very Informative Book
By Kevin Treglia
This book is a highly detailed account of the William Morris Agency. It details the people and the events that helped it evolve into the company it is today.
3 of 3 people found the following review helpful.
Terrrific book
By David Rensin
Frank Rose's book really delivers a fascinating history of William Morris. It's not about the stars as much as the men (and women) who helped make the stars -- the "star-making machinery" as Joni Mitchell sang in "Free Man in Paris," her ode to David Geffen, himself one of the William Morris men who, incidentally, became a star himself. The Agency is substantial stuff -- and it was a full on inspiration for my own book, The Mailroom, which came later, and covered the Wm Morris Agency in part. Classic stuff, this book.
8 of 14 people found the following review helpful.
Tedious History of Agency Filled With Names But Little Else
By Mediaman
After seeing this book referenced in a couple Hollywood biographies, I expected to have a book filled with interesting insider stories of the movie and TV business. Instead this lengthy historical project is filled with page after page of unfamiliar names of agents and the stars are only peripheral to the story.
The main problem is that the author tries to cover too much territory--explaining almost 100 years of the William Morris agency. The beginning years of vaudeville could have been covered in a few paragraphs instead of 50 pages. The minute details of insignificant agents should have been left out and instead the focus could have been on the Hollywood stars served by the agents.
There are a few interesting tidbits, but rarely is any detail given to any subject. The early years of television include some often unheard facts about how stars were drawn to the tube. But major events in the business get a paragraph or two. Most of it is based on second-hand research from others books, which results in a number of mistakes by omission or "facts" taken out of context.
At almost 500 pages, it's a long, tedious bore that will only be of interest to entertainment historians. It's not for those looking for an entertaining read filled with insights into how Hollywood works.
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