MGM and Andrew Mac Donald played a special part in The Maybelline Story.

top, Mac on set of Silent movie, Metro Pictures.  Louis B Mayer with executives at MGM in 1925

Andrew “Mac” Mac Donald, father of Pauline Mac Donald Williams and grandfather of author Sharrie Williams, had a distinguished career at Metro-Goldwyn-Mayer (MGM) spanning over five decades. As a motion picture and special effects pioneer, he played a significant role in the studio’s technical and creative operations, particularly in set construction and special effects. Below is a detailed exploration of Mac Mac Donald’s MGM projects, his contributions, and their relevance to Pauline’s Hollywood ties, with context related to the Maybelline family and the estate at 900 Airole Way in Bel Air, California.

Overview of Mac Mac Donald’s MGM Career

• Career Timeline: Mac began his career in 1915 at Metro Pictures, which merged with Goldwyn Pictures and Louis B. Mayer Productions in 1924 to form MGM. He retired in 1968, marking over 55 years in the industry.
• Role and Responsibilities: Mac oversaw seven departments at MGM, with a primary focus on the construction department. He was responsible for building sets and soundstages, working closely with MGM’s art director Cedric Gibbons to bring film designs to life. His expertise extended to special effects, contributing to the studio’s reputation for visually stunning productions.
• Relationship with Louis B. Mayer: Mac was a close friend of Louis B. Mayer, MGM’s co-founder and studio head, which elevated his influence within the studio and provided his family, including Pauline, access to Hollywood’s elite.
• Reputation: Known for delivering projects under budget, Mac earned respect for his efficiency and innovation, particularly in managing complex set constructions and special effects.
• Recognition: Upon retirement, MGM honored Mac with a commemorative pin and a gold watch, acknowledging his years
   as head of construction and special effects at MGM places him at the center of numerous iconic productions during Hollywood’s golden age (1930s–1950s). Below are insights into his contributions based on his role and the era:

1. Set Construction for Major MGM Films
   • Scope of Work: As head of the construction department, Mac’s team built every set and soundstage at MGM’s Culver City lot, following designs by art director Cedric Gibbons, who won 11 Oscars for his work. This included elaborate sets for musicals, dramas, and epics that defined MGM’s reputation for grandeur.
   • Notable Films (Inferred):
     • Musicals: MGM was renowned for films like The Wizard of Oz (1939), Meet Me in St. Louis (1944), and Singin’ in the Rain (1952), which required complex sets such as Munchkinland, Victorian neighborhoods, and studio backlots. Mac’s construction team likely built these, given his oversight of all set-building operations.
     • Epics and Dramas: Films like Gone with the Wind (1939, co-produced by MGM), Ben-Hur (1959), and Mutiny on the Bounty (1935) featured massive sets—plantations, Roman arenas, and ships—that aligned with Mac’s expertise in large-scale construction.
     • Soundstages: Mac’s department constructed permanent soundstages used across multiple productions, ensuring MGM’s ability to film efficiently on its lot.
   • Impact: His work enabled MGM to create immersive worlds that captivated audiences, reinforcing the studio’s dominance and its “star factory” image, which Maybelline leveraged in its advertising.
2. Special Effects Contributions
   • Pioneering Role: Mac was recognized as a special effects pioneer, contributing to MGM’s ability to produce visually innovative films. Special effects in his era included practical techniques like miniatures, matte paintings, pyrotechnics, and mechanical effects.
   • Examples of Effects-Driven Films:
     • The Wizard of Oz (1939)*: This film featured groundbreaking effects like the tornado sequence, flying monkeys, and the transition from sepia to Technicolor. Mac’s expertise likely supported the construction of sets and props for these effects, such as the rotating house in the tornado scene.
     • Forbidden Planet (1956)*: A sci-fi classic, it required innovative sets (a futuristic planet) and effects (the invisible monster), aligning with Mac’s skills in special effects and construction.
     • Fantasy and Adventure Films: MGM’s Tarzan series and films like The Yearling (1946) used practical effects for jungle environments and animal interactions, areas where Mac’s team would have contributed.
   • Collaboration with Cedric Gibbons: Mac translated Gibbons’ ambitious designs into reality, ensuring effects were seamlessly integrated into sets. This partnership was critical for films requiring both aesthetic and technical innovation.
3. Broad Influence Across MGM’s Output
   • Golden Age Productions: During Mac’s tenure, MGM produced over 1,000 films, including 75% of the Best Picture Oscar winners from the 1930s to 1950s. While not individually credited, Mac’s oversight of construction and effects touched most of these projects.
   • Examples of MGM’s Signature Films:
     • Grand Hotel (1932): Featured opulent hotel sets.
     • An American in Paris (1951): Included stylized Parisian sets and dance sequences.
     • Gigi (1958): Required detailed period sets of 1900s Paris.
   • Efficiency Under Budget: Mac’s ability to deliver sets and effects under budget allowed MGM to allocate resources to star salaries and marketing, enhancing its competitive edge.

Connection to Pauline’s Hollywood Ties

• Family Access to Hollywood Elite: Mac’s friendship with Louis B. Mayer and his senior role at MGM gave Pauline exposure to Hollywood’s inner circle. Mayer’s parties and studio events often included stars like Judy Garland, Gene Kelly, and Elizabeth Taylor, whom Pauline may have encountered socially.
• Pauline’s Dance Aspirations: Pauline’s membership in the Hollywood Studio Club at 16 and her goal to dance at MGM were facilitated by her father’s position. Mac’s influence likely helped her secure auditions or training opportunities, though she did not achieve a professional dance career.
• Cultural Influence: Growing up in a household tied to MGM’s “star factory,” Pauline internalized Hollywood’s emphasis on beauty and glamour, which resonated with Maybelline’s mission. Her marriage to Bill Williams, nephew of Maybelline founder Tom Lyle Williams, bridged her Hollywood roots to the cosmetics industry.
• Sharrie Williams’ Perspective: Pauline’s daughter, Sharrie Williams, author of The Maybelline Story, highlights Mac’s MGM legacy as a source of family pride. Sharrie notes that her grandfather’s work and Maybelline’s Hollywood advertising (featuring stars like Joan Crawford) created a shared cultural context.

Relevance to 900 Airole Way, Bel Air

• Family Gatherings: The estate at 900 Airole Way, purchased by Tom Lyle Williams in 1950, was a family hub where Pauline, as Bill’s wife, likely attended events during the 1950s–1960s. Mac’s Hollywood status may have made him a guest at these gatherings, though no specific records confirm his presence. The estate’s proximity to MGM’s Culver City lot (about 8 miles) and its role as a luxury retreat aligned with the Hollywood lifestyle Mac and Pauline inhabited.
• Cultural Synergy: The Bel Air home, with its Aspiration statue and panoramic views, reflected Tom Lyle’s success, which was tied to Hollywood’s beauty culture. Mac’s work on MGM sets for films that Maybelline advertised (e.g., starring endorsed actresses) created a symbolic link between his projects and the estate’s significance.
• Privacy and Exclusivity: Tom Lyle’s private lifestyle, driven by concerns over scrutiny or kidnapping threats, mirrored MGM’s controlled environment under Mayer. Mac’s discretion as a behind-the-scenes figure likely complemented this dynamic during family interactions at 900 Airole Way.

Limitations and Notes

• Lack of Specific Film Credits: Public records, including Sharrie Williams’ blog, do not list individual films Mac worked on, focusing instead on his departmental oversight. His contributions are inferred from his role and MGM’s output.
• Focus on Family Narrative: Most information comes from The Maybelline Story and Sharrie’s blog, which prioritize family dynamics over technical details of Mac’s projects.

AndreMac Donald’s MGM projects encompassed set construction and special effects for numerous films during Hollywood’s golden age, likely including classics like The Wizard of Oz, Singin’ in the Rain, and Ben-Hur. As head of seven departments, he built sets and soundstages under Cedric Gibbons’ designs, earning acclaim for efficiency and innovation. His close ties to Louis B. Mayer and 55-year career gave Pauline Mac Donald Williams access to Hollywood’s elite, shaping her upbringing and aspirations as a dancer. These connections linked her to the Maybelline family, with the Bel Air estate at 900 Airole Way serving as a family gathering place where her Hollywood background intersected with Maybelline’s legacy. Mac’s work reinforced MGM’s visual legacy, which paralleled Maybelline’s beauty empire, creating a cultural bridge for Pauline.