Schmuel Gelbfisz Net Worth

Schmuel Gelbfisz Net Worth is
$1.5 Million

Schmuel Gelbfisz Bio/Wiki, Net Worth, Married 2018

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 ...

Full Name	Samuel Goldwyn
Date Of Birth	August 17, 1879
Died	1974-01-31
Place Of Birth	Warsaw, Poland, Russian Empire [now Warsaw, Mazowieckie, Poland]
Profession	Producer, Miscellaneous Crew, Actor
Spouse	Frances Howard (actress)
Children	Tony Goldwyn, John Goldwyn, Liz Goldwyn, Francis Goldwyn, Peter Goldwyn
Parents	Aaron David Gelbfisz, Hannah Reban
Siblings	Ben Gelbfisz, Manya Gelbfisz
Awards	Jean Hersholt Humanitarian Award, Irving G. Thalberg Memorial Award, Golden Globe Cecil B. DeMille Award, Golden Globe Award for Best Motion Picture – Musical or Comedy, Primetime Emmy Award for Outstanding Variety-Music Events Programming
Nominations	Academy Award for Best Picture
Movies	The Best Years of Our Lives, Wuthering Heights, Guys and Dolls, The Little Foxes, Dodsworth, Hans Christian Andersen, Porgy and Bess, Arrowsmith, The Pride of the Yankees, Dead End, The Secret Life of Walter Mitty, The Bishop's Wife, Bulldog Drummond, Ball of Fire, These Three, The Hurricane, Stella...
Star Sign	Leo

#	Quote
1	Don't worry about the war. It's all over but the shooting.
2	The trouble with this business is the dearth of bad pictures.
3	Keep a stiff upper chin.
4	Modern dancing is old fashioned.
5	I want to make a picture about the Russian secret police--the GOP.
6	True, I've been a long time making up my mind, but now I'm giving you a definite answer. I won't say yes, and I won't say no -- but I'm giving you a definite maybe.
7	[on the Mardi Gras celebration in New Orleans] Even if they had it in the streets, I wouldn't go.
8	We have that Indian scene. We can get the Indians from the reservoir.
9	Let's have some new clichés.
10	]when asked by his secretary if she should destroy all files that were over ten years old] Yes, but keep copies.
11	I don't want any yes-men around me. I want everyone to tell me the truth - even though it costs him his job.
12	When someone does something good, applaud! You will make two people happy.
13	It's a mistake to remake a great picture because you can never make it better. Better you should find a picture that was done badly and see what can be done to improve it.
14	Actors think with their hearts. That's why so many of them die broke.
15	I am a rebel. I make a picture to please me. If it pleases me, there is a chance it will please others. But it has to please me first.
16	In this business it's dog eat dog, and nobody's going to eat me.
17	The picture makers will inherit the earth.
18	Motion pictures should never embarrass a man when he brings his wife to the theatre.
19	[when told by a director that the character Goldwyn wanted to cut out of a picture to save money was actually the main villain, and without him there would be no story] Well, it's a great man who can say he's always wrong.
20	[on Charles Chaplin] Charlie Chaplin is a great artist. I don't agree with many of the things he says and does, but he's the greatest artist our motion picture business has ever had and I'd make a picture with him tomorrow if he wanted to.
21	[on Mary Pickford] It took longer to make one of Mary's contracts than it did to make one of Mary's pictures.
22	[on William Wyler's films] I made them -- Willy only directed then.
23	I don't think anyone should write his autobiography until after he's dead.
24	Never make forecasts, especially about the future.
25	. . . We've all passed a lot of water since then.
26	[upon visiting the set of Dead End (1937), a film about life amid the grinding poverty of a New York City slum] Why do directors always try to make slums so dirty? Clean it up.
27	Why should people go out and pay to see bad movies when they can stay at home and see bad television for nothing?
28	We want a story that starts out with an earthquake and works its way up to a climax.
29	We'd do anything for each other; we'd even cut each other's throats for each other.
30	When everybody's happy with the rushes, the picture's always a stinker.
31	Color television! Bah, I won't believe it until I see it in black and white.
32	[on Fredric March] I'm overpaying him, but he's worth it.
33	It's more than magnificent; it's mediocre.
34	A bachelor's life is no life for a single man.
35	When I want your opinion, I'll give it to you.
36	This makes me so sore it gets my dandruff up.
37	I may not be always right, but I'm never wrong.
38	For your information, I would like to ask a question.
39	A producer shouldn't get ulcers; he should give them.
40	I'd hire the devil himself if he'd write me a good story.
41	Go see it and see for yourself why you shouldn't see it.
42	I was always an independent producer, even when I had partners.
43	The scene is dull. Tell him to put more life into his dying.
44	I never put on a pair of shoes until I've worn them five years.
45	If I could drop dead right now, I'd be the happiest man alive!
46	Don't pay any attention to the critics; don't even ignore them.
47	I never liked you, and I always will.
48	Tell me, how did you love my picture?
49	Our comedies are not to be laughed at.
50	Don't talk to me while I'm interrupting.
51	You've got to take the bull by the teeth.
52	This new atom bomb is dynamite.
53	I read part of it all the way through.
54	I'll give you a definite maybe.
55	I don't care if my pictures never make a dime, so long as everyone keeps coming to see them.
56	A hospital is no place to be sick.
57	Flashbacks are a thing of the past.
58	A wide screen just makes a bad film twice as bad.
59	Too caustic? To hell with the costs, we'll make the picture anyway.
60	Every director bites the hand that lays the golden egg.
61	[on his longtime friend and partner, Louis B. Mayer] The reason so many people turned up at his funeral is this: they wanted to make sure he was dead.
62	What we need now is some new, fresh clichés.
63	If you can't give me your word of honor, will you give me your promise?
64	When you're a star, you have to take the bitter with the sour.
65	Anyone who goes to a psychiatrist should have his head examined.
66	Include me out.
67	My wife's hands are very beautiful. I'm going to have a bust made of them.
68	In two words: im-possible.
69	A verbal contract isn't worth the paper it's written on.
70	Pictures are for entertainment, messages should be delivered by Western Union.

#	Fact
1	For a period of time in the 1940s to late 1950s, the Hughes Tool Co. ventured into the film and media industry, about bought RKO Pictures and its associated companies, the RKO Theater chain and the RKO Radio network. In 1948 Howard Hughes gained control of RKO, which was struggling to stay alive, by acquiring 25% of the outstanding stock from Floyd Odlum's Atlas Corporation. Universal Pictures acquired the American distribution rights in 1951 of the 1948 J. Arthur Rank-Archers feature film The Red Shoes (1948), released in a small London art house movie theater in September of 1948. Hughes was so impressed with director Michael Powell's dance film, starring Sadler Well's Ballet principal dancers Moira Shearer, Léonide Massine and Robert Helpmann that he wanted his own ensemble corps de ballet company. So he decided to buy one in an effort to expand the creative base of his newly acquired studio. He had been impressed with the success of "Les Ballets de Paris de Roland Petit." An outstanding classical dancer as a youth, Roland Petit swiftly decided on a career as a rebel against the traditionalism of the Paris Opera Ballet, and before the age of 25 had created three of his most iconic ballets, "Le Jeune Homme et La Mort" (world premiere on 6/26/46, Les Ballets des Champs-Elysee, Theatre des Champs-Elysee, Paris); the Jean Cocteau ballet "Les Demoiselles de La Nuit" (world premiere Theatre Marigry, Paris 5/21/48, Les Ballet de Paris de Roland Petit, featuring Margot Fonteyn; and "Carmen" (world premiere in London, Prince's Theatre, on 2/21/49, with the sultry young Zizi Jeanmaire as the lethal female destroying a hapless male. These ballets caused a sensation worldwide and Petit and Jeanmaire swiftly became the most exciting names in French dance, closely associating with Jean Cocteau, Édith Piaf, Yves Montand and the new intellectuals of Left Bank Paris. Hughes contracted Petit and his Parisian-based "Ballet de Paris de Roland Petit" for film assignments, including all personal appearances in North America. Petit and his core dance company's flight from Paris to Los Angeles was on Hughes-owned Trans World Airlines (Hughes acquired control of TWA in 1939, and after World War II led the expansion of the airline to serve Europe, the Middle East and Asia, making TWA a second unofficial flag carrier of the US after Pan Am). The dance troupe, housed in a Culver City hotel, were assigned a sound stage for intense preparatory workouts and dance rehearsals. After six months of isolation in Culver City, the troupe's enthusiasm for their new North American venture had dwindled, because after all of their their intense serious practicing, rehearsing, exercising and with no stage or film scheduled assignments, the core of dancers became extremely mutinous. They packed their luggage and arrived at the TWA air terminal in L.A. with their round-trip tickets in hand, checking in for their return flight to Paris. Unfortunately, they did not know that their boss Howard Hughes owned TWA. The TWA passenger agents alerted Hughes that a horde of French dancers were at the TWA air terminal, demanding a return flight to Paris. RKO's studio security officers descended upon the air terminal with a fleet of buses to round them up, confiscating all of the ticket bills the ticketing agents had collected. Upon returning to their hotel, the troupe was assured that they would be put to work on a Hollywood musical film. Samuel Goldwyn, whose production company was located at RKO's studio at 1041 North Formosa Avenue in Hollywood, was in pre-production to star Danny Kaye in an original musical film based on the life of Hans Christian Anderson, with a story by Myles Connolly, a screenplay by Moss Hart and Ben Hecht and lyrics and original music composed by Frank Loesser. Goldwyn had initially offered the film's ballerina role to Moira Shearer, but since he was he was quartered on RKO property, Hughes told him to use Roland Petit, Jeanmaire and Petit's Ballet de Paris dance troupe. Petit insisted that his French stage production scenic and costume designer Antoni Clave be flown to Hollywood as his film design collaborator. RKO costume designer Mary Wills joined the art department; Barbara Karinska was brought from New York City to superv
2	Goldwyn's wife Frances Howard would often travel to New York City scouting Broadway productions, looking for talent in both the production's acting areas and the creative teams involved in the production'a staging. On trip to see "Lady in The Dark" she discovered Danny Kaye, and upon returning to Hollywood insisted to her Husband that he put Kaye under contract. After Kaye arrived in Hollywood, several screen tests were made to determine the best possible path for his future in the film business. The major problem with his physical look was his natural brown hair. Frances, upon seeing these test screenings, dictated to her husband that "they had to change his hair color!" and said to change him to a redhead. Goldwyn's press agent, however, always insisted that Kaye's strawberry-red hair was his natural color, for publicity reckoning.
3	Formed Goldwyn Producing Corp., 1916.
4	Formed Goldwyn Pictures Corp., 1917.
5	Formed Goldwyn Distributing Corp., 1917.
6	In his book "Hollywood", Garson Kanin wrote that over his lengthy career, the impressive list of writers that Samuel Goldwyn employed included Thornton Wilder, Edna Ferber, Francis Marion, Montague Glass, Joseph Hergesheimer, Elmer Rice, Ben Hecht and Charles MacArthur, Morrie Ryskind, Howard Estabrook, Moss Hart, George S. Kaufman, William Anthony McGuire, Nunnally Johnson, Willard Mack, Harry Wagstaff Gribble, Preston Sturges, Maxwell Anderson, Mordaunt Shairp, Rachel Crothers, John L. Balderston, Rose Franken, S.N. Behrman, Sonya Levien, Jo Swerling, John Howard Lawson, John Van Druten, Niven Busch, Arthur Kober, Billy Wilder, Charles Brackett, Herman J. Mankiewicz, Joseph L. Mankiewicz, Paul Gallico, Harry Kurnitz, Leo Rosten, James Thurber, John Patrick, John Collier, Irwin Shaw, and Damon Runyon.
7	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)
8	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.
9	Was forced out of Famous Players-Lasky on September 14, 1916, and incorporated Goldwyn Pictures with brothers Edgar Selwyn and Archibald Selwyn two months later on November 19, 1916. 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 September 16, 1916, 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 the Selwyns 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.
10	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, California, 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.
11	At one time Goldwyn 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.
12	His sayings, sometimes known as "Goldwynisms," were famous for their unintentional wit, which was partially as a result of his somewhat limited understanding of the English language that surfaced when he tried to comment on certain situations. There are many examples of this, such as "Include me out" or "a verbal contract isn't worth the paper it's written on.".
13	2002: Portrayed on Broadway in "Alan King as Mr. Goldwyn" by actor/comedian/producer Alan King. Play focuses on Goldwyn in early 1950s when he is making Hans Christian Andersen (1952).
14	Father of Samuel Goldwyn Jr. and Ruth Capps. Grandfather of Tony Goldwyn and John Goldwyn.
15	When Goldwyn emigrated to the US, an Immigration Service clerk changed his last name from "Gelbfisz" to what he thought was its English translation, "Goldfish". Sam changed it to Goldwyn when he went into partnership with producer Edgar Selwyn, combining the first syllable of "Goldfish" with the last syllable of "Selwyn". He originally wanted to do the opposite, until someone pointed out that it would result in his new name being "Selfish".

Producer

Title	Year	Status
Oh Mary Be Careful	1921	producer
Don't Neglect Your Wife	1921	producer
A Tale of Two Worlds	1921	executive producer
Boys Will Be Boys	1921	producer
Guile of Women	1920	producer
What Happened to Rosa	1920	producer
The Great Lover	1920	producer
Officer 666	1920	executive producer
Honest Hutch	1920	producer
The Truth	1920	producer
The Penalty	1920	producer - uncredited
Cupid the Cowpuncher	1920	executive producer
The Slim Princess	1920	producer
Jes' Call Me Jim	1920	producer
The Adventures and Emotions of Edgar Pomeroy	1920	Short executive producer
Partners of the Night	1920	producer
The Paliser Case	1920	executive producer
Water, Water, Everywhere	1920/II	executive producer
Pinto	1920	producer
Jubilo	1919	producer
Almost a Husband	1919	executive producer
Lord and Lady Algy	1919	producer
Upstairs	1919	producer
The Stronger Vow	1919	executive producer
Sis Hopkins	1919	producer
The Racing Strain	1918	executive producer
A Perfect Lady	1918	producer
The Hell Cat	1918	executive producer
A Perfect 36	1918	producer
Thirty a Week	1918	producer
Laughing Bill Hyde	1918	producer
Peck's Bad Girl	1918	producer
The Turn of the Wheel	1918	producer
All Woman	1918	executive producer
The Floor Below	1918	producer
The Beloved Traitor	1918	producer
The Cinderella Man	1917	executive producer
Sunshine Alley	1917	executive producer
Fighting Odds	1917	producer
Polly of the Circus	1917	executive producer
Porgy and Bess	1959	producer
The Unexplained	1956	TV Movie producer
Guys and Dolls	1955	producer
Hans Christian Andersen	1952	producer
I Want You	1951	producer
Edge of Doom	1950	producer
Our Very Own	1950	producer
My Foolish Heart	1949	producer
Roseanna McCoy	1949	producer
Enchantment	1948	producer
A Song Is Born	1948	producer
The Bishop's Wife	1947	producer
The Secret Life of Walter Mitty	1947	producer
The Best Years of Our Lives	1946	producer
The Kid from Brooklyn	1946	producer
Wonder Man	1945	producer
The Princess and the Pirate	1944	producer
Up in Arms	1944	producer
The North Star	1943	producer
They Got Me Covered	1943	producer
The Pride of the Yankees	1942	producer
Ball of Fire	1941	producer
The Little Foxes	1941	producer
The Westerner	1940	producer
Raffles	1939	producer
The Real Glory	1939	producer
They Shall Have Music	1939	producer
Wuthering Heights	1939	producer
The Cowboy and the Lady	1938	producer
The Adventures of Marco Polo	1938	producer
The Goldwyn Follies	1938	producer
The Hurricane	1937	producer
Dead End	1937	producer
Stella Dallas	1937	producer
Woman Chases Man	1937	producer
Beloved Enemy	1936	producer
Come and Get It	1936	producer
Dodsworth	1936	producer
These Three	1936	producer
Strike Me Pink	1936	producer
Splendor	1935	producer
Barbary Coast	1935	producer
The Dark Angel	1935	producer
The Wedding Night	1935	producer
Kid Millions	1934	producer
We Live Again	1934	producer
Nana	1934	producer
Roman Scandals	1933	producer
The Masquerader	1933	producer
Cynara	1932	producer
The Kid from Spain	1932	producer
Arsène Lupin	1932	producer - uncredited
The Greeks Had a Word for Them	1932	producer
Tonight or Never	1931	producer
Arrowsmith	1931	producer
The Unholy Garden	1931	producer
Palmy Days	1931	producer
Street Scene	1931	producer
One Heavenly Night	1931	producer
The Devil to Pay!	1930	producer
Whoopee!	1930	producer
Raffles	1930	producer
Condemned!	1929	producer
This Is Heaven	1929	producer - uncredited
Bulldog Drummond	1929	producer
The Rescue	1929	producer - uncredited
The Awakening	1928	producer
Two Lovers	1928	producer
The Devil Dancer	1927	producer - uncredited
The Magic Flame	1927	producer
The Night of Love	1927	producer
The Winning of Barbara Worth	1926	producer
Partners Again	1926	producer
Ben-Hur: A Tale of the Christ	1925	producer - uncredited
Stella Dallas	1925	producer
A Thief in Paradise	1925	producer
In Hollywood with Potash and Perlmutter	1924	producer
Cytherea	1924	producer
True As Steel	1924	executive producer
Nellie, the Beautiful Cloak Model	1924	executive producer - uncredited
Three Weeks	1924	executive producer
Name the Man	1924	executive producer
The Eternal City	1923	producer
The Day of Faith	1923	producer
Unseeing Eyes	1923	producer
The Eternal Three	1923	producer
Potash and Perlmutter	1923	producer
Lost and Found on a South Sea Island	1923	producer
The Christian	1923	executive producer
A Blind Bargain	1922	producer
Hungry Hearts	1922	producer
Remembrance	1922	producer
Mr. Barnes of New York	1922	producer
His Back Against the Wall	1922	producer
Head Over Heels	1922	executive producer
Sherlock Holmes	1922	executive producer
Watch Your Step	1922	executive producer
What Ho, the Cook	1921	producer
Doubling for Romeo	1921	producer
The Ace of Hearts	1921	producer - uncredited

Miscellaneous

Title	Year	Status
Guys and Dolls	1955	presenter
Hans Christian Andersen	1952	presenter
I Want You	1951	presenter
On the Loose	1951	special arrangements: Miss Evans' Appearance
Sealed Cargo	1951	Dana Andrews by arrangement with
The Fighting Pimpernel	1950	by arrangement with: David Niven
Never a Dull Moment	1950	Gigi Perreau appears by arrangement with
Enchantment	1948	presenter
Bonnie Prince Charlie	1948	Mr. Niven appears by arrangement with
A Song Is Born	1948	presenter
They Live by Night	1948	Cathy O'Donnell and Farley Granger appear by arrangement with
The Bishop's Wife	1947	presenter
Night Song	1947	Dana Andrews by arrangement with
The Secret Life of Walter Mitty	1947	presenter
The Best Years of Our Lives	1946	presenter
Magnificent Doll	1946	Mr. Niven appears by arrangement with
The Kid from Brooklyn	1946	presenter
Wonder Man	1945	presenter
Up in Arms	1944	presenter
The North Star	1943	presenter
Spitfire	1942	presenter - uncredited
The Pride of the Yankees	1942	presenter
Ball of Fire	1941	presenter
The Little Foxes	1941	presenter
The Westerner	1940	presenter
The Real Glory	1939	presenter
Wuthering Heights	1939	presenter
The Cowboy and the Lady	1938	presenter
The Adventures of Marco Polo	1938	presenter
The Goldwyn Follies	1938	presenter
The Hurricane	1937	presenter
Dead End	1937	presenter
Stella Dallas	1937	presenter
Woman Chases Man	1937	presenter
Beloved Enemy	1936	presenter
Dodsworth	1936	presenter
These Three	1936	presenter
Strike Me Pink	1936	presenter
Barbary Coast	1935	presenter
The Dark Angel	1935	presenter
We Live Again	1934	presenter - as Sam Goldwyn
Tonight or Never	1931	presenter
Arrowsmith	1931	presenter
The Unholy Garden	1931	presenter
Street Scene	1931	presenter
One Heavenly Night	1931	presenter
Whoopee!	1930	presenter
Raffles	1930	presenter
This Is Heaven	1929	presenter
The Rescue	1929	presenter
The Son of the Sheik	1926	Agnes Ayres appears courtesy of / by arrangement with: Vilma Banky appears - 1937 version
Partners Again	1926	presenter
Lady Windermere's Fan	1925	ronald colman appears courtesy of
Stella Dallas	1925	presenter
The Dark Angel	1925	presenter
His Supreme Moment	1925	presenter
In Hollywood with Potash and Perlmutter	1924	presenter
Tarnish	1924	presenter
Cytherea	1924	presenter
The Eternal City	1923	presenter
Potash and Perlmutter	1923	presenter
Broken Chains	1922	presenter
Mad Love	1921	presenter
The Highest Bidder	1921	presenter
The Branding Iron	1920	presenter
The North Wind's Malice	1920	presenter
Milestones	1920	presenter
Earthbound	1920	presenter
The Penalty	1920	presenter / president: Goldwyn Pictures Corporation
Going Some	1920	presenter
A Double-Dyed Deceiver	1920	presenter
Out of the Storm	1920	presenter
The Great Accident	1920	presenter
Jes' Call Me Jim	1920	presenter
The Silver Horde	1920	presenter
The Strange Boarder	1920	presenter
Dangerous Days	1920	presenter
The Little Shepherd of Kingdom Come	1920	presenter
The Cup of Fury	1920	presenter
Toby's Bow	1919	presenter
Jinx	1919	presenter
The Loves of Letty	1919	presenter
Strictly Confidential	1919	presenter
The World and Its Woman	1919	presenter
Through the Wrong Door	1919	presenter
The City of Comrades	1919	presenter
The Fear Woman	1919	presenter
One of the Finest	1919	presenter
Leave It to Susan	1919	presenter
When Doctors Disagree	1919	presenter
The Stronger Vow	1919	presenter
The Eternal Magdalene	1919	presenter
The Pest	1919	presenter
A Man and His Money	1919	presenter
Spotlight Sadie	1919	presenter
Daughter of Mine	1919	presenter
The Woman on the Index	1919	presenter
Shadows	1919	presenter
The Bondage of Barbara	1919	presenter
Day Dreams	1919	presenter
Go West, Young Man	1918	presenter

Actor

Title	Year	Status	Character
Ben-Hur: A Tale of the Christ	1925		Chariot Race Spectator (uncredited)

Thanks

Title	Year	Status	Character
Hollywood: The Great Stars	1963	TV Movie documentary special thanks

Self

Title	Year	Status	Character
Omnibus	1970	TV Series documentary	Himself
The World's Greatest Showman: The Legend of Cecil B. DeMille	1963	TV Movie documentary	Himself
Small World	1958	TV Series	Himself
Film Fanfare	1956	TV Series	Himself - Interviewee
Inside Beverly Hills	1956	TV Movie	Himself
Person to Person	1954	TV Series documentary	Himself - Movie Producer
The Ed Sullivan Show	1952	TV Series	Himself
What's My Line?	1951	TV Series	Himself - Mystery Guest
Screen Snapshots Series 9, No. 20	1930	Short	Himself
Screen Snapshots Series 9, No. 18	1930	Short	Himself

Archive Footage

Title	Year	Status	Character
Ellis Island, une histoire du rêve américain	2014	Documentary	Himself
Moguls & Movie Stars: A History of Hollywood	2010	TV Mini-Series documentary	Himself
Cecil B. DeMille: American Epic	2004	TV Movie documentary	Himself - Interviewee
American Masters	2000-2001	TV Series documentary	Himself / Himself - Producer
Hollywoodism: Jews, Movies and the American Dream	1998	TV Movie documentary	Himself
Hollywood	1980	TV Mini-Series documentary	Himself
The Ed Sullivan Show	1955-1959	TV Series	Himself - Award Presenter / Himself

Won Awards

Year	Award	Ceremony	Nomination	Movie
2007	OFTA Film Hall of Fame	Online Film & Television Association	Creative
1973	Cecil B. DeMille Award	Golden Globes, USA
1960	Star on the Walk of Fame	Walk of Fame	Motion Picture	On 8 February 1960. At 1631 Vine Street.
1958	Jean Hersholt Humanitarian Award	Academy Awards, USA
1947	Irving G. Thalberg Memorial Award	Academy Awards, USA

Nominated Awards

Year	Award	Ceremony	Nomination	Movie
1959	Golden Laurel	Laurel Awards	Top Producer	4th place.
1939	Irving G. Thalberg Memorial Award	Academy Awards, USA

Known for movies

Source

Schmuel Gelbfisz Net Worth

Schmuel Gelbfisz Net Worth is
$1.5 Million