a star out of Clark Gable. Mahin did some work on Rasputin and the Empress (1933), then Hell Below (1933) (in which he also appeared as an actor), Bombshell (1933) for Fleming, The Prizefighter and the Lady (1933) and Eskimo (1933); Mahin claims to have done some directing on the latter. Other credits included Laughing Boy (1934), Treasure Island (1934) for Fleming, and Chained (1934). He adapted the operetta Naughty Marietta (1935) and did uncredited work on China Seas (1935). Mahin then wrote Riffraff (1936), Wife vs. Secretary (1936), Small Town Girl (1936), The Devil Is a Sissy (1936), and Love on the Run (1936). He was Oscar nominated for his work on Captains Courageous (1937) for Fleming. Mahin wrote The Last Gangster (1937), then did two Gable films, Test Pilot (1938), and Too Hot to Handle (1938). In 1937 MGM paid him $56,000. With Fleming, Mahin did uncredited work on The Wizard of Oz (1939) and worked for about a week on Gone with the Wind (1939). Mahin did another for Gable, Boom Town (1940) and was reunited with Fleming on Dr. Jekyll and Mr. Hyde (1941). In July 1940 it was reported MGM had paid him $80,833 for the previous year. He did a gangster film for Mervyn LeRoy, Johnny Eager (1941) and some uncredited work on the ending of Woman of the Year (1942). Mahin adapted Tortilla Flat (1943) and worked on the British film The Adventures of Tartu (1943). While serving during World War II, Mahin wrote Combat America (1943), narrated by Gable. After the war, Mahin did uncredited work on Adventure (1945) for Gable and Fleming, The Yearling (1946) and The Beginning or the End (1947). He wrote The Risen Soldier, a biopic of Cardinal Spellman to star Van Johnson that was not used. 20th Century Fox Over at 20th Century Fox he did That Wonderful Urge (1948), Down to the Sea in Ships (1949), Love That Brute (1950) and Panic in the Streets (1950). Louis B Mayer When Louis B. Mayer left MGM, Mahin went with him. Mayer put Mahin under personal contract, and would loan him out to studios, including MGM. Mahin wrote the screenplay for Show Boat (1951), the Technicolor remake of the noted 1927 stage musical, which had previously been filmed in 1936. According to musical theatre historian Miles Kreuger in his book, Show Boat: The History of a Classic American