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Sue Mengers

Sue Mengers (September 2, 1932 – October 15, 2011) was a pioneering German-American renowned for her transformative role in during the late and , where she became the industry's first female superagent by representing an elite roster of stars including , , , , and . Born Susi Mangold in , , Mengers fled Nazi persecution with her family, immigrating to the in 1938, initially settling in , before moving to with her mother after her father's suicide in 1946. She began her career modestly as a at the Music Corporation of America () in in 1955, transitioning to agenting in 1963 under Tom Korman before joining Creative Management Associates (CMA) in 1965, which propelled her to and rapid ascent amid the era. At —later International Creative Management (ICM)—Mengers earned up to $600,000 annually by 1975 through aggressive deal-making, securing high-profile projects for clients like director , filmmaker , singer , and actor , while her infamous Beverly Hills dinner parties became legendary hubs for industry networking and gossip. Her brash, chain-smoking persona—marked by a thick , sharp one-liners, and unapologetic ambition—shattered gender norms in a male-dominated field, earning her both adoration and enmity as she divided into "A-listers" and others. Mengers retired in 1986 amid shifting industry dynamics but briefly returned as a senior vice president at the in 1988, though her peak influence waned with the rise of corporate agencies. Her legacy endures as a trailblazer for women in entertainment, inspiring the 2013 play I'll Eat You Last: A Chat with Sue Mengers starring and the 2015 biography Can I Go Now?: The Life of Sue Mengers by Brian Kellow, and highlighting the personal costs of her relentless career, including and strained relationships.

Early life

Birth and family background

Sue Mengers, born Susi Mengers, entered the world on September 2, 1932, in , , to a Jewish family of modest upper-middle-class means. Although biographical accounts occasionally cite birth years ranging from 1930 to 1935, official records and primary sources, including her , affirm 1932 as the accurate date. As the only child of businessman George Mengers and Ruth Mengers (née ), she grew up in a household marked by her father's professional setbacks during the economic instability of interwar . George's unsuccessful ventures as a businessman contributed to early financial pressures on the family, reflecting broader challenges faced by Jewish entrepreneurs in the Republic's final years. Hamburg's dynamic port-city atmosphere, with its thriving Jewish community and cultural vibrancy, enveloped Mengers' early years, fostering her immersion in the and traditions that would underpin her later bilingual proficiency in German and English. The encroaching rise of the Nazi regime in the mid-1930s heightened perils for families like hers, underscoring the precariousness of their existence.

Emigration and childhood in the United States

In 1938, Sue Mengers, born Susi Mengers in , , to Jewish parents George and Ruth Mengers, emigrated with her family to the aboard a ship, fleeing the rising tide of and Nazi persecution. The family arrived in with no knowledge of English, joining a community of Jewish refugees in the upstate city of Utica, where they faced the challenges common to many European Jewish immigrants during the late , including cultural adjustment and economic instability. In Utica, George Mengers struggled to find stable work, eventually taking a position as a traveling salesman amid the financial pressures of the Great Depression's aftermath and . These hardships culminated in his in 1946, when Sue was 14, leaving the family in financial ruin and deepening their sense of loss and depression. Following his death, Ruth Mengers and her daughter relocated to in , where Ruth secured employment as a bookkeeper to support the household during ongoing postwar economic difficulties. In the Bronx, Sue attended public schools and completed high school, navigating a tough urban environment that honed her street-smart resilience and distinctive Bronx accent. She immersed herself in American popular culture to learn English, frequently visiting movie theaters and listening to radio broadcasts, which sparked her early fascination with and the glamour of . These formative experiences amid familial adversity shaped her adaptability and ambition, setting the stage for her future career.

Career

Entry into the entertainment industry

Sue Mengers entered the entertainment industry in 1955, securing a position as a at the Music Corporation of America () in , where she handled mailroom tasks and assisted agents in a male-dominated environment. Despite lacking formal training, her determination and self-taught savvy allowed her to navigate the agency's operations, though she was dismissed after about two years for an incident involving actor . This entry-level role marked her initial foray into talent representation, fueled by a childhood fascination with that had taken root during her youth in . In the late 1950s, following her departure from , Mengers joined the as a secretary, earning $135 per week while observing and emulating the high-powered executives around her. There, she began to transcend clerical duties by scouting emerging talent and cultivating industry contacts through persistent networking, often leveraging her sharp wit and tenacity to gain access to influential circles. Her aggressive style—characterized by bold persistence and informal schmoozing at venues like —helped her build a foundational network in New York's theater and television scenes, positioning her for advancement in a field where women were rarely agents. By 1963, Mengers transitioned into full agenting when Tom Korman, a former colleague from the Baum-Newborn agency, invited her to join his newly formed Tom Korman Associates as a partner. Under this banner, she secured her first clients, including actresses and , negotiating small-scale deals such as television appearances and stage roles that honed her negotiation skills. This move represented a pivotal shift from support staff to deal-maker, aligning her with the innovative Creative Management Associates (), founded by and in 1960, where Korman's firm integrated; by 1965, Mengers formally joined CMA's New York theater department, accelerating her professional trajectory.

Prominence at major agencies

During the late , Sue Mengers solidified her position at Creative Management Associates (), where she had joined in 1965 after stints at smaller agencies, emerging as a trailblazing figure in the male-dominated world of representation. As one of the first female super-agents during the era—a period marked by the decline of the and the rise of independent filmmakers and auteur-driven projects—Mengers adeptly navigated the industry's seismic shifts following the , leveraging her sharp instincts to position at the forefront of amid economic and creative upheavals. In 1968, relocated Mengers to to pursue film deals, marking her full immersion in . Her ascent challenged entrenched gender barriers, earning her recognition as 's inaugural powerful female agent whose influence extended beyond traditional secretarial roles into high-stakes deal-making. A pivotal moment in Mengers' career came in 1974 with the merger of CMA and International Famous Agency (IFA), orchestrated by CMA founder Freddie Fields and IFA head Marvin Josephson, forming International Creative Management (ICM) as a dominant force in entertainment representation. In the wake of this consolidation, which combined CMA's film and television expertise with IFA's broader media reach, Mengers ascended to the role of a top partner at ICM, solidifying her status among the agency's elite leadership and enabling her to shape its strategic direction during a decade of explosive growth in the industry. Mengers' prominence was equally defined by her navigation of intense agency politics, where she frequently clashed with male counterparts through aggressive client and unapologetic self-promotion, positioning herself as a formidable disruptor in a field rife with egos and territorial disputes. Her style was notoriously flamboyant, characterized by chain-smoking during marathon phone calls laced with , which she wielded as tools to intimidate executives and secure advantageous terms, blending charm with abrasiveness to maintain leverage in high-pressure environments. This approach not only fueled rivalries but also underscored her reputation as an "aggressive, smart piece of manpower," allowing her to thrive amid the competitive dynamics of agencies. Under Mengers' influence at ICM, the agency's client roster expanded significantly during the boom, as she capitalized on the era's creative renaissance to attract top-tier talent and bolster ICM's market dominance in film, television, and theater representation. This growth reflected her strategic vision in aligning ICM with the burgeoning movement, where innovative projects demanded agile, influential agents to bridge artists and studios navigating financial instability and regulatory changes.

Notable clients and negotiations

Sue Mengers represented a roster of talent during the 1970s, including , , , and , which solidified her reputation as Hollywood's premier super-agent. She also represented directors like and , singer , and actress , packaging deals across talent types. Her client list reflected the era's shifting power dynamics, where actors gained leverage amid declining studio control. As Streisand's sole film agent in the early 1970s, Mengers negotiated her starring role in Funny Lady (1975), a sequel to Funny Girl produced by , ensuring top compensation and creative input for the singer-actress. She also secured Streisand's participation in What's Up, Doc? (1972), pairing her with for a deal that elevated O'Neal's fee to $300,000 from his prior $22,500 for Love Story. For Dunaway, Mengers packaged her lead role in (1976), which earned the actress an and highlighted Mengers' skill in aligning talent with high-profile projects. Earlier, in 1966, Mengers defended ' casting in Is Paris Burning? against director Otto Preminger's objections, demonstrating her aggressive negotiation style even before her peak at ICM. She also arranged ' guest role on , an early success that built her reputation for securing television opportunities. Mengers' strategies often involved packaging multiple clients with directors and producers to create complete film proposals, a tactic she pioneered to maximize leverage during New Hollywood's transition. For instance, she bundled Streisand, O'Neal, and director for What's Up, Doc?, and facilitated the father-daughter pairing of Ryan and in Paper Moon (1973), contributing to the film's critical and commercial success. These deals, often with producer , underscored her role in actor-driven projects that challenged traditional studio hierarchies. Her negotiations empowered clients like those in her roster to command unprecedented fees and influence, accelerating the New Hollywood era's focus on star-centric storytelling over studio formulas. By the mid-1970s, Mengers' approach had earned her annual commissions exceeding $600,000, reflecting her transformative impact on the industry's power structure.

Personal life

Marriage and family

Sue Mengers married Belgian filmmaker Jean-Claude Tramont in May 1973 at Ventana, a resort in , , with serving as her maid of honor, following their meeting in the summer of 1970 at a dinner party hosted by Charlotte Ford in industry social circles. Tramont, born in 1930, had a career as a and , contributing to films such as (1973, writer) and directing (1981), a starring , , and . Their union was childless, reflecting Mengers' prioritization of her demanding career over family expansion, though she later expressed occasional regret about not having children. The couple resided in a modest Hollywood Regency-style home in Beverly Hills, designed by architect John Elgin Woolf, where Tramont often took on the role of house-husband, managing domestic affairs to support Mengers during the peak of her professional success in the 1970s. This arrangement provided a measure of personal stability amid her high-stakes negotiations and client management at agencies like ICM, allowing her to balance the intensity of 's inner workings with a relatively private marital life marked by intellectual companionship and occasional tensions. Mengers maintained limited but ongoing ties to her extended family, particularly her mother, Ruth Mengers (née Levy), with whom she had a strained relationship stemming from childhood hardships after their emigration from in 1938. Ruth, who had worked as a bookkeeper in and remained distant and critical, occasionally intersected with Mengers' adult life, such as during a 1979 family-related crisis, though their bond was overshadowed by past resentments rather than close intimacy. The marriage to Tramont effectively became the core of Mengers' family structure until his death from cancer in 1996.

Social influence in Hollywood

Sue Mengers hosted legendary salons at her Beverly Hills home on Lexington Road throughout the 1970s and into the 1980s, transforming intimate Saturday night dinners into must-attend events for 's elite. These gatherings typically limited to 8-12 guests featured stars such as , , and , alongside directors, executives, and cultural figures like and . Her client relationships often shaped the guest lists, ensuring a mix of established talents and rising stars who mingled freely in a confidential setting. As a flamboyant hostess, Mengers cultivated an atmosphere of unpretentious elegance, serving home-cooked meals like , chicken potpie, and pasta with amid the opulent surroundings of her Versailles-inspired pink dining room. Evenings began and ended with lively sessions, fueled by shared marijuana and cigarettes, as Mengers presided from her armchair in a caftan, her sharp wit and babyish voice disarming guests while steering conversations. This persona positioned her as a central figure among Malibu's and Beverly Hills' elite circles, where she reveled in the glamour of star-studded informality. Mengers' salons exerted significant influence on New Hollywood's social hierarchies, serving as a bridge between agents, actors, and executives through carefully orchestrated introductions and a sense of exclusivity that elevated attendees' status. By fostering these connections in a haven free from or pretense, she shaped informal power dynamics, making her gatherings a nexus for industry buzz and alliances that defined the era's cultural landscape. Her events were deemed essential for anyone aspiring to prominence, underscoring her role as a tastemaker beyond professional negotiations. As Mengers' career waned in the amid the rise of corporate agencies and films, her active hosting declined, with salons becoming less frequent following her departure from ICM in 1986 and full retirement in 1991. The shift reflected broader changes in Hollywood's social scene, where her intimate, gossip-filled affairs gave way to more fragmented .

Later years

Retirement and post-career activities

In 1986, Sue Mengers retired from her position as a senior agent at International Creative Management (ICM) after two decades in the industry, citing personal burnout as a primary factor amid the evolving landscape of representation. The rise of corporate-style agencies like (CAA), which emphasized packaging deals and large-scale operations, contrasted with Mengers' more personalized approach, contributing to her sense of obsolescence and exhaustion. She described the decision as a "trial retirement" to recharge, embarking on extensive travels with her husband, director Jean-Claude Tramont, between their homes in Beverly Hills and . Following a brief and unsuccessful return to the William Morris Agency in 1988 as head of its motion picture department—where she struggled to rebuild her client roster amid ongoing industry consolidation—Mengers permanently withdrew from full-time agenting by 1989. In the years that followed, she maintained low-key involvement through informal consulting and advisory roles for select projects and emerging talents, leveraging her vast network without formal commitments. This scaled-back professional engagement allowed her to focus on personal pursuits while occasionally offering guidance to younger industry figures navigating Hollywood's competitive terrain. Post-retirement, Mengers revived her renowned hosting tradition with intimate salons at her Hollywood Regency-style home in Beverly Hills, gatherings that echoed her earlier party-hosting flair but on a more selective scale through the and . These Saturday night dinners, limited to 8-12 guests, featured a mix of veteran stars like , , and alongside younger talents such as and , fostering candid conversations that extended late into the night. The events, held around her home's oval pool, underscored her enduring cultural presence as a connector in 's social fabric. Mengers' life became notably quieter after Tramont's death in 1996 from cancer, marking a period of adjustment as she navigated widowhood in her Beverly Hills residence. While continuing her salons, she increasingly embraced a more private existence, surrounded by close friends like and Joanna Poitier, and focused on maintaining selective social ties rather than the high-octane demands of her earlier career. This phase reflected a deliberate shift toward personal reflection and legacy preservation in the heart of .

Health decline and death

In the 2000s, following her retirement, Sue Mengers began experiencing a series of small strokes that progressively impacted her health and led to increasing seclusion within her Beverly Hills home. These strokes, combined with a lifetime of illnesses—including a in 1997—resulted in significant mobility challenges, limiting her once-vibrant social engagements to occasional private dinner parties hosted at her residence. Despite these difficulties, she maintained close ties with a small circle of friends, reflecting a more introspective phase of her life away from Hollywood's public spotlight. Mengers' health continued to decline in her final years, culminating in her death on October 15, 2011, at the age of 79 from complications of following the strokes. She passed away peacefully at her Beverly Hills home, surrounded by longtime friends , Joanna Poitier, and Boaty Boatwright. A private funeral was held shortly after, attended only by her closest industry associates, with no public memorial service organized to mark her passing. The handling of her estate remained discreet, centered on her longtime residence, a 1959 Hollywood Regency-style home that symbolized her enduring connection to the entertainment world. Contemporaries reflected on Mengers' diminished presence with a mix of admiration and poignancy, noting the toll of her ailments on a known for her indomitable spirit. editor , who announced her death, described how the strokes and chronic illnesses "would have felled an athlete half her age," emphasizing that she left behind "few close friends, but many admirers" who remembered her as a "force of nature."

Legacy

Influence on the industry

Sue Mengers broke significant barriers in the male-dominated field of talent representation during the late and , becoming the first woman to achieve superagent status and wielding influence comparable to her male counterparts. By rising from a to a top agent at agencies like Creative Management Associates () and later International Creative Management (ICM), she challenged the industry's misogynistic norms, where women were often relegated to supportive roles. Her bold, unapologetic style—marked by aggressive negotiations and a refusal to conform to traditional expectations—paved the way for greater participation in agency leadership, inspiring a generation of women agents in the industry. Mengers played a pivotal role in shaping the actor-centric model of , a period of industry transformation from studio control to independent productions in the 1970s, by emphasizing talent packaging and high-stakes deal structures that prioritized actors' leverage. She pioneered the assembly of star-driven packages, such as linking and for films like What's Up, Doc? (1972), which secured lucrative short-term contracts and elevated agents' power in project development. These tactics, including relentless bluffing and leveraging personal networks, influenced enduring practices in talent representation, where actors negotiate backend profits and creative control as standard elements of deals today. For instance, her negotiation for Gene Hackman's role in (1971) exemplified how she shifted focus from studio dictates to performer-driven economics. The 2015 biography Can I Go Now?: The Life of Sue Mengers, Hollywood's First Superagent by Brian Kellow provides a detailed account of her negotiation tactics, portraying her as a master of psychological maneuvering—using charm, harassment, and insider gossip to outmaneuver executives like . Kellow highlights how Mengers' strategies, such as stealing clients through persistent pursuit and hosting influential parties to build alliances, were instrumental in the 1970s agency transitions amid corporate mergers and the decline of the . A 2025 retrospective further analyzes her rise and fall, crediting her with fostering in by demonstrating that women could thrive in high-stakes roles during the era's upheavals, including the shift to financing that ultimately sidelined her career. Her success demonstrated that women could thrive in high-stakes roles, paving the way for greater participation in . She mentored influential women including producer and studio executive Zanuck, contributing to a of in the .

Portrayals in media and culture

Sue Mengers has been depicted in various theatrical and cinematic works that highlight her larger-than-life persona as a superagent. In 2013, the play I'll Eat You Last: A Chat with Sue Mengers, written by John Logan and directed by , premiered at the in , featuring in the solo role of Mengers. The production later transferred to , where it opened on , 2013, at the , earning Midler a for Outstanding . Critics praised Midler's portrayal for capturing Mengers's sharp wit, blunt humor, and commanding presence during a fictional 1981 conversation on her Beverly Hills sofa. A proposed biopic titled Sue aimed to bring Mengers's story to the screen but was ultimately shelved. Announced in August 2021, the project was to star as Mengers, with Oscar-winning director at the helm and acquiring the rights after a bidding war with . By February 2025, Sorrentino confirmed that Sue, along with another Lawrence project, was no longer moving forward, citing development challenges amid his focus on other films. Mengers served as inspiration for several characters in films and television, reflecting her influence on portrayals of aggressive agents. Dyan Cannon's role as "Christine" in the 1973 murder-mystery was based directly on Mengers, capturing her brash style and industry connections. Similarly, portrayed "Eva Brown" in the 1981 comedy S.O.B., drawing from Mengers's reputation for colorful deal-making and personal flair. Her archetype also echoes in the fast-talking, high-stakes agent Ari Gold from the HBO series (2004–2011), though Mengers herself noted in a 2009 interview that the character lacked her script-reading diligence. Posthumously, Mengers has become a cultural symbol of Hollywood's extravagant excess, referenced in articles and media exploring the era's glamour and volatility. A 2025 Vanity Fair profile described her as the "Queen of the New Hollywood," emphasizing her outsized personality and lavish lifestyle amid the industry's transformative decade. Following her 2011 death, podcasts such as episodes of You Must Remember This have invoked Mengers as an emblem of the period's hedonistic agent culture, blending professional prowess with social spectacle. These references often highlight her flamboyant persona, including chain-smoking and poolside negotiations, as a for examining the excesses that defined Tinseltown's golden age.

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