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Edwin Justus Mayer

Edwin Justus Mayer

Writer · Died September 11, 1960, aged 63 · New York, New York

From Wikipedia, the free encyclopedia. Edwin Justus Mayer (8 November 1896 – 11 September 1960) was an American screenwriter. He wrote or co-wrote the screenplays for 47 films between 1927 and 1958. He was born and died in New York, New York. He is the grandfather of film director Daisy von Scherler Mayer. Edwin Justus Mayer worked on many screenplays. But he is famous today for working with Ernst Lubitsch. He worked with Lubitsch in To Be or Not to Be (1942) and A Royal Scandal (1945). A Royal Scandal (1945) was a box office failure, but today, is considered by many as one of Lubitsch's finest films. Description above from the Wikipedia article Edwin Justus Mayer, licensed under CC-BY-SA,full list of contributors on Wikipedia.    

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Biography from TMDB.

Born
November 8, 1896
Died
September 11, 1960 (aged 63)
From
New York, New York
Works as
Writer
Titles
15 on MovieCove · 36 credits in all
Links
IMDb (opens in a new tab)TMDB (opens in a new tab)Wikidata (opens in a new tab)

Known for

TMDB popularity, last 38 days to Oct 27Down 26% in 30 days

What are Edwin Justus Mayer's films like?

Across their 14 MovieCove titles with a thematic analysis, their films lean Bonds and Morality.

Genres

Comedy7 titlesTypical Midcredits score: 75th percentile, at or above their average across these genres
: browse their Comedy movies
Drama4 titlesTypical Midcredits score: 68th percentile
: browse their Drama movies
Adventure2 titlesTypical Midcredits score: 65th percentile
: browse their Adventure movies

Their MovieCove films by primary genre. The badge is the typical Midcredits score of the genre's films, the median percentile; an up arrow marks a genre at or above their average across these genres.

Themes

share of theme weight
Bonds
49%
Morality
24%
Survival
11%
Power
11%
Self
2%
Society
2%
Romantic love10 titles, browse their movies with this themeDeception4 titles, browse their movies with this themeRedemption3 titles, browse their movies with this themeMarriage2 titles, browse their movies with this themeSurvival2 titles, browse their movies with this themeClass2 titles, browse their movies with this themeFreedom2 titles, browse their movies with this theme

What they feel like to watch

their average across 14 films
ToneFeelDemandtheir average · filled zone: the category
Serious: How heavy the subject matter and outlook get. Browse their serious movies.
Tone · Weight
lightdark

A split, not a type: Light 6 · Serious 5 · Dark 3

Stylized: How far its world departs from everyday reality. Browse their stylized movies.
Tone · Style
naturalisticheightened

Grounded 2 · Stylized 7 · Heightened 5

Charged: How hard the emotional peaks hit while you watch. Browse their charged movies.
Feel · Intensity
gentleintense

Gentle 4 · Charged 8 · Intense 2

Shifting: How much it swings between very different feelings. Browse their shifting movies.
Feel · Swings
steadyswings

A split, not a type: Steady 7 · Shifting 6 · Whiplash 1

Some laughs: How much of the runtime is played for laughs. Browse their some laughs movies.
Feel · Humor
noneconstant

A split, not a type: Straight-faced 5 · Some laughs 4 · Funny 5

Even-paced: How fast it moves from scene to scene. Browse their even-paced movies.
Demand · Pace
slowrelentless

Slow burn 5 · Even-paced 8 · Relentless 1

Casual: How much focus it asks of you — look away and lose the thread? Browse their casual movies.
Demand · Attention
casualfull focus

Casual 11 · Engaged 3 · Full focus 0

Resolved: How much is left for you to interpret. Browse their resolved movies.
Demand · Resolution
resolvedambiguous

Resolved 12 · Open-ended 2 · Ambiguous 0

Moods and endings

endings are an aggregate; no title is named

Dominant moods · mentions across their titles

Romantic
9
Melancholic
6
Tense
6
Absurd
5
Joyful
5
Other
10

How their films linger

Fun7 titles, browse their movies with this aftertasteBittersweet6 titles, browse their movies with this aftertasteFeel-good3 titles, browse their movies with this aftertasteRousing3 titles, browse their movies with this aftertasteHopeful3 titles, browse their movies with this aftertasteWistful3 titles, browse their movies with this aftertaste

How their films end · 1 with a twist

  • Happy8
  • Bittersweet5
  • Ambiguous1

AI-generated from each title's plot synopsis and cast list, with extra plot summaries, reviews and Parents Guide notes for titles the model may not know, and the model's own knowledge of the ones it recognizes. Only analyzed titles count, so this covers part of the filmography; the feel axes count films only for now.

Where can I watch Edwin Justus Mayer's films?

As of October 24, 2026, 3 of their 15 MovieCove titles stream on a subscription or free service.

Also on these channels

Subscription and free streaming for Edwin Justus Mayer's titles on MovieCove; rent and buy are not counted. Titles are listed by Midcredits score, highest first, at most 12 per service; a dashed chip is a producer credit or a minor one, such as a thanks. A service opens the browse page, which counts movies only, so its number can differ.

Filmography

36 credits, 15 with a MovieCove page.

  • To Be or Not to Be(1983)

    Writer

    Midcredits score: 75th percentile of all films

  • The Buccaneer(1958)

    Script

    Midcredits score: 61st percentile of all films

  • The Foxes of Harrow(1947)

    Writer

    Midcredits score: 57th percentile of all films

  • Masquerade in Mexico (not in the MovieCove catalog yet)(1945)

    Story

  • A Royal Scandal(1945)

    Screenplay

    Midcredits score: 67th percentile of all films

  • To Be or Not to Be(1942)

    Screenplay

    Midcredits score: 98th percentile of all films

  • Underground (not in the MovieCove catalog yet)(1941)

    Story

  • They Met in Bombay(1941)

    Screenplay

    Midcredits score: 65th percentile of all films

  • Rio (not in the MovieCove catalog yet)(1939)

    Screenplay

  • Exile Express (not in the MovieCove catalog yet)(1939)

    Writer

  • Midnight(1939)

    Original Story

    Midcredits score: 96th percentile of all films

  • The Buccaneer(1938)

    Screenplay

    Midcredits score: 65th percentile of all films

  • Desire(1936)

    Screenplay

    Midcredits score: 84th percentile of all films

  • Till We Meet Again (not in the MovieCove catalog yet)(1936)

    Screenplay

  • So Red the Rose(1935)

    Writer

    Midcredits score: 61st percentile of all films

  • Peter Ibbetson(1935)

    Additional Writing · Writer

    Midcredits score: 75th percentile of all films

  • Here Is My Heart (not in the MovieCove catalog yet)(1934)

    Screenplay

  • The Affairs of Cellini(1934)

    Theatre Play

    Midcredits score: 40th percentile of all films

  • Thirty Day Princess (not in the MovieCove catalog yet)(1934)

    Adaptation

  • I Am Suzanne! (not in the MovieCove catalog yet)(1933)

    Writer

  • The Song of Songs(1933)

    Writer

    Midcredits score: 74th percentile of all films

  • Tonight Is Ours (not in the MovieCove catalog yet)(1933)

    Writer

  • Wild Girl (not in the MovieCove catalog yet)(1932)

    Screenplay

  • Merrily We Go to Hell(1932)

    Screenplay

    Midcredits score: 75th percentile of all films

  • Cheri-Bibi (not in the MovieCove catalog yet)(1931)

    Screenplay

  • The Phantom of Paris (not in the MovieCove catalog yet)(1931)

    Dialogue

  • Never the Twain Shall Meet (not in the MovieCove catalog yet)(1931)

    Screenplay

  • Romance(1930)

    Screenplay

    Midcredits score: 35th percentile of all films

  • The Lady of Scandal (not in the MovieCove catalog yet)(1930)

    Adaptation · Writer

  • In Gay Madrid (not in the MovieCove catalog yet)(1930)

    Dialogue

  • Redemption (not in the MovieCove catalog yet)(1930)

    Dialogue

  • Not So Dumb (not in the MovieCove catalog yet)(1930)

    Dialogue

  • The Unholy Night (not in the MovieCove catalog yet)(1929)

    Screenplay

  • Man-Made Women (not in the MovieCove catalog yet)(1928)

    Writer

  • The Whip Woman (not in the MovieCove catalog yet)(1928)

    Writer

  • Husbands for Rent (not in the MovieCove catalog yet)(1927)

    Story

Career shape

A full career of 34 titles from 1927 to 1958.

Biggest box office

To Be or Not to Be (1983)

$13M worldwide

Highest rated

To Be or Not to Be (1942)

Midcredits 98th

By role

only this rolewith another role
Writing32 of 34: 32 only writing, 0 with another role · typical Midcredits score67thOther crew2 of 34: 2 only other crew, 0 with another role

By decade

1920s4 · crew1930s24 · crew1940s5 · crew1950s1 · crew

Counts from TMDB across their full career, self appearances out; a title counts in every role they held on it. The ring is the typical Midcredits score (the median percentile) of the role's titles that are on MovieCove, shown from 5 scored.

How do Edwin Justus Mayer's films land?

Their typical MovieCove film has a Midcredits score in the 67th percentile, the median of all 15; across their 14 films with reception data, the typical film sits in the 69th percentile for acclaim.

Acclaim · how much people like their films

69thpercentile
Typical film, the median of 14

Approval · how many liked their films

69thpercentile
Typical film, the median of 14

Reach · how many have seen their films

55thpercentile
Typical film, the median of 14

Midcredits score across 15 titles, by percentile

  • 75th and up6
  • 50th to 74th7
  • 25th to 49th2

Shape of the crowd

None of their 15 titles divides audiences: 10 are Crowd Pleasers.

  • Universally Loved2
  • Crowd Pleaser10
  • Broadly Agreed1
  • Mixed2

Most loved · writer

To Be or Not to Be (1942)

Midcredits 98th · 86% liked

Reviewers score the dialogue 61/100 and the plot and story 52/100 in their films, across 14 reviewed titles. The element that speaks to their work as a writer.

Percentiles are each film's standing among all films on MovieCove; the typical film is the median, so one outlier cannot drag it. Percentiles and reviewer scores count the films IMDb credits them on, for now; the Midcredits score bands, the shape of the crowd and the two cards count their MovieCove titles, shows included (a show ranked among shows), appearances as themselves left out. A descriptor is the shape of a title's IMDb rating distribution against the catalog; "most divisive" needs a spread wider than half of all titles, and a card names only a principal credit: a craft role, and on a show a crew role or a run of episodes, never a courtesy credit or a one-off guest spot.

Who does Edwin Justus Mayer work with?

People who share at least 2 of Edwin Justus Mayer's MovieCove titles, grouped by what they did on them; Ernst Lubitsch shares the most, 4.

Directors

Writers

Actors

Composers, cinematographers and editors

Producers