Category: Chasing Rainbows

  • Bess Meredyth

    Screenwriter Helen Elizabeth MacGlashan (1890-1969) began writing scenarios in the early 1910s, but maintained a parallel career as an actor until 1926. A trusted colleague of Irving Thalberg, she was dispatched to Italy to rescue the out-of-control production Ben-Hur (1925).

    Meredyth met her third husband, director Michael Curtiz, at the Warner Bros studio while she was working for First National, and advised him about his pictures even after she returned to Metro-Goldwyn-Mayer. She reviewed all his scripts and frequently amended the dialogue.Meredyth’s final screen credit was for the screenplay for Curtiz’s The Unsuspected (1947).

    Meredyth contributed to four of MGM’s early musicals. She co-wrote the story from which Chasing Rainbows was adapted and worked on the scenario, and went on to write the adaptation for In Gay Madrid. Some sources show Bess Meredyth and Wells Root as authors of a fictional work called The Southerner, on which the 1930 musical was based. All that seems certain, however, is that they are credited for the film’s dialogue continuity. Finally, Meredyth wrote the screenplay for The Cuban Love Song

  • Robert Milasch

    Robert Emmett Milasch (1885-1954) began his film career in 1903 and appeared in The Great Train Robbery (1903). He had many credited roles through the silent era, but his appearances in sound pictures were almost all uncredited bit parts, which suggests his voice was not up to the task. He was in 140 films after 1929, and in forty of these studio records describe him as ‘Townsman’. The word ‘Barfly’ crops up quite a few times as well.

    Milasch was in three MGM musicals: Chasing Rainbows, The Girl of the Golden West (as a townsman) and Two Sisters from Boston.

  • Eugene Borden

    Parisian Élysée Eugène Prieur-Bardin (1897-1971) emigrated to America as a teenager, but played many Frenchmen (and sundry other continentals) in a fifty-year career. He started out in The Great Secret (1917), a serial with jeopardy and super-villains, and concluded with one of James Coburn’s sixties’ Flint adventures.

    His contributions to MGM musicals, all uncredited, spanned 27 years. They were in Chasing Rainbows, The Cat and the Fiddle, The Merry Widow, The Firefly, Thrill of a Romance, Yolanda and the Thief, On the Town, An American in Paris, Million Dollar Mermaid, Dangerous When Wet, Interrupted Melody, It’s Always Fair Weather and Silk Stockings.

  • Youcca Troubetzkoy

    Prince Yucca Troubetskov (1905-1992) was American-born to Russian nobility, and pursued a film career from 1925 to 1939 in both Hollywood and France. He had the kind of exotic, sultry good looks made popular by Rudolph Valentino.

    Troubetzkoy had a supporting role in Chasing Rainbows and also made an appearance in Madam Satan.

  • Eddie Phillips

    Eddie Phillips (1899-1965) acted in close to 200 films in his 40-year career. Between 1926 and 1929 he appeared over forty times as Don Trent in The Collegians, a series of shorts from Universal depicting the lives and loves of a group of students. His film career petered out in the early fifties, but he continued to have a successful career on Broadway.

    Phillips had a featured role in Chasing Rainbows, and subsequently made uncredited appearances in The Firefly and Two Girls on Broadway

  • Nita Martan

    Nita Martan (1898-1986) performed in vaudeville and appeared in a couple of Broadway shows in the mid-twenties.

    Martan worked sporadically in films from 1920 onwards, initially as Manilla Martan. A couple of years after making Chasing Rainbows, she formed a dancing partnership and featured at the Coconut Grove. She made no more films.

  • Chasing Rainbows

    Synopsis

    A roadshow tour of a Broadway hit set during the First World War ends with a big production number [Happy Days Are Here Again].

    Eddie Ross, the stage manager, tells the cost to be on the train in 55 minutes. Carlie Seymour asks her partner Terry Fay to eat with her. He agrees, but then rushes to invite Peggy, the leading lady with whom he is in love, to go with them. Terry then asks Carlie to finish his packing.

    Drunken wardrobe mistress Polly maintains a feud with Bonnie, an older performer.

    Eddie asks Carlie what Terry would do without her, and she laughingly replies that Terry is just a big kid and she never takes him seriously. Eddie asks Carlie to have a drink with him, but she says she is eating with Terry.

    At the station, the company’s trunks are loaded onto the train. Carlie tells Eddie that Terry never showed up at the restaurant. Peggy arrives at the last minute with a “rich barber from Kansas City” who follows her from theatre to theatre. Terry tells the barber to stop bothering Peggy, who then quits and leaves with the barber.

    On the train, Terry hints he may kill himself, but Bonnie indicates this is a regular occurrence [Poor But Honest]. Eddie tells Terry that if he is going to kill himself, he has to give two weeks’ notice. Carlie tries to talk Terry round, telling him no one in the show thought Peggy was good enough for him. She tells Terry that his problem is that he is always too good to women; if he wants one to stick by him, he needs to stay indifferent and not show her too much affection. Terry determines to punch on the nose the next girl he falls for.

    Daphne Wayne joins the company as Peggy’s replacement. Daphne and company-member Don Cordova have had a relationship in the past.

    At the rehearsal, Eddie explains the plot of the show to Daphne: Terry is in love with her, and he is secretly loved by Carlie. Carlie stands in for Daphne to demonstrate the opening number [Lucky Me, Lovable You]. It is the first time Terry has sung a love song to her. The rehearsal continues and Daphne performs her first number [Do I Know What I’m Doing?]. Don and Carlie can both see that Terry is already falling for Daphne.

    Some time later, the company is getting ready for a matinee performance. Bonnie tells Carlie she needs to stop fussing over Terry, but Carlie says she hardly sees him any more. She then goes to Terry’s dressing room and tidies it. Terry is besotted with Daphne, who has told him he is “the first guy I ever really cared for”. When Carlie fails to be excited by this news, Terry angrily tells her she doesn’t know what real love is, but immediately apologizes. Carlie says it is okay, because she knows him so well. [Everybody Tap].

    While Terry is on stage [Love Ain’t Nothin’ but the Blues], Carlie overhears Daphne tell Don that she is only using Terry to advance her career, but will see him secretly.

    After the performance Carlie goes to Daphne’s dressing room and tells her how devastated Terry would be if he found out about Don. Daphne denies everything, even after Carlie tells her she overheard them. Terry arrives as Carlie is leaving and finds Daphne pretending to cry. Terry challenges Carlie about spreading lies, and she pretends it was just a joke. Terry follows Carlie out of the theatre and says she must apologize to Daphne, but Carlie refuses.

    Returning to the theatre, Terry sees Daphne entering Don’s room. Daphne explains to Don that Terry’s sister is married to an influential theatre owner. She plans to use Terry as a stepping stone to Broadway, and is prepared to marry him if necessary. Terry enters the room just as Daphne and Don kiss.

    Back at the hotel, Terry finds Carlie in her room, sitting in the dark. He apologizes and tells her about Daphne and Don. Terry tells her he is leaving the show, and Carlie replies that he is old enough to know what he is doing. Terry relents and says he will not give Daphne the satisfaction; he and Carlie have worked too hard to get where they are to let Daphne split up the act. He seems to notice for the first time how attractive Carlie is [Lucky Me, Lovable You]. They agree to stick together no matter what happens, and Terry tells Carlie he is beginning to fall for her and then kisses her. He orders dinner and arranges to meet Carlie in the lobby.

    Terry meets Daphne in the hall and she begs for a chance to explain. Later, during the intermission, Carlie tells Bonnie what has happened between her and Terry, but Bonnie is sceptical. Carlie goes to Terry’s room and apologizes for not getting down in time for dinner. Daphne walks in and shows off a wedding ring. Carlie laughs at the joke this will be when the company hears, and is hysterical by the time she gets back to her own dressing room.

    Months later, it is the last town of the tour and Carlie is now dating Eddie. On the closing night, Bonnie and Polly make up their differences and get drunk. Terry shamefacedly tells Carlie he is splitting up the act so he can partner with Daphne. Carlie says it is only natural and that she will be fine. She agrees to spend the summer with Eddie on his mother’s farm. Terry is irrationally jealous and advises Carlie not to go.

    Later, Daphne meets Don in her dressing room and tells him again that Terry means nothing to her. Terry overhears everything from the next room and beats up Don. Terry tells Daphne he never wants to see her again. Terry tells Eddie he cannot go on for the last act, but Carlie finally loses patience and tells him off. Daphne has quit, but the show goes on [My Dynamic Personality]. Carlie joins Terry on stage and they are reunited [Happy Days Are Here Again].    



  • Joe Goodwin

    Joe Goodwin (1889-1943) was the lyricist who gave the world ‘When You’re Smiling’. To offset that, he also perpetrated ‘Your Mother and Mine’. 

    The last-named song was one of the songs he produced in collaboration with Gus Edwards for The Hollywood Revue of 1929

    Goodwin went on to write ‘Love Ain’t Nothin’ But the Blues’ with Louis Alter for Chasing Rainbows.

  • Robert E Hopkins

    We may never know how many screenplays Robert E Hopkins (1886-1966) contributed to if Thomas Schatz’s description of him prowling the Culver City lot providing one-liners as required is accurate. We certainly know he contributed to The Hollywood Revue of 1929, Chasing Rainbows, Children of Pleasure (uncredited), Love in the Rough and The Cuban Love Song

    Nineteen-thirty-six was a year of extremes. He got an Academy Award nomination for providing the story for San Francisco, and wrote without credit for Hollywood Party. Such was the life of a contract writer at MGM.

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