Samuel Spewack (1899-1971) travelled from what is now Ukraine to the USA as a child and was educated at Columbia University. He became a journalist, wrote a few novels and, after marrying Bella Cohen, worked with her in Moscow for four years.
In the late 1920s, he and Bella began writing plays together, a number of which were performed on Broadway. Their work was also adapted for the cinema. In 1948, they collaborated with Cole Porter, writing the book for the musical Kiss Me, Kate. Broadly speaking, Sam took responsibility for the plot and structure of their work, while Bella was noted for her crackling dialogue.
The Spewacks’ first work directly for the screen was providing additional dialogue for Paramount’s Caught (1931). They contributed to fourteen other features, including adapting their own play, Clear All Wires! (1933).
In 1940, they wrote the screenplay for the Cary Grant-Irene Dunn comedy My Favourite Wife, which earned them an Oscar nomination.
Bella and Sam Spewack wrote one MGM musical, The Cat and the Fiddle. In addition, Kiss Me, Kate was filmed by the studio in 1953.
Bella Cohen (1899-1990) travelled from Romania to the USA as a child and grew up poor in New York. She became a journalist and, with her husband Sam Spewack, worked in Moscow for four years.
In the late 1920s, she and Sam began writing plays together, a number of which were performed on Broadway. Their work was also adapted for the cinema. In 1948, they collaborated with Cole Porter, writing the book for the musical Kiss Me, Kate. Broadly speaking, Sam took responsibility for the plot and structure of their work, while Bella was noted for her crackling dialogue.
The Spewacks’ first work directly for the screen was providing additional dialogue for Paramount’s Caught (1931). They contributed to fourteen other features, including adapting their own play, Clear All Wires! (1933).
In 1940, they wrote the screenplay for the Cary Grant-Irene Dunn comedy My Favourite Wife, which earned them an Oscar nomination.
Bella and Sam Spewack wrote one MGM musical, The Cat and the Fiddle, and some sources state that Bella worked uncredited on Naughty Marietta. In addition, Kiss Me, Kate was filmed by the studio in 1953.
Edwin Booth Willis (1893-1963) worked on the design of over 800 MGM pictures, in a career lasting a little over thirty years. He was nominated for Academy Awards 32 times, and won on eight occasions. In broad terms, Willis was an art director, but his specialism was set decoration and the bulk of his credits were in this capacity.
After working as an art director for Tiffany Pictures in the 1920s, Willis worked exclusively for Metro, obtaining three types of credit: Associate Art Director (AAD), Interior Decorations (ID) and Set Decorator (SD). He did early work as SD on Ben-Hur: A Tale of the Christ (1925).
Willis worked on some of the studio’s major critical and commercial successes, including Queen Christina (1933, for ID), The Thin Man (1934, as AAD), Anna Karenina (1935, as AAD, Fritz Lang’s Fury (1936, as AAD), Camille (1936, as AAD), The Good Earth (1937, as AAD), Captains Courageous (1937, as AAD), Boys’ Town (1938, as AAD), The Women (1939), Ninotchka (1939, as SD), The Shop Around the Corner (1940), Waterloo Bridge (1940), Pride and Prejudice (1940), The Philadelphia Story (1940), Blossoms in the Dust (1941, winning an Oscar), Dr Jekyll and Mr Hyde (1941), Woman of the Year (1942), Mrs Miniver (1942), Lassie Come Home (1943), Madame Curie (1943), Gaslight (1944, winning an Oscar), John Ford’s They Were Expendable (1944), The Yearling (1946, winning an Oscar), The Postman Always Rings Twice (1946), State of the Union (1948), Act of Violence (1948), Intruder in the Dust (1949), Little Women (1949, winning an Oscar), The Asphalt Jungle (1950), The Red Badge of Courage (1951), The Bad and the Beautiful 1952, winning an Oscar), Julius Caesar (1953, winning an Oscar), Bad Day at Black Rock (1955), Somebody Up There Likes Me (1956, winning an Oscar), Forbidden Planet (1956) and Lust for Life (1956).
Willis had a particularly extensive collaboration with Vincente Minnelli, decorating most of his musical and non-musical pictures
Edwin B Willis contributed to 153 musicals, around 70 per cent of MGM’s total output. It could be argued that this makes him the single most influential figure on the look of the Metro-Goldwyn-Mayer musical. The pictures were:
George Frear Runyon (1873-1964) made his stage debut aged 16 and achieved success in vaudeville doing comedy double acts with both his first and second wives. The act can be seen in a Vitaphone short called An Everyday Occurrence (1929).
Mack made his first film in 1925 and racked up well over 400 appearances. He started out in featured supporting roles, but the quality of his parts declined in the talking era.
Nonetheless, Mack made uncredited appearances in no fewer than twenty-two MGM musicals between 1930 and 1956: Love in the Rough, Going Hollywood, A Night at the Opera, San Francisco, A Day at the Races, Broadway Melody of 1938, Thoroughbreds Don’t Cry, Rio Rita, Thousands Cheer, Broadway Rhythm, Two Girls and a Sailor, Thrill of a Romance, Ziegfeld Follies, The Barkeleys of Broadway, Nancy Goes to Rio, The Great Caruso, The Band Wagon, Kiss Me Kate, Easy to Love, Athena, The Glass Slipper and The Opposite Sex.
For someone who died aged 57, David Poole Fronabarger (1912-69) produced an astonishing body of work; he must have been one of the hardest-working people in Hollywood. He appeared in around 240 feature films and shorts. He contributed to at least 50 screenplays and won an Emmy in 1961 for writing for The Red Skelton Show. And he directed about 65 shorts. He even did some stunt work at the beginning of his career.
O’Brien is probably best known as the lead performer in many Pete Smith Specialties, the series of comedy shorts produced by Pete Smith for MGM from 1935 to 1955. He also directed some of them as David Barclay. The acting in the Pete Smith films was always silent, with Smith himself providing narration. O’Brien was one of the last great adepts at silent cinema, with a particular skill at falls.
Dave O’Brien was in five Metro-Goldwyn-Mayer musicals. In the 1930s he was uncredited in Good News, Madam Satan, Flying High and Student Tour. Two decades later he was Ralph the stage manager in Kiss Me Kate.
British actor William Claud Michael Palmer (1888-1970) made a career largely out of playing what Bertie Wooster would have called a silly ass. He was the quintessential Algy in a number of Bulldog Drummond films, having first played the character in the West End. He also appeared as the surprisingly English Duke Otto von Liebenheim in Lubitsch’s Monte Carlo(193
Immediately before working with Lubitsch, Allister was Lord Rumblesham, the unlikely friend of Lawrence Gray in The Florodora. He then waited twenty-three years for his second appearance in an MGM musical, as Paul in Kiss Me Kate.
