The Musicals of Metro-Goldwyn-Mayer

Category: Lady Be Good

  • Edwin B Willis

    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:

    Broadway to Hollywood

    Stage Mother (ID)

    Dancing Lady (ID)

    Going Hollywood (ID)

    The Cat and the Fiddle (ID)

    Hollywood Party (ID)

    Student Tour (AAD)

    The Merry Widow (AAD)

    The Night is Young (AAD/SD)

    Naughty Marietta (AAD)

    Reckless (AAD)

    Broadway Melody of 1936 (AAD)

    Here Comes the Band (AAD)

    A Night at the Opera (AAD)

    Rose Marie (AAD)

    The Great Ziegfeld (AAD)

    San Francisco (AAD)

    Born to Dance (AAD)

    Maytime (AAD)

    A Day at the Races (AAD)

    Broadway Melody of 1938 (AAD)

    The Firefly (AAD)

    Thoroughbreds Don’t Cry (AAD)

    Rosalie (AAD)

    Everybody Sing (AAD)

    The Girl of the Golden West (AAD)

    Listen, Darling (AAD)

    The Great Waltz (AAD)

    Sweethearts

    Honolulu

    Let Freedom Ring

    Ice Follies of 1939

    The Wizard of Oz

    Babes in Arms

    At the Circus

    Balalaika

    Broadway Melody of 1940

    New Moon

    Strike Up the Band

    Hullabaloo (Associate Set Decorator, uncredited)

    Bitter Sweet

    Little Nellie Kelly

    Go West

    Free and Easy

    Ziegfeld Girl

    The Big Store

    Lady Be Good

    The Chocolate Soldier

    Smilin’ Through

    Babes on Broadway

    Born to Sing

    Ship Ahoy

    Rio Rita

    I Married an Angel

    Cairo

    Panama Hattie

    For Me and My Gal

    Seven Sweethearts

    Cabin in the Sky

    Presenting Lily Mars

    Du Barry was a Lady

    Best Foot Forward

    Thousands Cheer

    Swing Fever

    Girl Crazy

    Broadway Rhythm

    Two Girls and a Sailor

    Meet the People

    Bathing Beauty

    Meet Me in St Louis

    Music for Millions

    Thrill of a Romance

    Anchors Aweigh

    Ziegfeld Follies

    Yolanda and the Thief

    The Harvey Girls

    Two Sister from Boston

    Easy to Wed

    Holiday in Mexico

    No Leave, No Love

    Till the Clouds Roll By

    It Happened in Brooklyn

    Living in a Big Way

    Fiesta

    The Unfinished Dance

    Good News

    Summer Holiday

    On an Island With You

    The Pirate

    Easter Parade

    A Date with Judy

    Luxury Liner

    The Kissing Bandit

    Words and Music

    Take Me Out to the Ball Game

    The Barkeleys of Broadway

    Neptune’s Daughter

    In the Good Old Summertime

    That Midnight Kiss

    On the Town

    Nancy Goes to Rio

    Annie Get Your Gun

    Three Little Words

    Duchess of Idaho

    The Toast of New Orleans

    Summer Stock

    Two Weeks with Love

    Pagan Love Song

    Grounds for Marriage

    Royal Wedding

    The Great Caruso

    Excuse My Dust

    Rich, Young and Pretty

    Show Boat

    An American in Paris (winning an Oscar)

    The Strip

    Texas Carnival

    The Belle of New York

    Singin’ in the Rain

    Skirts Ahoy

    Lovely to Look At

    The Merry Widow

    Because You’re Mine

    Everything I Have is Yours

    Lili

    I Love Melvin

    Small Town Girl

    Dangerous When Wet

    The Band Wagon

    Latin Lovers

    The Affairs of Dobie Gillis

    Torch Song

    Kiss Me Kate

    Easy to  Love

    Rose Marie

    The Student Prince

    Seven Brides for Seven Brothers

    Brigadoon

    Athena 

    Deep in My Heart

    Jupiter’s Darling

    Hit the Deck

    The Glass Slipper

    Interrupted Melody

    Love Me or Leave Me

    It’s Always Fair Weather

    Kismet

    Meet Me in Las Vegas

    High Society

    The Opposite Sex

    Ten Thousand Bedrooms

    Silk Stockings

    Les Girls

  • Alexander Pollard

    British actor Alexander Pollard emigrated to the United States during the 1920s, and made his first film in 1928. He went on to make close to 200 screen appearances, all of them uncredited. He was a utility character actor, invariably cast as some kind of domestic or public functionary: over two thirds of his roles were as butlers or waiters.

    Pollard ran the luncheon counter where Fay Wray got her much-needed meal in King Kong (1933). He was a waiter hired by Nick and Nora Charles in The Thin Man (1934). He was a guest at the sinister party in Saboteur (1942). And in The Woman in the Window (1944) he played the club waiter who wakes up Edward G Robinson (twice).

    Pollard was in eight MGM musicals: Broadway to Hollywood, A Night at the Opera, Nobody’s Baby, Lady Be Good, Ship Ahoy, Thrill of a Romance, Easy to Wed and Words and Music.

  • Brooks Benedict

    Following military service in the First World War, Harold J Mann (1896-1968) worked in various jobs in Hollywood before making his acting debut in William Wellman’s Cupid’s Fireman (1923).He chose a name that matched his lounge lizard appearance.

    Benedict went on to appear in over 350 films. Initially, he had featured roles, such as the College Cad in Harold Lloyd’s The Freshman (1925), but by the sound era he was mostly playing uncredited bit parts. 

    Benedict was credited in What Price Hollywood? (1932), and also appeared in Sons of the Desert (1933), The Thin Man (1934), In Old Chicago (1938), Mr Smith Goes to Washington (1939), The Letter (1940), Yankee Doodle Dandy (1942), Now, Voyager (1942), Phantom Lady (1944), The Killers (1946), It’s a Wonderful Life (1946), Out of the Past (1947) and Strangers on a Train (1951).

    Brooks Benedict acted in five Metro musicals, starting with The Devil’s Brother. He went on to appear in Sweethearts, Lady Be Good, Du Barry was a Lady and Holiday in Mexico.

  • Busby Berkeley

    The birth name of Busby Berkeley William Enos (1895-1976) is something of a mystery since, according to his biographer, his birth certificate’s ‘name of child’ section was left blank. Busby may have been a nickname.

    IMDb declares that Berkeley “was one of the greatest choreographers of the US movie musical”. Technically, this is only true in part. He was certainly a great dance director, but choreographers usually know something about dancing, and Berkeley actually knew very little. As Jerome Delamater points out, Berkeley “used very little dance as such in his films”. He did not understand dance, but he did understand movement; specifically, the movement of human bodies in geometric patterns and shapes. As the artist Glen Baxter suggested, Busby Berkeley sequences were surrealism in action.

    In the 1920s, Berkeley became a celebrated Broadway dance director, staging around twenty shows and becoming celebrated for his tightly regimented routines. Florenz Ziegfeld invited him to go to Hollywood to work on the film version of the Eddie Cantor hit Whoopee! (1930), and he began honing the camera techniques that made his most famous numbers to stand out. It is important to recognize that these techniques were not necessarily of Berkeley’s devising. The overhead shot, for example, which is seen virtually as his signature, had been used in 1929 in MGM’s The Hollywood Revue of 1929, and the Ziegfeld idea of using a plethora of chorus girls was emulated by Larry Ceballos in Warner’s The Show of Shows (1929). But Berkeley used these techniques with more creativity and greater discipline.

    Berkeley’s reputation rests largely on the numbers he staged for the series of Warner Bros musicals that began with 42nd Street (1933). A couple of years earlier, however, he had staged the big number in MGM’s Flying High.

    Berkeley returned to Metro in 1939, to direct Babes in Arms, and did a lot of work for the studio thereafter. He directed the Garland-Rooney follow-ups Strike Up the Band and Babes on Broadway, as well as For Me and My Gal and Take Me Out to the Ball Game. He was the original director of Annie Get Your Gun, but most of his footage was scrapped when George Sidney took over. He was one of a number of directors who worked on Till the Clouds Roll By, and worked without credit on Swing Fever.

    Berkeley also arranged musical numbers for The Wizard of Oz (though most of his footage was left out), Cabin in the Sky (uncredited), Lady Be Good, Ziegfeld Girl, Born to Sing, Girl Crazy, Two Weeks With Love, Million Dollar Mermaid, Small Town Girl, Easy to Love, Rose Marie and Billy Rose’s Jumbo.

  • Ann Sothern

    Harriette Arlene Lake (1909-2001) was described as “the greatest comedienne” by Lucille Ball, who was probably a good judge.

    In a career of almost sixty years, Ann Sothern was successful on stage, film, television and radio. In Hollywood, she moved from studio to studio before settling at MGM, where she was cast as Maisie Ravier in Maisie (1939). The film’s success gave a boost to her moderately successful career, as well as resulting in nine sequels and a radio series.

    When she stopped getting lead roles, Southern moved predominantly to television. But her last great big screen performance, in The Whales of August (1987) earned her an Oscar nomination for Best Supporting Actress.

    Ann Sothern was in seven Metro musicals. Early on, she made blink-and-you’ll-miss-them appearances in Good News and Madam Satan. Ten years later, she was back with the lead  in Lady Be Good (Eleanor Powell’s top billing being contractual rather than deserved). She next took the title role in Panama Hattie, then played herself in Thousands Cheer. She was Broadway star Joyce Harmon in Words and Music, and finished off playing Jane Powell’s mother in Nancy Goes to Rio. 

  • Larry Steers

    Lawrence Wells Steers (1888-1951) appeared in around 550 films during his thirty-year career, sometimes credited, more often not.

    Twenty-seven of those uncredited roles were in Metro musicals, starting in 1930 with Lord Byron of Broadway. Steers was subsequently in Stage Mother, Dancing Lady, Hollywood Party, Reckless, Here Comes the Band, The Great Ziegfeld, Nobody’s Baby, The Great Waltz, At the Circus, Broadway Melody of 1940, Ziegfeld Girl, Lady Be Good, Two Girls and a Sailor, Meet the People, Ziegfeld Follies (giving the hattrick of MGM Ziegfeld titles), Yolanda and the Thief, Holiday in Mexico, No Leave, No Love, Till the Clouds Roll By, A Date with Judy, The Barkeleys of Broadway, That Midnight Kiss, Annie Get Your Gun, Duchess of Idaho, The Toast of New Orleans and The Great Caruso.

  • Lionel Barrymore

    Although Lionel Herbert Blyth (1878-1954) apparently had no ambition to join the family business (the show business), by the time sound films were introduced he had been an actor for 36 years, with extensive stage and screen experience. Early on he had worked under D W Griffith at the Biograph Company and he was a contract player for MGM since its inception, having been signed by Louis B Mayer to work for Metro Pictures.

    Barrymore also directed pictures, though far less skillfully than he acted in them. It is ironic, therefore, that his first two appearances in MGM musicals both cast him in the role of a director. In The Hollywood Revue of 1929 he is directing Norma Shearer and John Gilbert in the balcony scene from Romeo and Juliet. And in Free and Easy he is directing the bedroom scene that is disrupted by Elmer.

    Barrymore went from there to the director’s seat for real, taking charge of Metro’s new signing, Lawrence Tibbett, in The Rogue Song.

    In 1939 Barrymore had a supporting role in Let Freedom Ring and two years later was the judge in Lady Be Good.

    That was the end of Barrymore’s career in MGM musicals, though his most famous role, as Mr Potter in It’s a Wonderful Life (1946) still lay in the future. 

  • John Carroll

    The actor born Julian La Faye (1906-79) became a successful second-tier star, notably alongside John Wayne in Flying Tigers (1942). He started his film career playing bits in MGM musicals: Marianne (doughboy), Devil-May-Care (Bonapartist), The Rogue Song (Bandit) and New Moon Russian soldier).

    After developing his career, Carroll returned as straight man to the Marx Brothers in Go West, and went on to feature prominently in Lady Be Good, Rio Rita and Fiesta.

    Carroll’s last appearance was in Orson Welles’s film maudit The Other Side of the Wind (1975, released 2018).

  • Ernie Alexander

    Ernie Alexander (1890-1961) was typical of Hollywood’s hardworking bit players. Out of over 200 mostly uncredited performances, sixteen were in Metro musicals.

    Beginning as a doughboy in Marianne, Alexander was a student in So This Is College, a servant in Hollywood Party, and a townsman in Babes in Toyland.

    Alexander’s contribution to Here Comes the Band was lost in the edit, but he came back with an elevator operator in Rose-Marie and a racetrack usher in Thoroughbreds Don’t Cry.

    He was a revolutionary in The Great Waltz, a photographer in Broadway Serenade and an expectant father in Little Nellie Kelly. He played a pageboy in Lady Be Good and stagehands in Ship Ahoy and For Me and My Gal. 

    He delivered flowers in Du Barry Was a Lady and finally acquired a name as Charlie the bellboy in I Dood It. 

    Finally, Alexander was back in uniform as a commissionaire in Swing Fever.

  • Oliver T Marsh

    Oliver Taylor Marsh (1892-1941) was an MGM company man for most of his career, and arguably achieved his greatest successes with some of the nineteen musicals he photographed, most of which were directed by Robert Z Leonard and W S Van Dyke.

    Marsh’s earliest efforts were Marianne, In Gay Madrid and The Florodora Girl. He protographed the 1930 New Moon and also worked uncredited on the 1940 remake. He returned to the genre after the 1932 hiatus and shot Dancing Lady. The following year he worked with Lubitsch on The Merry Widow and moved immediately from the sublime to the sublimely ridiculous Laurel and Hardy in Babes in Toyland.

    Marsh photographed the Oscar-winning The Great Ziegfeld and the destruction of San Francisco in the film of the same name. Maytime was the first of his five MacDonald-Eddy operettas, and he also worked with MacDonald on The Firefly and with Eddy on Rosalie. The Girl of the Golden West was followed by an Academy Award, with Allen Davey, for their Technicolor work on Sweethearts. 

    Following the ridiculous Ice Follies of 1939, Marsh was with Jeanette MacDonald again for Broadway Serenade. He rounded off his career with Broadway Melody of 1940, Bitter Sweet (again Oscar-nominated for Technicolor) and Lady Be Good, made shortly before his untimely death.

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