Category: Lord Byron of Broadway

  • Lord Byron of Broadway

    Synopsis

    A young woman waits outside the Trocadero Cafe to speak to Roy Erskine, who has been avoiding her. She  says she knows Roy is through with her. She is not complaining because she always knew she would end up as “just another song”. Roy makes love to girls, breaks their hearts, and then turns it into material for a new song. Roy says he did not get a song from her, implying she was just a golddigger. 

    Roy goes into the Trocadero, where he plays piano. He meets flirtatious Bessie, who offers to let him use the piano in her apartment to work. Back at her apartment, Bessie reveals that she has been in love with Roy for months. She has only been in love once before and, to prove it, she shows Roy a bundle of old love letters. While they are kissing, Roy gets an idea for a song. 

    Roy (Charles Kaley) finds inspiration in Bessie’s (Gwen Lee) bundle of old love letters

    Later, in the Trocadero, Bessie introduces Roy to Mr Millaire, who plays in a vaudeville theatre orchestra and is interested in Roy’s songs. Roy agrees to bring an example to the theatre. Now he has written a new song, Roy starts to avoid Bessie.  

    Roy goes to a music shop and asks Nancy Clover to produce a piano copy of a song for him, because he does not read music. Roy and Nancy are attracted to each other. Roy takes Nancy to the theatre [The Japanese Sandman] where his new song is being performed by Joe Lundeen [A Bundle of Old Love Letters]. Roy is shocked to find that Millaire has taken credit for writing the song. 

    Going to  Joe’s dressing room, they find him talking to his agent, Phil. Roy and Nancy perform the song to a sceptical Joe and Phil [A Bundle of Old Love Letters]. Joe and Phil are convinced and Phil suggests Joe, Roy and Nancy form a new act. 

    Three months later, Lundeen and Erskine with Nancy Clover are a hit [A Bundle of Old Love Letters]  and so is the song. Roy is flirting with a dancer “for inspiration,” making Nancy unhappy. In the dressing room, Joe advises Nancy to be patient, saying Roy is on a merry-go-round for the moment. Riccardi, the dancer’s husband, bursts in looking for Roy. Joe pretends he is Roy and that Nancy is his wife, and Riccardi calms down. 

    Joe warns Roy to stop chasing women for inspiration, but Roy ignores him. Time passes and Roy continues composing, using one woman after another. 

    Roy, Nancy, Joe and Phil visit an expensive nightclub [Blue Daughter of Heaven]. Roy is introduced to the audience and asked to perform [Should I?]. Roy then goes to a party, leaving Nancy with Joe. 

    The next morning, Roy, Joe and Nancy are at a recording studio and hear, over a loudspeaker, the voice of a woman singing Should I?. Joe recognizes the voice as someone he knew a long time ago [Should I?]. Nancy and Joe hear Roy introducing himself to the singer, Ardis Trevelyn. Ardis pretends not to remember Joe, who is upset by this. 

    Joe introduces himself to Ardis (Ethelind Terry)

    Ardis takes Roy back to her apartment for lunch. He tells her meeting her has made this the most important day of his life, and immediately starts composing lyrics based on the idea. Later, Ardis calls Roy when he is performing in Boston: Roy is to write the numbers for her new Broadway show, and he, Joe and Nancy will also perform. [The Woman in the Shoe]

    Joe tells Nancy that they have to break up Roy’s relationship with Ardis, because she is not capable of loving anyone. He then realizes that Nancy loves Roy, and decides to set Roy straight. 

    Roy is asking Ardis why she will not marry him when Joe enters. Joe tells Roy that Ardis cannot marry him because she is already married: he and Ardis married seven years ago and she gave him the air after four. Roy gets belligerent and orders Joe to get a divorce. Joe leaves the theatre and is knocked down by a taxi. Back at the apartment Roy and Joe share, a doctor tells Nancy that Joe is dying. Roy and Ardis arrive and hear the news. Joe dies before Roy can see him. 

    Later, Roy writes a song in Joe’s memory. He tells Phil it is the best thing he has written and wants more money for it. Nancy visits Roy and asks him not to exploit Joe’s death in a song. She asks him to do it for her, because she loves him. She does not want him to be cheap and selfish. After Nancy leaves, Roy tells Ardis that he realizes everything he has written was squeezed from someone’s misery and tears. Ardis says she always knew he never had an idea he did not steal. Roy rips up the song about Joe. Ardis tells him he will starve if he stops writing popular songs, and walks out on him. 

    Nancy (Marion Shilling) begs Roy not to exploit Joe’s death, while Ardis looks on

    Some time later, Roy only has $200 left and has been unable to write anything, and he has started drinking. 

    Later still, Roy looks the worse for wear and fails to get back his old job at the Trocadero. He meets Bessie and goes back to her apartment. Roy reminds her of when he called her old love letters mush and says the joke is on him now, because he  has been carrying around a letter from Nancy for months. Roy had sent Nancy a song he wrote for her, but she says she has never listened to it and they should not see each other again. Bessie turns on the radio and Roy recognizes the song he wrote for Nancy [Only Love Is Real]. He realizes that she did play it after all. Roy rushes off to find Nancy, leaving Bess alone. 

    The song is a big hit and Roy and Nancy marry. At their new apartment, Roy gets the inspiration for a new song [You’re the Bride and I’m the Groom].

  • Dimitri Tiomkin

    Dimitri Zinovievich Tiomkin ((1894-1979) was one of the most celebrated Hollywood composers of all time. He was nominated for Oscars 22 times, and won on four occasions: The High and the Mighty (1954), High Noon (winning for both Best Score and Best Song), and The Old Man and the Sea (1958).

    Tiomkin’s contributions to MGM’s musicals were easrly in his career and more modest. He wrote ballet music for Devil-May-Care and The Rogue Song, in both of which the choreography was by Tiomkin’s wife, Albertina Rasch. He also collaborated with Raymond B Egan on the song ‘Blue Daughter of Heaven’ for Lord Byron of Broadway.  

  • Willard Mack

    Charles Willard McLaughlin (1873-1934) worked as an actor, director and playwright before he took up screenwriting in 1916, carrying this out alongside work on Broadway.

    Mack contributed to the scenarios of It’s a Great Life and Lord Byron of Broadway. He also co-wrote and directed Broadway to Hollywood, the film in which producer Harry Rapf recycled content from the abandoned The March of Time

  • Crane Wilbur

    Crane Wilbur (1886-1973) acted in his first film in 1910 and found fame opposite Pearl White in The Perils of Pauline (1913). He also became a scenarist, and directed his first picture in 1916. His final film as writer-director was House of Women in 1962.

    In 1929 Wilbur wrote a play, Children of Pleasure, which he helped adapt into a musical the following year. He also wrote Lord Byron of Broadway and made an uncredited appearance in It’s a Great Life.

  • James Burroughs

    James Burroughs (????-19??) had a brief career not appearing in MGM musicals.

    In 1929 Burroughs sang ‘Wedding of the Painted Doll’ offscreen in The Broadway Melody and ‘Tableau of the Jewels’ in The Hollywood Revue of 1929. He followed these non-appearances the next year by singing ‘Blue Daughter of Heaven’ in Lord Byron of Broadway

  • Ann Dvorak

    Anna McKim (1911-79) made her name as an actor of great talent in Scarface (1932) and flourished for a time at Warner Bros. But only a couple of years earlier she had been a regular member of the chorus line in no fewer than eleven of Metro’s early musicals. She is prominent in all her appearances, largely owing to her unique beauty and a screen presence that would be fully revealed by Howard Hawks.

    Dvorak is cited by some sources as assistant choreographer to Sammy Lee, who certainly was the dance director on most of her MGM appearances. This would certainly explain her prominence.

    Dvorak starts off big in The Hollywood Revue of 1929 in a two-shot with Jack Benny. She gets to speak two words (“Pardon me”) and slap Benny in the face. After playing a student in So This Is College, she was back in the chorus line in It’s a Great Life, supporting the Duncan Sisters.

    After that, Dvorak was in Devil-May-Care, Chasing Rainbows, Lord Byron of Broadway, Free and Easy and Children of Pleasure. She was another student in Good News, another chorus girl in Love in the Rough and, finally, a party-goer in the zeppelin in Madam Satan. In later films she was also working on choreography with Sammy Lee.

    Dvorak also worked on The March of Time before it was abandoned.

  • Sammy Lee

    Sammy Lee (1890-1968), born Samuel Levy, was the first in a line of important choreographers at MGM, though he arguably achieved greater success on Broadway and at Twentieth Century-Fox.

    Lee is uncredited on The Broadway Melody, which he might have been quite happy about, given the rudimentary nature of the dance numbers. He had worked on Ziegfeld’s Follies in 1927, but this is not reflected in the style of the fictional Zanfield’s show. Lee and director Harry Beaumont could not, in this first-ever film musical, determine how to make a stage performance cinematic. Nor were the chorines of the quality Lee would have been used to on Broadway.

    Lee’s first onscreen credit was for ‘Dances and Ensemble’ in The Hollywood Revue of 1929, where he did his best with non-professional dancers Joan Crawford and Marion Davies. He also essayed a pre-Berkeley overhead shot of the chorus.

    Lee went on to stage dances for It’s a Great Life, Chasing Rainbows, Lord Byron of Broadway, They Learned About Women, Free and Easy, Children of Pleasure, Good News, Love in the Rough (which includes an al fresco number performed at a real golf club), A Lady’s Morals, Broadway to Hollywood and Dancing Lady.

    A move to Twentieth Century-Fox earned Lee Academy Award nominations for King of Burlesque (1936) and Ali Baba Goes to Town (1937). He was back at Metro for Honolulu, Hullabaloo, Cairo, Born to Sing, Meet the People and Two Girls and a Sailor.

    Lee had a parallel career as the director of a series of undistinguished shorts.

  • Benny Rubin

    Benny Rubin (1899-1986), like Cliff Edwards, was a recurring presence in Metro’s earliest musicals. A talented dialect comedian, he was limited in most of his musical appearances to a Jewish characterization; it has been suggested that his career was hampered by the idea that he looked “too Jewish”.

    Rubin’s first appearance was alongside Edwards in Marianne, and he followed this up as vaudeville booker Benny Friedman in It’s a Great Life. He is the Jewish half of a double act with Irish Tom Dugan in They Learned About Women, and an agent in Lord Byron of Broadway.

    Rubin plays a doctor from the Bronx who finds himself amongst the cowboys in Montana Moon, while he is back in New York’s show biz as a pianist in Children of Pleasure. In Love in the Rough he is a fish-out-of-water Russian immigrant masquerading as Robert Montgomery’s valet. 

    The 1932 moratorium followed and Rubin was absent from MGM’s musicals until 1953’s Torch Song. He then had, mostly uncredited, roles in Easy to Love, Meet Me in Las Vegas, Ten Thousand Bedrooms and Looking for Love

    Benny Rubin’s final appearance was as another Jewish agent in Orson Welles’s film maudit The Other Side of the Wind (filmed in the 70s, released 2018).

  • Cliff Edwards

    The man who contributed greatly to the 20s’ ukelele craze. The performer who performed ‘Singin’ in the Rain’ in its feature film debut. The voice of Jiminy Cricket in Pinocchio (1940). Just three of the reasons why Clifton Avon Edwards (1895-1971), or ‘Ukelele Ike,’ ought not to be quite as forgotten as he is.

    Edwards was a successful vaudeville and café performer, allegedly dubbed ‘Ukelele Ike’ by a waiter who could never remember his name. He became a ubiquitous figure in the early Metro musicals, appearing in over a third of the studio’s productions in 1929-31.

    Edwards’s rendition of ‘Singin’ in the Rain’ in The Hollywood Revue of 1929, though lacking Gene Kelly’s familiar phrasing, was good enough to earn the song a reprise in the hastily-devised finale, in which also appeared.

    His first acting role was as Soapy, one of the doughboys in Marianne. He then added musical support in So This is College and performed a speciality number in They Learned About Women. Lord Byron of Broadway saw him in the, not really challenging, role of a vaudeville singer, after which he was way out west as one of the hero’s buddies in Montana Moon

    Edwards made an uncredited appearance as himself in Children of Pleasure and has a featured role as the Coach’s assistant, Pooch Kearney, in the 1930 version of Good News. He was then one of Lawrence Tibbett’s hobo pals in The Prodigal.

    The film musical hiatus of 1932 soon followed, and Edwards only appeared in one further musical for Metro, as Minstrel Joe in The Girl of the Golden West

    At his height, in the late 1920s, Cliff Edwards was earning $4000 a week. By the time of his death, he was an indigent charity patient in a Hollywood hospital; his body was unclaimed for several days because no one knew who he was. 

  • Nacio Herb Brown

    Nacio Herb Brown (1896-1964) was hired by MGM in 1928 to write scores for sound pictures; it was at a point when synchronized music was still perceived by many as the most promising feature of the new system. 

    Brown also worked with other lyricists on It’s a Great Life, Ziegfeld Girl, The Big Store, Swing Fever, Holiday in Mexico, On an Island With You, The Kissing Bandit and Seven Hills of Rome.

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