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.
Percival Davis (1887-1941) was a prolific lyricist and librettist for the West End and Broadway. His many stage musicals and revues included The Bing Boys are Here and Mr Cinders (1928), from which ‘If You were the Only Girl in the World’ and ‘Spread a Little Happiness’ became standards.
Like many other songwriters, Grey was invited to Hollywood in 1929, where he worked on the early sound masterpiece, The Love Parade (1929) at Paramount.
At MGM he wrote regularly with Herbert Stothart in the 1930s, contributing numbers to Devil-May-Care, Montana Moon, The Rogue Song, In Gay Madrid, The Florodora Girl, Call of the Flesh, New Moon and Madam Satan.
Grey’s lyrics for ‘Like Monday Follows Sunday’ featured in Everything I Have is Yours and Hit the Deck was based on his stage musical from 1927.
As late as 2010 The Guardian was still perpetuating the myth that Clifford Grey was also an Olympic bobsleigher and winner of a gold medal. This arises from a confusion with athlete Clifford ‘Tippi’ Gray (1892-1968), who also dabbled in songwriting.
Herbert Pope Stothart (1885-1949) is a composer whose name is less familiar today than, say, Dimitri Tiomkin or Max Steiner, but in Hollywood’s golden age he was ranked alongside them for his work at MGM.
Stothart had a successful career writing stage musicals, most notably Rose-Marie, but was invited to join Metro in 1929. He signed a contract and stayed there for the rest of his life.
Scores by Stothart were prominent in some of the studio’s most important pictures of the 1930s and 40s. These included Queen Christina (1933), Mutiny on the Bounty (1935), Camille (1936), The Good Earth (1937), Pride and Prejudice (1940), Mrs Miniver (1942), They Were Expendable (1945) and The Yearling (1946). In all, Stothart wrote over 100 scores.
Stothart worked on many of MGM’s musicals. He and Clifford Grey wrote the songs for Devil-May-Care and contributed numbers to Montana Moon, The Rogue Song, In Gay Madrid, The Florodora Girl, Call of the Flesh, New Moon and Madam Satan.
He worked with other lyricists on A Lady’s Morals, The Cuban Love Song, Here Comes the Band, Maytime, The Firefly (composing ‘The Donkey Serenade’), Broadway Serenade, Balalaika, The Chocolate Soldier and I Married an Angel.
Stothart was the musical director on some of these films and also on The Cat and the Fiddle, Lubitsch’s The Merry Widow, The Night is Young, Naughty Marietta, Reckless, San Francisco, Rosalie, The Girl of the Golden West, Sweethearts, The Wizard of Oz (picking up an Oscar), New Moon, Bitter Sweet, Rio Rita, Thousands Cheer, Ziegfeld Girl, Cairo, Thousands Cheer, Kismet, The Unfinished Dance. Musical direction usually involved writing incidental music.
And, of course, Metro produced two versions of Stothart’s greatest stage success, Rose-Marie, and he worked on the first version.
Aileen Ranson (1911-1956) appeared briefly in a number of films during the 1930s, including two Metro musicals, It’s a Great Life and Madam Satan (in which she portrayed Victory).
Dorothea Christine Arens (1875-1970) was a hard-working small-part actor who made four Metro musical appearances: The Broadway Melody, Madam Satan, Bitter Sweet and Presenting Lily Mars.
The three MGM-musical roles of Dorothy Dehn (1908-98) represent a downward spiral. From the wholesomeness of the campus in So This Is College, via the part of Quicksilver in Madam Satan, she ended up as a Maxim’s girl in Lubitsch’s The Merry Widow,
Supporting player Phyllis Crane (1914-82) was just 15 when she played a college student in So This Is College and definitely too young to have been involved in the craziness of Madam Satan. She made her last appearance at the grand old age of 23.
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.
William Axt (1888-1959) was a composer and conductor who joined the MGM music department in 1929 and went on to write hundreds of scores. He composed for a number of musicals, mostly early in his career: Marianne, It’s a Great Life, Devil-May-Care, Chasing Rainbows,The Rogue Song, Free and Easy, Call of the Flesh, Madam Satan, Hollywood Party, The Great Ziegfeld, Thoroughbreds Don’t Cry, Everybody Sing and Listen, Darling.
Axi’s work was also taken off the shelf for use as stock music in New Moon, Student Tour, Balalaika and Little Nellie Kelly .
The costumes he designed for The Wizard of Oz, which included the iconic ruby slippers, were unquestionably the high point of the career of Adrian Adolph Greenburg (1903-59), known simply as Adrian. But his designs were included in hundreds of MGM features, mostly between 1928 and 1941, including 34 other musicals. These included eleven Jeanette MacDonald pictures: The Cat and the Fiddle, The Merry Widow, Naughty Marietta, Rose-Marie, San Francisco, Maytime, The Firefly, The Girl of the Golden West, Sweethearts, New Moon and Bitter Sweet.
Adrian was very active during 1929-31, designing for Marianne, Devil-May-Care,The Rogue Song, Montana Moon, In Gay Madrid, Madam Satan, New Moon andThe Cuban Love Song.
Dancing Lady reunited Adrian with Joan Crawford a year after the white mousseline de soie dress he created for her in Letty Linton (1932) was copied commercially and sold over 500,000 units.
Going Hollywood, Hollywood Party, Reckless, Broadway Melody of 1936, The Great Ziegfeld, Born to Dance, Broadway Melody of 1938, The Great Waltz and Honolulu led up to the triumph ofThe Wizard of Oz. Adrian then worked on Balalaika, Broadway Melody of 1940, Ziegfeld Girl andThe Chocolate Soldier before leaving MGM in 1941 to open his own fashion business.
He continued to freelance for a variety of studios and returned to Metro for a final musical, the aptly-named Lovely to Look At.
