The Hollywood career of John W Morris (1889-1970) ran parallel to the development of Hollywood itself. He made his debut in Cecil B DeMille’s The Squaw Man (1914), generally considered to be the first feature film to be made in Los Angeles, shot in a converted barn on the corner of Selma and Vine.
Driscoll acted in around 200 films, and was in scores of westerns, including Stagecoach (1939), Destry Rides Again (1939), The Return of Frank James (1940), The Ox-Bow Incident (1943), Canyon Passage (1946), My Darling Clementine (1946) and Wichita (1955). He worked under many of the great directors of classical Hollywood: Ford and Hawks (in the same year), Lang, Wellman, Daves, Mann, Tourneur and Fuller. He also made a number of other pictures with DeMille, including the 1931 remake of The Squaw Man..
Tex Driscoll was in five MGM musicals: New Moon, Naughty Marietta, The Girl of the Golden West, Swiss Miss and Bitter Sweet.
Hector William Cording (1891-1954) was British and educated at a top public school. After serving in the First World War, he worked on a transatlantic steamship and eventually decided to stay in America. He made the first of his 280-plus films in 1925.
Cording was a big man and so was frequently cast as henchmen and thugs, most stylishly when he played Dickon Malbete, would-be slayer of Richard the Lionheart, in The Adventures of Robin Hood (1938).
Cording made two uncredited appearances in 30s’ Metro musicals: New Moon and, playing a pirate, Naughty Marietta.
Max Barwyn (1884-1955) made his first screen appearance in 1926 and went on to over 70 more. He was one of those supporting players who looked like he belonged in the service industries, and played waiters more than two dozen times. From left-fields, just for a change, he was cast as Napoleon Bonaparte in Brigadier Gerard (1927), which may have equipped him for his multiple roles as a maitre d’.
Barwyn acted in nine MGM musicals, starting with the 1930 New Moon. He was then in Dancing Lady, The Night is Young, Broadway Melody of 1936, Rose-Marie, Sweethearts, Bitter Sweet, The Chocolate Soldier (a rare credited role) and Rhapsody.
Emily Fitzroy (1860-1954) was acting on the British stage years before cinema was invented. But this did not prevent her notching up over a hundred film appearances.
Fitzroy relocated to the United States and performed regularly on Broadway. She made her first screen appearance in 1913, for the Philadelphia-based Lubin company, later working for Fox when the company was located in the east.
From the ages of 60 to 83, Fitzroy worked steadily as a character actor, latterly based in Hollywood, with a notable appearance as Mrs Hawks in the first screen version of Show Boat (1929). Her final film took her back to (a make-believe) England in Clarence Brown’s The White Cliffs of Dover (1944).
Fitzroy played Countess Anastasia in the 1930 version of New Moon.
Adolphe Jean Menjou (1890-1963) was born in Pittsburgh, but for almost fifty years he epitomized a type of continental sophistication on the screen.
Menjou made his debut in 1914 for the Vitagraph Company and within a few years had become a supporting player of note, appearing in films as prestigious as The Three Musketeers (playing the King) and The Sheik (both 1921).
Menjou’s role as the seducer in Chaplin’s A Woman of Paris (1923) was the template for the kind of philandering, morally-questionable characters he made his speciality. He was never the leading man, but always brought considerable added value to the films he was in. His sole Oscar nomination was for playing Walter Burns in The Front Page (1931).
Menjou was a leading Hollywood conservative, though arguably more nuanced in his views than some of his colleagues.
Adolphe Menjou’s greatest performance may have been one of his last, as the corrupt general in Stanley Kubrick’s Paths of Glory (1957). Much earlier, he had appeared, with typical suavity, in the 1930 version of New Moon.
The ocean liner New Moon is on the Caspian Sea, sailing to the Russian port of Krasnov. A party of Russian soldiers are on board [Gypsy Chorus].Lieutenant Michael Petroff, a womanizer, is at a bar, flirting in the mirror with a young woman. He is warned that the woman is Princess Tanya Strogoff, who is accompanied by her uncle, Count Igor, and her aunt, Countess Anastasia. Michael immediately leaves, but Tanya follows him out.
Michael Petroff entertains his fellow travellers with the bawdy ‘Farmer’s Daughter’
Anastasia panics when she notices Tanya’s absence, knowing what always happens when her niece disappears.
Tanya watches Michael sing with a crowd of gypsies and soldiers [Farmer’s Daughter]; the song is in a gypsy language and is clearly risqué. Michael notices Tanya just as she is being dragged away by her aunt. He fears he will be in trouble and explains to his orderly, Potkin, that he does not like princesses, because they think they are different from other women.
Michael spots a beautiful young woman and follows her, entering a room where he finds Tanya waiting. She interrogates him about the song he was singing, asking to hear the lyrics, so Michael cleans them up. Tanya then reveals that she understands the gypsy language and is fully aware of how suggestive the words are [Farmer’s Daughter]. Michael realizes that Tanya had used her servant to lure him into the room.
They drink and talk, and Michael confesses that he had almost forgotten that she was a princess. Tanya offers to help him forget altogether and they kiss. Igor knocks at the door. Anastasia has sent him to ask what Tanya is doing, but the insouciant Igor clearly knows exactly what is going on. He returns to his cabin and, when Anastasia asks if Tanya is in bed, replies “not yet”.
On the last evening of the voyage, Michael and Tanya are alone on deck, where she continues to flirt with him. Michael asks when they will be able to stop pretending that they do not love each other. Tanya promises that it will be the following day. Tanya is prevailed upon to sing and she asks Michael to join her [Wanting You].
Princess Tanya Strogoff (Grace Moore), getting along nicely with Michael
In Krasnov, Tanya allows Michael to believe that they will see each other again, but he soon realizes that she has come to Krasnov to marry the wealthy governor, Boris Brusiloff. Michael drowns his sorrows in a tavern [Lover Come Back to Me].
At the governor’s palace, a ball is being held in Tanya’s honour. Igor warns his niece to keep out of dark corners until the marriage is in the bag. Tanya is very coy with Boris, to the extent that he calls her prudish [One Kiss]. Michael crashes the ball and dances with Tanya, who tries to convince him they merely had a shipboard flirtation. He leads her into a private room, and Igor is unable to prevent Boris from following. Boris makes it clear that he understands what happened on the ship and does not care. Tanya pretends Michael was returning her lost bracelet, and Boris rewards him by appointing him to command Fort Darvaz. This is a garrison in the Caucasus Mountains where the soldiers have been known to murder their officers.
Boris announces his forthcoming marriage and Michael expresses his congratulations by taking to the stage and singing an insulting song [What Is Your Price Madam?]. Tanya says she will not forget the insult.
The next day, Michael and a handful of troops arrive at Fort Darvaz, only to see the current commander rush through the gates, blinded in both eyes. He falls to his death. Michael quells the mutiny by killing anyone who raises a hand against him.
Michael is in urgent need of some stout-hearted men
Later, observers at the fort see Turkomans from across the border massing for an attack. Tanya arrives unexpectedly and lashes Michael across the face in payment for his insult. Michael tells Tanya and Igor, who has driven her, that they must leave immediately as an attack is pending. Potkin rides in, badly wounded, to report 1500 Turkomans massing in the valley. Michael orders a telegram sent to the governor, but the lines are cut and it is unclear whether or not the message got through.
It is now too late for Tanya and Igor to leave. Potkin dies, and the priest suggests that they all prepare themselves for death, as the fort is surrounded.Tanya apologizes to Michael for being the kind of person she is, and tells him that if she had her time over again, she would do things very differently. They embrace and are married by the priest.
Michael tells his men that their only chance is a surprise attack on the enemy during the night. The soldiers are scornful at first, but Michael wins them round [Stout Hearted Men]. They ride out and launch their attack; the fighting is fierce and bloody.
The next morning, Tanya and Igor are waiting for Michael to return. Boris arrives with reinforcements, and assumes that Michael and the garrison have deserted. Tanya disdainfully tells him the truth. One soldier has been found and he reports that there are no other survivors. Tanya tells Boris that she loved Michael, but Boris says it does not matter. He sends a telegram to the Czar, recommending three medals for Michael. Tanya cannot stop herself looking everywhere for Michael [Lover Come Back to Me]. She hears the voices of Michael and his troops [Lover Come Back to Me].
Igor secures a promotion for Michael and tells Boris that Tanya and Michael are married. Tanya has rushed to meet Michael and they ride into the fort together. With sang-froid, Boris toasts them.
Mary Willie Grace Moore (1898-1947), ‘the Tennessee Nightingale’, is thought of as an opera singer who, like Lawrence Tibbett, was enticed to Hollywood and a lower form of musical entertainment. In fact, Grace Moore was no stranger to performing popular songs. She had funded her training by singing in nightclubs, and made appearances in Broadway revues in the early 20s, well before she made her 1928 debut at the Metropolitan Opera.
Moore’s ambition in going to Hollywood, she said later, was to “help carve a niche for good music in the then-developing field of sound pictures”. So ‘The Tennessee Nightingale’ went to play Jenny Lind, ‘the Swedish Nightingale’, in A Lady’s Morals. The only thing worse than the film’s title, Moore claimed, was her acting. If her acting was not everything that might be desired, it was so in two languages, as she also starred in the French-language version.
Moore and Tibbett were subsequently paired in New Moon, and then she called it a day on screen acting and went back to the stage. With the downturn in the popularity of film musicals, she was in the wrong place at the wrong time.
Moore returned to Hollywood in 1934, and made six pictures for Columbia, including the very successful One Night of Love (1934). She made her ninth and final film in France, Louise (1939), directed by Abel Gance.
Grace Moore’s life and career ended tragically in 1947 when she died in a plane crash. She was later portrayed by Kathryn Grayson in Warner’s lacklustre biopic, So This is Love (1953).
Victor Hugo de Bierre (1886-1943) was an American citizen by virtue of the fact that he was born three hours after his French parents entered the country. He had worked as a bank clerk and begun training to be a lawyer when he decided to give it all up and take to the stage.
Having worked as a comedian and dancer, Brooke was appearing in No, No Nanette when Hal Roach signed him in 1925 to work in comedy shorts. He transitioned to features in 1928 with Howard Hawks’s Fazil, and made the move into talking pictures without any problems.
Brooke appeared in six MGM musicals, beginning with Madam Satan. He was uncredited in New Moon and The Merry Widow, then played the dentist in Here Comes the Band. He was uncredited again in the Wizard of Oz and I Married an Angel.
Brooke took his own life in 1943, and the press at the time claimed he had been depressed about unemployment, not having worked since making Little Old New York. IMDb lists eleven appearances following this, including I Married an Angel, so the reports of inactivity may have been exaggerated.
