George Baxter (1905-76) made a steady living for over thirty years, often uncredited, in films, television and radio. Marianne was his first film role, as the noble AndrĂ©. He appeared without credit in Lubitschâs The Merry Widow, and reappeared in the Golden Age with a part in Lili.
The man who contributed greatly to the 20sâ ukelele craze. The performer who performed âSinginâ in the Rainâ 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 cafĂ© performer, allegedly dubbed âUkelele Ikeâ 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.
Edwardsâs rendition of âSinginâ in the Rainâ in The Hollywood Revue of 1929, though lacking Gene Kellyâs 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 heroâs buddies in Montana Moon.
Edwards made an uncredited appearance as himself in Children of Pleasure and has a featured role as the Coachâs assistant, Pooch Kearney, in the 1930 version of Good News. He was then one of Lawrence Tibbettâs 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.
Lawrence Gray (1898-1970) was a jobbing actor who began in silent pictures and whose good looks made him an amenable leading man for, amongst others, Gloria Swanson, Colleen Moore and Norma Shearer. His singing voice was also good enough to win him parts in four early MGM musicals: Marianne, Itâs a Great Life, Children of Pleasure and, opposite Marian Davies for the second time, in The Florodora Girl.
The parts on offer started to decline and Gray retired in 1936. He and his wife moved to her native Mexico, where he worked in the distribution side of the film industry.
Cast
| Conrad Nagel | Conrad Nagel – Mr Interlocutor |
| Jack Benny | Jack Benny – Master of Ceremonies |
| John Gilbert | John Gilbert / Romeo |
| Norma Shearer | Norma Shearer / Juliet |
| Joan Crawford | Joan Crawford |
| Bessie Love | Bessie Love |
| Cliff Edwards | Cliff Edwards / Ukulele Ike (as Ukulele Ike) |
| Stan Laurel | Stan Laurel |
| Oliver Hardy | Oliver Hardy |
| Anita Page | Anita Page |
| Nils Asther | Nils Asther (scenes deleted) |
| Natacha Nattova Dance Company | Natova and Company |
| Marion Davies | Marion Davies |
| William Haines | William Haines |
| Buster Keaton | Buster Keaton / Princess Raja |
| Marie Dressler | Marie Dressler |
| Charles King | Charles King |
| Polly Moran | Polly Moran |
| Gus Edwards | Gus Edwards |
| Karl Dane | Karl Dane (as Dane) |
| George K. Arthur | George K. Arthur (as Arthur) |
| Gwen Lee | Gwen Lee |
| Albertina Rasch Dancers | Ballet Dancers (as Albertina Rasch Ballet) |
| The Rounders | The Rounders – Vocal Quintet |
| Arthur Lange | Arthur Lange – Orchestra Leader |
| Lionel Barrymore | Lionel Barrymore – Director of ‘Romeo and Juliet’ (uncredited) |
| Nacio Herb Brown | Herb Nacio Brown (uncredited) |
| Bobbe Brox | Bobbe – One of the Brox Sisters (uncredited) |
| Kathlyn Brox | Kathlyn – One of the Brox Sisters (uncredited) |
| Lorayne Brox | Lorayne – One of the Brox Sisters (uncredited) |
| Eddie Bush | Eddie Bush – Member of Biltmore Quartet (uncredited) |
| Ray Cooke | Ray Cooke / Messenger (uncredited) |
| Ann Dvorak | Ann Dvorak – Chorus Girl (uncredited) |
| Ernest Belcher’s Dancing Tots | Dancing Tots (uncredited) |
| Paul Gibbons | Paul Gibbons – Member of Biltmore Quartet (uncredited) |
| Ches Kirkpatrick | Ches KIrkpatrick – Member of Biltmore Quartet (uncredited) |
| Carla Laemmle | Carla Laemmle / Pearl Dancer (uncredited) |
| Angella Mawby | Angella Mawby – Title Card Trio (uncredited) |
| Claudette Mawby | Claudette Mawby – Title Card Trio (uncredited) |
| Claudine Mawby | Claudine Marby – Title Card Trio (uncredited) |
| Myrtle McLaughlin | Myrtle McLaughlin (uncredited) |
| Eddie Nugent | Chorus Boy (uncredited) |
| June Pursell | Vocalist in ‘Low Down Rhythm’ (uncredited) |
| Albertina Rasch | Alberterni Rasch – Leader of Albertina Rasch Ballet (uncredited) |
| Bill Seckler | Bill Seckler – Member of Biltmore Quartet (uncredited) |
| James Burroughs | Singer (uncredited) |
| Joyce Murray | Speciality dancer (uncredited) |
It is a regrettable side effect of Citizen Kaneâs success that the name of Marion Davies (1897-1961) has become linked with that of Susan Alexander, the second-rate singer and mistress of the newspaper magnate. The second of these is undeniably a similarity: Davies was the long-term companion of William Randolph Hearst, the main inspiration for the character of Kane, and Hearst certainly made some inappropriate decisions about her career. But Marion Davies was far from being a second-rate performer. In David Thomsonâs words, she was âa genuinely funny actress who did good workâ. Daviesâs most successful period was in silent films, but she made a successful transition to sound, overcoming the obstacle of a stammer.
Daviesâs appearance in The Hollywood Revue of 1929 was a less than triumphant start to her musical career, singing and dancing furiously to two songs, dressed in the type of military uniform Hearst loved to see her in.  Â
She is seen to better effect as the eponymous Marianne (which she co-produced), though the musical demands made on her are admittedly far less than in the earlier appearance. Daviesâs strengths are seen in the light comedy aspects of her role. Davies was an equally-fetching protagonist in The Florodora Girl (which she produced) and, in particular, opposite Bing Crosby in Going Hollywood.
Some commentators list Blondie of the Follies (1932) as a musical, but is actually a romantic comedy featuring an attractive performance by Davies.
Cast
| Marion Davies | Marianne |
| George Baxter | André |
| Lawrence Gray | Stagg |
| Cliff Edwards | Soapy |
| Benny Rubin | Sam |
| Scott Kolk | Lieut. Frane |
| Robert Edeson | The General |
| Emile Chautard | PĂšre Joseph |
| Ernie Alexander | One of the Doughboys (uncredited) |
| Oscar Apfel | Maj. Russart (uncredited) |
| John Carroll | Doughboy (uncredited) |
| Drew Demorest | Doughboy (uncredited) |
| Sherry Hall | Soldier in Russart’s Office (uncredited) |
| Seymour Kupper | Teen-Age Boy (uncredited) |
| George Magrill | Military Policeman (uncredited) |
| Douglas Scott | Sylvestre (uncredited) |
| Harry Tenbrook | Doughboy (uncredited) |
| Dick Winslow | Teen-age boy playing accordion for soldiers’ marching song (uncredited) |
| Roscoe Ates | Orderly (uncredited) |
3 August 1914 in the French village of Beinville: war has been declared and Marianne says goodbye to her sweetheart, André, promising to wait for him [Marianne].
Four years later, the war is over and a company of American soldiers marches into the now-devastated village, amongst them Stagg, Soapy and Sammy. They are hungry and steal a pig that belongs to Marianne, who now runs an inn. She rescues the pig, whose name is Anatole. Lieutenant Frane, an MP, asks what is happening and Marianne lies to protect the three soldiers. All of them are attracted to Marianne [When I See My Sugar].
Marianne prepares food for the whole company and they cram into the inn [Blondy]. Marianne resists all Staggâs advances. Stagg, Soapy and Sammy find out that Marianne is caring for four war orphans.
The next morning, Stagg approaches Marianne again. She is attracted to Stagg, but continues to reject him [Just You, Just Me], especially after he pretends his girl back home is Mary Pickford.
Frane pays Marianne to cook Anatole for the Generalâs dinner. Stagg misinterprets the reason Frane is giving her money [Just You, Just Me]. Later on, Marianne cooks Anatole while the General and his party wait in the backroom. Stagg thinks Marianne has cooked the pig for Frane and steals it, giving it to Soapy and Sammy to take to their comrades. When Stagg discovers his mistake, he rushes to bring back the stolen pig. Marianne tries to cover for him, but Frane realizes what has happened and has Stagg arrested.
Soapy and Sammy find Marianne very upset about what has happened to Stagg and try to cheer her up [Hang On to Me]. She wants to go and intercede with the General, but Soapy and Sammy explain that he will only see other officers.
Marianne disguises herself as a French officer and forces her way into the Generalâs office. Revealing who she is, she says that she accidentally gave the pig to Stagg, and the General orders that Stagg be returned to his command. Stagg is released and sent back in the Generalâs car with Marianne, who is still in disguise. Stagg recognizes her and tells âthe lieutenantâ how sorry he is for getting Marianne in trouble and that he loves her. Then he kisses her.
Later, Stagg looks for Marianne, who is washing clothes at the river. The company is about to pull out, and Stagg tries to persuade Marianne that he really loves her and wants her to go back to America with him. She tells him about her promise to André, who is a prisoner but will be home soon [Marianne]. Stagg says he will not give her up, but Marianne says she must do her duty and they part.
The company throws a leaving party at the inn [Oo-La-La-La-La; The Girl From Noochateau; Louise]. Stagg comes in and makes another appeal to Marianne in front of the company [Just You, Just Me]. Stagg says he will wait and fight André and, at that moment, André enters the room. He is blind.
The next morning, as the soldiers are preparing to leave, Stagg sees AndrĂ© go into the inn and he goes across to bid farewell to Marianne. AndrĂ© asks Stagg to help him persuade Marianne not to waste her life on a man who can only be a burden. Marianne takes AndrĂ©âs hand and says âI love you. I love you with all my heart,â looking at Stagg while she says it. Stagg rejoins his comrades and they march away. While AndrĂ© and Marianne are waving them off, he realises the truth.
Months later, Stagg, Soapy and Sammy are in business together in New York. A letter arrives from Marianne. André has decided to become a priest and Marianne is coming to New York. Stagg rushes to meet her off the boat.
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 was paired with lyricist Arthur Freed to produce songs for the studio’s first all-talking picture, The Broadway Melody. Their partnership continued for many years as the contributed numbers to The Hollywood Revue of 1929 (in which he and Freed appeared onscreen), Marianne, Lord Byron of Broadway, Montana Moon, Dancing Lady, Going Hollywood, Student Tour, Broadway Melody of 1936, A Night at the Opera, San Francisco, Broadway Melody of 1938, Thoroughbreds Donât Cry, Ice Follies of 1939, Babes in Arms, Two Girls on Broadway, Hullabaloo, Little Nellie Kelly, Lady Be Good, Born to Sing, Presenting Lily Mars, Meet Me in St Louis, Three Little Words, Pagan Love Song, Singinâ in the Rain and The Affairs of Dobie Gillies.
Brown also worked with other lyricists on Itâs 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.
