Leonard George Hayton (1908-71) was an important figure in the music department at Metro-Goldwyn-Mayer during the Golden Age of the studio’s production of musicals.
Hayton started out as a pianist and arranger with Paul Whiteman in the late 1920s, which led to a friendship with Bing Crosby when he was one of the Rhythm Boys. It was Crosby who had arranged for Hayton to conduct the orchestra when he made Going Hollywood at MGM in 1933. He then returned to working with Crosby on radio and recording for several years.
In 1940, MGM signed Hayton as a musical director, and he remained with the studio until 1953. He composed for or acted as MD on a range of non-musical pictures, including H M Pulham Esq (1941), Maisie Gets Her Man (1942) and Battleground (1950). But it was in musicals that he made his greatest mark.
Hayton’s MGM musicals were: Born to Sing, This Time for Keeps (composer), Best Foot Forward, Meet the People, Yolanda and the Thief, The Harvey Girls, Ziegfeld Follies, Till the Clouds Roll By, Good News, Living in a Big Way, The Pirate, Summer Holiday, Words and Music, The Barkleys of Broadway, On the Town (winning an Oscar), Singin’ in the Rain and Easy to Love. After leaving MGM, Hayton returned to arrange and conduct numbers for his wife, Lena Horne, in Meet Me in Las Vegas.
Lennie Hayton won another Oscar towards the end of his life, for Hello, Dolly (1968).
Of all Metro-Goldwyn-Mayer’s great musical stars, Frederick Austerlitz (1899-1987) was technically the first. He did not star for the studio until 1940, but he made his first appearance seven years earlier, in Dancing Lady, playing himself. He stands alongside Gene Kelly as the two greatest dancer-choreographers in cinema.
After a very successful stage career, dancing with his sister Adele, Fred Astaire sought a Hollywood career after Adele got married and retired. He was 34 when he signed with RKO, who immediately loaned him to MGM, for Dancing Lady.
In the years that followed, Astaire and a new partner, Ginger Rogers, made nine pictures at RKO, a number of which are considered the high points of the 1930s musical. Astaire innovated in a number of areas, not least his insistence that dances be photographed with full-length shots, without cutaways to the face or feet.
When the Rogers partnership ended in 1939 with The Story of Vernon and Irene Castle, Astaire starred for the first time at MGM, dancing with Eleanor Powell in Broadway Melody of 1940.
Then came perhaps Astaire’s most successful post-Rogers collaboration, when he danced in two pictures with the much-underrated Rita Hayworth at Columbia. He was back at MGM in 1945, dancing with Gene Kelly for the only time in Ziegfeld Follies, then starring in Vincente Minnelli’s strange Yolanda and the Thief.
After an attempted retirement, Astaire was lured back to MGM to replace the injured Gene Kelly in Easter Parade, after which he was reunited with Rogers in The Barkeleys of Broadway. He made five more musicals at Metro during the next ten years: Three Little Words, Royal Wedding (in which he danced on the ceiling), The Belle of New York (in which he danced on clouds), The Band Wagon (in which he and Cyd Charisse performed ‘Dancing in the Dark’ for the ages) and Silk Stockings (the final film in which he danced like Fred Astaire).
Astaire turned to straight acting from 1959, with the exception of Finian’s Rainbow (1968), where he anguished over Francis Ford Coppola’s inept style of shooting dance numbers. He made his final film in 1981.
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:
Francis Phillip Wuppermann (1890-1949) was the Wizard of Oz. It was his most famous role, the one that has gained him immortality. But it was not his only role: he made about a hundred films altogether, including thirteen other MGM musicals.
A graduate of Cornell University (he studied business administration), Morgan made his start in acting in the theatre, in a Broadway production of Mr Wu in 1914. His screen debut came two years later, a supporting role in a Vitagraph picture. He was a journeyman player in both media until the late 1920s, when he appeared on stage in Gentlemen Prefer Blondes (1927). Three years later he created the title role in the comedy Topaze.
In the cinema, a highlight was co-starring as Bunny in John Barrymore’s Raffles, the Amateur Cracksman (1917). He was always based in New York, and apparently told his friend Ralph Bellamy he was selling out by going to Hollywood. Six months later, Morgan was there himself and, after returning East for two Broadway productions, became a fixture in the film capital. He was under contract with Metro-Goldwyn-Mayer for the rest of his life, though he was loaned out in 1933 for Hallelujah, I’m a Bum.
Morgan had a few leading roles, for example in The Affairs of Cellini (1934), which earned him an Oscar nomination. More often, he worked as a character actor, always bringing added value to whatever picture he was in. Particular highlight was Lubitsch’s The Shop Around the Corner (1940), as the tragi-comic Mr Matuschek, and his role in Borzage’s anti-Nazi The Mortal Storm (1940).
Morgan was a very good actor, and did also star in a number of pictures, perhaps most notably James Whale’s The Kiss Before the Mirror (1933). In an entertaining minor MGM film from 1943, A Stranger in Town , he starred as a Supreme Court Justice trying to have a duck-hunting vacation in a small town.
The musicals in which Morgan appeared, beside The Wizard of Oz, were Broadway to Hollywood (playing the lead), The Cat and the Fiddle, Naughty Marietta, The Great Ziegfeld, Rosalie, Sweethearts, Broadway Serenade, Balalaika, Broadway Melody of 1940, Hullabaloo (another lead), Thousands Cheer, Yolanda and the Thief and Summer Holiday. This means he worked with Jeanette MacDonald and Nelson Eddy, Fred Astaire, Eleanor Powell, Judy Garland, Gene Kelly, Mickey Rooney and Kathryn Grayson: most of the musical performers whose stars glittered in the MGM firmament.
Frank Morgan, despite his usually cheery persona on and off screen, had a serious problem with alcohol, believed to have been triggered by the murder of the brother with whom he was closest. He was a functioning alcoholic, but the impact on his general health was almost certainly a contributing factor to his death from heart failure at the age of 59, just after he had started shooting Annie Get Your Gun.
Bit player Kenneth Koch Gibson (1898-1972) spent a lot of time being paid to party. He was in fourteen MGM musicals, and in at least eight of them was a party guest or nightclub patron.
In a career stretching from 1921 to 1969, Gibson notched up approaching 300 screen appearances. He was actually the male lead in his first film, Big Town Ideas (1921), but by 1929 was generally uncredited. He became a regular bit player for Cecil B DeMille and Preston Sturges, and can be found in some excellent pictures, including This Gun for Hire (1942), The Big Sleep (1946), Sunset Boulevard (1950) and A Star is Born (1954).
Gibson’s musicals at Metro were: Madam Satan, New Moon (1940), Yolanda and the Thief, Luxury Liner, The Barkeleys of Broadway, Duchess of Idaho, The Toast of New Orleans, Rich, Young and Pretty, Singin’ in the Rain, Small Town Girl, Interrupted Melody, It’s Always Fair Weather, I’ll Cry Tomorrow and Ten Thousand Bedrooms.
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.
Italian-born Gino Corrado Liserani (1893-1982) had the occasional featured role during the silent period, such as Aramis in Douglas Fairbanks’s The Iron Mask (1929). He also made appearances in Intolerance (1916) and Sunrise: A Song of Two Humans (1927). In talking pictures, however, Corrado rarely strayed beyond restaurants and cafés, playing uncredited diners, chefs and no fewer than 86 waiters. He even served at table in Rick’s Café Américain in Casablanca (1942).
Corrado appeared in fifteen Metro musicals, starting with a credited role in Lord Byron of Broadway. He was then uncredited as a waiter in The Merry Widow, followed by A Night at the Opera, A Day at the Races, Broadway Melody of 1938, New Moon, Bitter Sweet (a waiter), I Married an Angel, I Dood It (another waiter), Yolanda and the Thief (yet another waiter), Two Sisters from Boston (credited as Ossifish), Holiday in Mexico, Fiesta, Words and Music (a final waiter) and An American in Paris.
After retiring from acting, Corrado opened a restaurant.
Robert Shirley (1904-81), like most of the engineers in Douglas Shearer’s sound department, never received onscreen credit for his work, despite working on some of Metro’s prestige projects. These included Strange Interlude (1932), Thirty Seconds Over Tokyo (1944) and The Postman Always Rings Twice (1946).
Shirley’s musicals were They Learned About Women, Reckless, The Wizard of Oz (though everyone seems to have worked on that), Broadway Rhythm, Meet Me in St Louis, Music for Millions, Thrill of a Romance, Anchors Aweigh, Yolanda and the Thief, The Harvey Girls, Two Sisters from Boston,Easy to Wed, Holiday in Mexico and, to round things off nicely, Singin’ in the Rain.
Parisian Élysée Eugène Prieur-Bardin (1897-1971) emigrated to America as a teenager, but played many Frenchmen (and sundry other continentals) in a fifty-year career. He started out in The Great Secret (1917), a serial with jeopardy and super-villains, and concluded with one of James Coburn’s sixties’ Flint adventures.
His contributions to MGM musicals, all uncredited, spanned 27 years. They were in Chasing Rainbows, The Cat and the Fiddle, The Merry Widow, The Firefly, Thrill of a Romance, Yolanda and the Thief, On the Town, An American in Paris, Million Dollar Mermaid, Dangerous When Wet, Interrupted Melody, It’s Always Fair Weather and Silk Stockings.
George Magrill (1900-52) was a bit-part player and occasional stunt performer whose work spanned cute cartoon animals and a range of henchmen, hooligans and thugs. When you accumulate around 500 films on your cv, it’s inevitable that some of them will be MGM musicals; in Magrill’s case, thirteen of them.
Magrill began with Marianne in 1929 and ended with Three Little Words in 1950. In between came New Moon, The Merry Widow, The Bohemian Girl, San Francisco, Rosalie, The Great Waltz, New Moon (again), Meet the People, Music for Millions, Yolanda and the Thief and Good News.
