The Musicals of Metro-Goldwyn-Mayer

Category: Bathing Beauty

  • Edwin B Willis

    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:

    Broadway to Hollywood

    Stage Mother (ID)

    Dancing Lady (ID)

    Going Hollywood (ID)

    The Cat and the Fiddle (ID)

    Hollywood Party (ID)

    Student Tour (AAD)

    The Merry Widow (AAD)

    The Night is Young (AAD/SD)

    Naughty Marietta (AAD)

    Reckless (AAD)

    Broadway Melody of 1936 (AAD)

    Here Comes the Band (AAD)

    A Night at the Opera (AAD)

    Rose Marie (AAD)

    The Great Ziegfeld (AAD)

    San Francisco (AAD)

    Born to Dance (AAD)

    Maytime (AAD)

    A Day at the Races (AAD)

    Broadway Melody of 1938 (AAD)

    The Firefly (AAD)

    Thoroughbreds Don’t Cry (AAD)

    Rosalie (AAD)

    Everybody Sing (AAD)

    The Girl of the Golden West (AAD)

    Listen, Darling (AAD)

    The Great Waltz (AAD)

    Sweethearts

    Honolulu

    Let Freedom Ring

    Ice Follies of 1939

    The Wizard of Oz

    Babes in Arms

    At the Circus

    Balalaika

    Broadway Melody of 1940

    New Moon

    Strike Up the Band

    Hullabaloo (Associate Set Decorator, uncredited)

    Bitter Sweet

    Little Nellie Kelly

    Go West

    Free and Easy

    Ziegfeld Girl

    The Big Store

    Lady Be Good

    The Chocolate Soldier

    Smilin’ Through

    Babes on Broadway

    Born to Sing

    Ship Ahoy

    Rio Rita

    I Married an Angel

    Cairo

    Panama Hattie

    For Me and My Gal

    Seven Sweethearts

    Cabin in the Sky

    Presenting Lily Mars

    Du Barry was a Lady

    Best Foot Forward

    Thousands Cheer

    Swing Fever

    Girl Crazy

    Broadway Rhythm

    Two Girls and a Sailor

    Meet the People

    Bathing Beauty

    Meet Me in St Louis

    Music for Millions

    Thrill of a Romance

    Anchors Aweigh

    Ziegfeld Follies

    Yolanda and the Thief

    The Harvey Girls

    Two Sister from Boston

    Easy to Wed

    Holiday in Mexico

    No Leave, No Love

    Till the Clouds Roll By

    It Happened in Brooklyn

    Living in a Big Way

    Fiesta

    The Unfinished Dance

    Good News

    Summer Holiday

    On an Island With You

    The Pirate

    Easter Parade

    A Date with Judy

    Luxury Liner

    The Kissing Bandit

    Words and Music

    Take Me Out to the Ball Game

    The Barkeleys of Broadway

    Neptune’s Daughter

    In the Good Old Summertime

    That Midnight Kiss

    On the Town

    Nancy Goes to Rio

    Annie Get Your Gun

    Three Little Words

    Duchess of Idaho

    The Toast of New Orleans

    Summer Stock

    Two Weeks with Love

    Pagan Love Song

    Grounds for Marriage

    Royal Wedding

    The Great Caruso

    Excuse My Dust

    Rich, Young and Pretty

    Show Boat

    An American in Paris (winning an Oscar)

    The Strip

    Texas Carnival

    The Belle of New York

    Singin’ in the Rain

    Skirts Ahoy

    Lovely to Look At

    The Merry Widow

    Because You’re Mine

    Everything I Have is Yours

    Lili

    I Love Melvin

    Small Town Girl

    Dangerous When Wet

    The Band Wagon

    Latin Lovers

    The Affairs of Dobie Gillis

    Torch Song

    Kiss Me Kate

    Easy to  Love

    Rose Marie

    The Student Prince

    Seven Brides for Seven Brothers

    Brigadoon

    Athena 

    Deep in My Heart

    Jupiter’s Darling

    Hit the Deck

    The Glass Slipper

    Interrupted Melody

    Love Me or Leave Me

    It’s Always Fair Weather

    Kismet

    Meet Me in Las Vegas

    High Society

    The Opposite Sex

    Ten Thousand Bedrooms

    Silk Stockings

    Les Girls

  • Sandy Roth

    Sandy Roth

    Sanford Lewton Rothenberg (1887-1943) started out as an actor in some of Harold Lloyd’s Lonesome Luke pictures, and had a very minor career in occasional roles until 1933. 

    Roth arguably made a much greater mark as an assistant director at Metro-Goldwyn-Mayer, working on a number of the studio’s musicals. He first carried out that role in 1922, and went on to support Buster Keaton and Charles Reisner on Steamboat Bill Jr (1928). He was also AD on Frank Borzage’s The Mortal Storm (1940).

    Roth’s Metro musicals were The Hollywood Revue of 1929, Flying High, Student Tour, Everybody Sing, Go West, The Big Store, This Time for Keeps, Thousands Cheer and Bathing Beauty.

  • Gus Arnheim

    Gustavus Arnheim (1897-1955) was a band leader and songwriter, whose most lasting composition was ‘I Cried for You’, written in 1923, with Abe Lyman and Arthur Freed.

    Arnheim started out as a pianist, working for a time as accompanist to Sophie Tucker. He set up his own orchestra in 1927.

    Arnheim and his band appeared in Vitaphone shorts in 1928-29 before making their feature debut in Universal’s Broadway in 1929. The orchestra was in about a dozen pictures, one of which was Metro’s Flying High. They also showed up in Howard Hawks’s Scarface (1932). 

    ‘I Cried for You’ was sung by Judy Garland in Babes in Arms, by Helen Forrest in Bathing Beauty and, briefly, by Doris Day in Love Me or Leave Me. Arnheim’s song ‘Sweet and Lovely’ was ‘performed’ by June Allyson and Gloria DeHaven in Two Girls and a Sailor, with the voices of Virginia Rees and Dorothy Jackson.

  • Alphonse Martell

    French-born Alphonse Martell (1890-1976) had a forty-year career as a character actor in Hollywood, making over 250 films and many television appearances.

    In 1933, Martell became a Poverty Row auteur when he wrote and directed Tarnished Youth (also known as Gigolettes of Paris). 

    Martell played a variety of parts, but his speciality was waiters, in which role he made at least 80 appearances, as well as cropping up many times as a maitre d’. 

    Alphonse acted in twelve Metro musicals across three decades. A Lady’s Morals was followed by Student Tour, A Night at the Opera, Everybody Sing, Broadway Melody of 1940, I Married an Angel, Bathing Beauty, The Barkeleys of Broadway, Rich, Young and Pretty, Show Boat, Lovely To Look At and I’ll Cry Tomorrow.

  • Xavier Cugat

    Francesc d’Assís Xavier Cugat Mingall de Bru i Deulofeu (or Xavier Cugat i Mingall for short, 1900-1990), was one of the more idiosyncratic performers to work on musicals at Metro-Goldwyn-Mayer, reliably introducing an element of camp to every film he appeared in. 

    Born in Catalonia, Cugat and his family emigrated first to Cuba, and then to the United States in 1915. His beginnings in show business were as a classical violinist. He took time out to work as a cartoonist, and then formed his own band, which ended up performing at the Coconut Grove in Los Angeles. Specializing in Latin music, Cugat, clutching his signature chihuahua while conducting or performing, became known as the ‘King of Rumba’. 

    Cugat’s first involvement in a Metro musical was behind the scenes, working with Herbert Stothart and Clifford Grey on a couple of numbers for In Gay Madrid. Fourteen years later he made his debut on screen for Metro (having made a few musicals at Paramount), in Two Girls and a Sailor. Here, as on every other occasion, he played a fictionalized version of the band leader Xavier Cugat.

    Cugat appeared in four Esther Williams vehicles: Bathing Beauty, On an Island with You, This Time for Keeps and Neptune’s Daughter. He also supported Jane Powell in Holiday in Mexico, A Date with Judy and Luxury Liner, and showed up in No Leave, No Love.

  • Blanche Sewell

    Blanche Irene Sewell (1898-1949) died far too young, but had become one of the most talented of all Hollywood editors and a seminal influence on the MGM musical style . After training under pioneer Viola Lawrence, Sewell became a full-fledged editor at MGM in 1925 and spent the rest of her career there.

    She was the sister-in-law of Walt Disney, and it is generally accepted that she tutored him on the principles of editing and was very influential, in particular, on the form of Snow White and the Seven Dwarfs (1937).

    Sewell cut some of Metro’s most memorable pictures of the 1930s, including Grand Hotel, Red Dust and Queen Christina. In the 1940s, she edited twenty films, fourteen of which were musicals. 

    Sewell’s involvement with musicals began in 1930 with Children of Pleasure, after which she cut Naughty Marietta, Broadway Melody of 1936, Rose-Marie, Born to Dance, Broadway Melody of 1938, Rosalie and Listen Darling.

    In 1939, Sewell was chosen to edit The Wizard of Oz, and it was claimed that this was in the hope she could bring to it some of the magic that Disney had produced in Snow White.

    After this cameBroadway Melody of 1940, Go West, Ziegfeld Girl, Ship Ahoy, Panama Hattie, Seven Sweethearts, Du Barry Was a Lady, Best Foot Forward, Bathing Beauty, Easy to Wed, It Happened in Brooklyn, Fiesta andThe Pirate. Sewell’s last work, shortly before her death, was on Take Me Out to the Ball Game.

  • Ralph Shugart

    Ralph Shugart (1901-50) worked under Douglas Shearer in the MGM sound department from its inception. 

    Shugart was the (mostly uncredited) recording engineer on Marianne, Devil-May-Care, In Gay Madrid, Love in the Rough, Flying High, The Wizard of Oz (where he worked on sound effects) and Bathing Beauty.

  • Carla Laemmle

    Rebekah Isabelle Laemmle (1909-2014) was minor Hollywood royalty, being the niece of Universal founder Carl Laemmle (one of the relatives who did not entirely rely on Uncle Carl for employment). In an extremely long life, she spent a few years as a dancer and actor. In this capacity she featured, uncredited, in The Broadway Melody, as a speciality dancer, and The Hollywood Revue of 1929, as the scantily-clad Pearl Dancer.

    She was also, apparently, an uncredited swimmer in Bathing Beauty.

  • Eddie Kane

    Eddie Kane (1899-1989) was a bit player with around 250 appearances who featured, albeit uncredited, as the loosely-disguised Ziegfeld character in The Broadway Melody. He later turned up uncredited in Ice Follies of 1939, Two Girls and a Sailor and Bathing Beauty.  

  • Arthur Freed

    No one had a longer connection with MGM musicals than Arthur Freed (1894-1974), starting at the very beginning with The Broadway Melody in 1929 and ending in 1960 with Bells Are Ringing. Of course, his role changed significantly during that period.

    Freed had not been working  long as a lyricist at MGM when he and composer Nacio Herb Brown were assigned the task of producing the first bespoke score for a film musical. Following the success of The Broadway Melody, Freed’s songs were a mainstay of the studio’s musical output for a quarter of a century. He and Brown contributed numbers to The Hollywood Revue of 1929, Marianne, Lord Byron of Broadway, Montana Moon, Dancing Lady, Going Hollywood, Student Tour, Broadway Melody of 1936, San Francisco, Broadway Melody of 1938, Thoroughbreds Don’t 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, Singin’ in the Rain and The Affairs of Dobie Gillies

    He also worked without Brown on the 1930 Good News and on A Lady’s Morals, The Prodigal, Hollywood Party, A Night at the Opera, Strike Up the Band, Babes on Broadway, Bathing Beauty, Anchors Aweigh, Ziegfeld Follies, Yolanda and the Thief and Love Me or Leave Me.

    During the 1930s Freed spent time on Metro’s sound stages, watching the staging of his songs and learning about the craft of creating film musicals. He also devoted time to ingratiating himself with studio head Louis B Mayer, making known his ambition to become involved in the production side of the process. Finally, in 1938, Mayer decided to give Freed his chance.

    Arthur Freed initiated the filming of The Wizard of Oz and was its de facto producer, although only credited as associate producer; Mayer safeguarded the project by appointing the more experienced Mervyn LeRoy as producer.

    Having shown what he could do, Freed was made a full producer and worked on 39 musicals and a handful of non-musicals during the next thirty years. The musicals were Babes in Arms, Little Nellie Kelly, Strike Up the Band, Lady Be Good, Babes on Broadway, For Me and My Gal, Panama Hattie, Cabin in the Sky, Du Barry Was a Lady, Girl Crazy, Best Foot Forward, Meet Me in St Louis, Yolanda and the Thief, The Harvey Girls, Ziegfeld Follies, Till the Clouds Roll By, Good News, Easter Parade, The Pirate, Summer Holiday, Words and Music, The Barkleys of Broadway, Take Me Out to the Ball Game, On the Town, Annie Get Your Gun, Pagan Love Song, An American in Paris, Royal Wedding, Show Boat, The Belle of New York, Singin’ in the Rain, The Band Wagon, Brigadoon, It’s Always Fair Weather, Kismet, Invitation to the Dance, Silk Stockings, Gigi and Bells Are Ringing.

    The Freed Unit became MGM royalty and made most of the musicals upon which the studio’s current reputation rests. Opinions vary as to the extent to which Freed can take credit for this achievement, and the unit did produce a few duds. But, at the very least, Arthur Freed was the catalyst for a body of work of unrivalled sophistication and artistry.

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