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).
Charles Sullivan (1899-1972) was a ubiquitous character actor in American films between 1925 and 1966, accumulating around 550 appearances on the big screen.
Notable appearances include King Kong (1933, where he was also Robert Armstrong’s stunt double), Mr Deeds Goes to Town (1936), Angels With Dirty Faces (1938), The Roaring Twenties (1939), Mr Smith Goes to Washington (1939), The Glass Key (1942), State of the Union (1948) and The Last Hurrah (1958).
Sullivan can be seen, uncredited, in fourteen MGM musicals: Dancing Lady, Student Tour, San Francisco, Sweethearts, At the Circus, Born to Sing, Swing Fever, Music for Millions, Easy to Wed, Living in a Big Way, Big City, Take Me Out to the Ball Game, Rose Marie and It’s Always Fair Weather.
In a career lasting over a quarter of a century, character actor Herbert Green Moorhouse (1894-1954) made around 380 screen appearances. Some of these were in featured supporting roles, but later on he was predominantly an uncredited extra.
Moorhouse made his debut, without credit, in The Cameraman (1928), the last really good film made by Buster Keaton before MGM crushed his spirit. In the same year, Moorhouse was a featured player in two Poverty Row pictures.
Over the years, Moorhouse played a reporter in Mrs Deeds Goes to Town (1936); a nightclub patron in The Awful Truth (1937); Mary Astor’s dance partner in Midnight (1939); one of Hynkel’s officers in The Great Dictator (1940); another reporter in Sullivan’s Travels (1941); a party guest in Hitchcock’s Notorious (1946); a pilot in A Foreign Affair (1948); the nitwit at Paramount who makes Nora Desmond think she is wanted for a fil in Sunset Boulevard (1950); and a newspaper editor in Ace in the Hole (1951).
Moorhouse acted in fifteen Metro musicals in seventeen years, always uncredited, and starting with Stage Mother. He then played spectators at racetracks in Reckless, A Day at the Races and Thoroughbreds Don’t Cry. After that came Broadway Serenade, Broadway Melody of 1940, Two Girls on Broadway, Ziegfeld Girl, Thrill of a Romance, Easy to Wed, Till the Clouds Roll By, Living in a Big Way, Words and Music, Nancy Goes to Rio and Duchess of Idaho.
Moorhouse became very ill in 1954 and took his own life.
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:
Karl John Winninger (1884-1969), the son of Austrian immigrants, was a seasoned vaudeville performer by the time he made his first short film in 1915. He made the occasional film thereafter, but launched his film career proper after the advent of sound with Soup to Nuts (1930), which was the debut of the Three Stooges.
Prior to this, Winninger had created the role of Cap’n Andy Hawks in Show Boat (1927), a role which he recreated in Universal’s 1936 film version.
Winninger was a reliable supporting player throughout his film career, notably in Nothing Sacred (1937) and Destry Rides Again (1939). He only ever played one leading role, in John Ford’s frequently-misunderstood masterpiece The Sun Shines Bright (1953), where he played Judge Billy Priest.
Charles Winninger co-starred in six MGM musicals, beginning as the doctor in Flying High in 1931. He followed this with Babes in Arms (playing Mickey Rooney’s father), Little Nellie Kelly and Ziegfeld Girl (playing Judy Garland’s father in both), Broadway Rhythm (as George Murphy’s father) and Living in a Big Way (as Gene Kelly’s father-in-law).
Harold G Rosson (1895-1988), commonly known as Hal, was one of Hollywood’s most prestigious cinematographers. He filmed over 150 pictures in a career spanning more than fifty years.
Rosson began his career in 1908 as a teenager, acting bit-parts for the Vitagraph Studios in his native New York. He subsequently worked for Famous Players-Lasky as a general dogbody, then moved to Hollywood to work as a cinematographer for MGM’s predecessor, Metro Pictures.
In the 1920s, Rosson frequently photographed Marion Davies, Mary Pickford and Gloria Swanson. Then he signed a contract with MGM, where he spent the bulk of his career. He had ambitions to be a director, but studio executive Eddie Mannix told him he was far too good as a cameraman to ever be allowed to direct.
Rosson shot Jean Harlow in four films, and was briefly married to her.
Rosson photographed twelve MGM musicals, including two of the most venerated, The Wizard of Oz and Singin’ in the Rain. He started out with Madam Satan, claiming he learned more fromDeMille than anyone else in the business. He went on to shoot The Prodigal, The Cuban Love Song, The Cat and the Fiddle, No Leave, No Love, Living in a Big Way, On the Town, I Love Melvin and Dangerous When Wet. He also did uncredited work on The Chocolate Soldier.
George Frederick Benge (1875-1955) was an English actor who made a living in Hollywood mostly playing butlers, valets, footmen and assorted dogsbodies and lackies. Perhaps his finest hour was as Ronald Colman’s slightly-intrepid valet Danny in Bulldog Drummond (1929).
It’s not clear when Benge relocated to America, but he made the first of his over-200 screen appearances in 1922, as one of Prince John’s henchmen in Robin Hood. He then played his first butler in The Ten Commandments (1923) (in the modern section, not running the Pharaoh’s household).
Benge was in six Metro musicals: Madam Satan, (as the butler on a zeppelin) Rosalie, Sweethearts, Living in a Big Way, Royal Wedding and Million Dollar Mermaid.
Samuel Rufus McDaniel (1886-1962) started his show business career singing with his three sisters, including the subsequently renowned Hattie. Like most Black actors, his Hollywood career was largely limited to servants and railway porters, though he was notable as Doc (a cook) in Captains Courageous (1937), even if his name was misspelt in the credits.
McDaniel’s MGM musical appearances were Hallelujah, Going Hollywood, Music for Millions and Living in a Big Way.
