Marion Ellen Harris (1896-1944) was a popular jazz and blues singer from 1916 onwards, one of the first white women to record in those genres. She was the first artist to record ‘After You’ve Gone’, ‘I Ain’t Got Nobody’ and ‘It Had to Be You’. Harris also performed in vaudeville and on Broadway.
Harris starred in Devil-May-Care, but made only a couple of other minor film appearances.
Leslie F Wilder (1895-1989) worked as an editor at various studios during the 1930s, including uncredited work for Metro on So This Is College and Montana Moon.
The exotically-named Basilio Petrovich von Wrangell (1906-77) was born in Italy, in the Russian embassy, and educated in England. After acting as an interpreter for director Fred Niblo during the production of Ben-Hur (1925), he travelled to the USA to train as an editor. A long and successful career in films and television followed, with an Oscar nomination in 1937 for The Good Earth.
Wrangell edited Marianne (uncredited) and Love in the Rough.
James C McKay (1894-1971) worked as both director and editor during the silent era, starting in 1916 and for a variety of studios. His career seems to have tailed off during the 1930s.
McKay edited two musicals for MGM: Marianne and They Learned About Women.
Very little seems to be on record about Anton Stevenson (1906-80) other than that he was born, lived for seventy-four years, and worked on the editing of two films while in his twenties.
One of the films was Hallelujah.
Hugh Wynn (1897-1936) was a respected MGM editor whose career was cut short by his tragically early and sudden death.
Wynn’s most prestigious assignment was The Big Parade (1925), after which he worked regularly with King Vidor, including on Hallelujah.
William Sylvester Gray (1896-1946) was an editor at MGM whose career-high was an Oscar nomination for The Great Ziegfeld.
Gray’s other musicals were The Hollywood Revue of 1929, In Gay Madrid and Everybody Sing.
Samuel S Zimbalist (1901-58) is the only producer to posthumously receive the Oscar for Best Picture, when it was awarded to Ben Hur (1959). This made him, at that time, the producer of the second and third highest-grossing pictures in history. The film placed third was Zimbalist’s Quo Vadis (1951), while first place was, of course, held by Gone With the Wind (1939).
This was a long way from Zimbalist’s beginnings in the industry, as an office boy at Metro Studios. He took up editing, becoming a full-fledged editor in 1925 with MGM’s first version of The Wizard of Oz.
In 1929, Zimbalist had his first brush with the Academy Awards when he edited The Broadway Melody.
Clifford Brooke (1873-1951) may (or may not) be the J Clifford Brooke who is credited with staging a sequence in Devil-May-Care. The AFI Catalogue says no, while IMDb says yes.
Brooke was a British stage actor, well-known on Broadway as both performer and director, who belatedly worked in Hollywood. His first credited role was in The Sea Hawk (1940)
