These three performers appeared as the younger children in the Johnson family of Hallelujah. Their dancing in an early scene is very entertaining, but there seems to be no information about any of them (although IMDb does claim 1920-77 as Robert Couch’s dates).
Everett McGarrity (1908-93) was discovered by King Vidor studying music at a conservatory in Chicago while the director was on a nationwide search for Black actors to appear in Hallelujah.
McGarrity gives a strong performance, but never made another film.
Fanny Belle Johnson(1869-1950) began working with her pianist-husband as a comic reciter, usually in dialect, from the 1890s.
DeKnight did some legitimate theatre work, usually cast in ‘Mammy’ roles, and it was this that led King Vidor to choose her to play the mother in Hallelujah.
She made one further, uncredited, film appearance, then returned with her husband to their previous touring act.
Good News is the archetypal college musical with the outcome of a football game at its heart. There were many such in the early 1930s, including MGM’s own So This Is College, but Good News was the one based on a big Broadway hit. Indeed, it is the first MGM musical to be unequivocally based on a stage show; earlier efforts such as The Rogue Song bore little resemblance to their alleged theatrical progenitors.
The studio brought out a couple of the original production stars to recreate their roles, but it would have been better if they had looked elsewhere. Mary Lawlor, as heroine Connie, is totally lacking in showbiz pizzazz, her whole performance as drab and uninteresting as Connie’s life is meant to be at the start of the picture.
Gus Shy as Bobbie, on the other hand, takes pizzazz to the level of irritation, indulging in far too much overly-theatrical schtick. He is most bearable when teamed with the always-reliable Bessie Love, making the last of her four MGM musicals.
For once, no histrionics are required from Love and she makes the most of her comedy role as the vampish Babe, always appearing to be making up her dialogue as she goes along. She also has an excellent dance number with Shy, ‘Gee, But I’d Like to Make You Happy’.
Stanley Smith replaced the previously-announced Charles Kaley as Tom Marlowe. He is not as wooden as Kaley would have been, but is otherwise dull. The break-out star of Good News is Dorothy McNulty (later known as Penny Singleton), who gives everything to ‘The Varsity Drag’ and ‘Good News’. The former, in particular, represents a new high for MGM in the staging of showstopper numbers, with its athletic dancing and use of animation and special effects.
Good News suffered at the time from being released as the public was becoming bored with musicals, and several songs were filmed but not included in the final cut: fifteen songs were announced, but only eight made it.
Sadly, we can no longer view Good News in its entirety as the last reel is missing. But I think we all know that a happy ending with a final clinch are inevitable.
June Pursell (1902-??) was a radio singer and recording artist dubbed “the girl with the ballad voice”.
Pursell (whose name was frequently mispelled) appeared in two feature films, one of which was The Hollywood Revue of 1929. She performed ‘Low Down Rhythm’ and subsequently released the number as a recording.
Edward J Nugent (1904-95) was a boy singer, then vaudeville performer, who went looking for work in Hollywood in the late 1920s. He was fortunate enough to get a credited role in his first film, The Man in Hobbles (1928).
He had a featured part in Our Dancing Daughters (1928), and a prominent one in the Ramon Novarro vehicle The Flying Fleet (1929).
Then, strangely, he crops up as an uncredited chorus boy in The Hollywood Revue of 1929. There is at least a possibility that this is misattributed, since Nugent was back to being third-billed in The Girl in the Show (1929).
In 1939, Nugent went to New York to appear in a play and decided to stay in the East, settling in New England. He concentrated on the stage and radio, and in the 1950s moved into television directing.
Myrtle McLaughlin (c1908-??) made a few appearances in films in the late 1920s. She is usually mentioned in reference to The General (1929), but it should be noted that this was a Benny Rubin short, not the Buster Keaton masterpiece of a few years earlier.
McLaughlin made an uncredited appearance in The Hollywood Revue of 1929, on the receiving end of Charles King’s rendition of ‘Orange Blossom Time’.
Ernest Belcher (1882-1973) is almost totally forgotten, but was a very significant figure in the presentation of dance in early Hollywood. One of the few writers on his work described him as “a figure of national importance”.
Belcher studied ballet in the UK and worked in the music halls and as a principal danseur before travelling to the United States with a dance troupe in 1914. After various dancing jobs, he established himself as a teacher in Los Angeles.
His career in film choreography began in 1918 he was hired by D W Griffith to stage dances for Broken Blossoms (1918). Working as a dance director, he taught, amongst others, Pola Negri, Betty Grable, Cyd Charisse, Rita Hayworth, Gwen Verdon and Gower Champion, as well as his own daughter, Marge Champion.
Belcher provided dance direction in many silent films, including The Phantom of the Opera (1925), almost always without onscreen credit. But in 1928 the Western Association of Motion Picture Advertisers dubbed him ‘Dance Director of Movieland’.
He was there at the beginning of the sound era, arranging dance in The Jazz Singer (1927), and he trained Shirley Temple, staging the ballet in The Little Princess (1939).
It is ironic, given the size of Belcher’s contribution to dance on film, that his only known involvement in MGM musicals was the appearance of Ernest Belcher’s Dancing Tots in The Hollywood Revue of 1929.
The Rounders was a popular vocal act of the 1920s and 30s which featured in The Hollywood Revue of 1929. They can be heard performing ‘Singin’ in the Rain’ immediately after Cliff Edwards.
The individual members of the group were Dudley B Chambers, Ben McLaughlin, Myron Niesley, Richard C Hartt and Armand Girard.
The Rounders made one of the many recordings of ‘Singin’ in the Rain’ that appeared after the song’s success in Hollywood Revue.
Russian-born Nathalie Schmit (1905-88) trained as a dancer at the Paris Opéra and, from 1924, was in a dancing partnership with Gene Myrio. They worked as headline dancers in London and New York, demonstrating a very acrobatic form of adagio dancing.
After that act broke up, Nattova toured the vaudeville circuit with other male dancers, marrying one of them along the way. One of their routines involved a giant flower pot: “Flying through space, she executed an arabesque on an azalea, a pirouette on a poppy and a toe-hold on a tulip. Nattova showed ‘great grace in movement’”.
It was this iteration (miscredited as Natova and Company) that appeared in The Hollywood Revue of 1929.
