Austin Cedric Gibbons (1890-1960) has been called “the most powerful arbiter of style” at MGM after Mayer and Thalberg. He was head of the studio’s art department for more than 30 years, responsible for the look of all its pictures and was credited on most of them.
Clearly, Gibbons did not undertake the detailed design of over a thousand films, which has led some observers to treat him as merely a credit-hogging bureaucrat. He was that, of course, which is why he has more onscreen credits than any other individual in cinema history. But this is no reason to overlook the contribution he made to the visual style of the studio that dominated Hollywood in the 1930s.
Gibbons started out working for the Edison Studio in 1914 and then, after military service, for Samuel Goldwyn, and thereby to MGM in 1924. In 1925 he visited the Paris Exhibition, which consolidated the influence of contemporary art movements such as Futurism, Surrealism and Art Deco on his approach to design.
By 1931, Gibbons had 40 staff working under him, including six art directors. He was careful to recruit personnel whose style and influences were in line with his own. His role became supervisory, though in a genuine sense: Gibbons personally signed off on all designs and, frequently, constructed sets, until health issues curtailed this level of involvement in 1945.
It is difficult to say which musicals Gibbons had a direct involvement in, but his influence certainly dictated both the look of 1930s’ black-and-white pictures, and the Technicolor extravaganzas launched by The Wizard of Oz. Two of his eleven Oscars were for musicals: the first version of The Merry Widow (undoubtedly deserved) and An American in Paris (almost certainly not).
