Category: Directors

  • Robert Z Leonard

    Robert Zigler Leonard (1889-1968), commonly known as Pop, turned to directing in 1914 after a short career as a leading man, and was a workhorse producer-director at MGM from 1926 until 1957. He worked in pretty much every genre tackled by the studio, and was one of its most prolific directors of musicals, working on fifteen between 1929 and 1952.

    Leonard directed and co-produced Marianne in 1929, one of his many collaborations with Metro’s female stars. A few years later he made In Old Madrid, then became the first person to direct Fred Astaire on film in Dancing Lady.

    The Great Ziegfeld was the second musical to win the Best Picture Oscar, and Leonard was also nominated for his direction.

    Leonard worked on five Jeanette Macdonald-Nelson Eddy vehicles–Naughty Marietta (uncredited), Maytime, Girl of the Golden West, Sweethearts (uncredited) and New Moon–as well as two MacDonald solo pictures, The Firefly and Broadway Serenade.

    Ziegfeld Girl returned him to the world of the Broadway impresario, and, after a gap of eight years, he was reunited with that film’s star, Judy Garland, for In the Good Old Summertime. Leonard then directed a new generation of musical performers in Nancy Goes to Rio (Jane Powell), Duchess of Idaho (Esther Williams) and Grounds for Marriage (Kathryn Grayson.

    Leonard’s final musical outing was Everything I Have is Yours in 1951. 

  • King Vidor

    King Vidor (1894-1982) was celebrated throughout his career at MGM and later as a maker of ‘prestige’ pictures. This applies to Hallelujah, his only musical and a film celebrated (and criticized) for many things other than its musical performances. Hallelujah stands alongside The Crowd (1928), The Champ (1931), The Citadel (1938) and War and Peace (1956) as a film for which Vidor was nominated for the Best Director Oscar (he never won).

  • Harry Beaumont

    Harry Beaumont (1888-1966) is not a well-known name, despite having directed the first feature-length musical and a winner of the best picture Academy Award. Originally an actor, he turned to film directing in 1916.

    In 1923 Beaumont directed The Gold Diggers, a play which was also the source of Warners’ Gold Diggers of 1933 (1933). Perhaps his most notable achievement outside musicals was Metro’s Our Dancing Daughters (1928), which had a synchronized score.

    Irving Thalberg must have considered Beaumont a safe pair of hands when assigning him to The Broadway Melody, an ambitious and not inexpensive project. His reputation today is as a journeyman director grinding out assignments, but Richard Barrios points out, in A Song in the Dark (1995), that Beaumont was present at every script conference. Studio records indicate that his contribution to the picture’s dialogue was greater than that of the credited James Gleason.

    In 1930 Beaumont directed three further musicals for MGM, Lord Byron of Broadway (with William Nigh), Children of Pleasure and The Florodora Girl, before moving on to other things. Never more than a journeyman director, Beaumont carved himself a small, if often overlooked, niche in cinema history with The Broadway Melody,  

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