Robert Howard Ober (1881-1950) was an actor with considerable stage experience when he started taking screen roles in the early 1920s. His most notable appearance was as John Gilbert’s brother in King Vidor’s The Big Parade (1925).
Although he never directed a film, Ober does appear to have been assigned some directorial tasks by MGM, one of which was to shoot retakes for In Gay Madrid after Robert Z Leonard had moved on to his next film.
Most of the names synonymous with silent film comedy are performers: Keaton, Chaplin, Lloyd, and Laurel and Hardy. But they are joined by two producer-directors: Mack Sennett and Harold Eugene Roach (1892-1992).
Roach began working as an extra in Hollywood in 1912, and produced his first comedy shorts in 1915, in partnership with his friend Harold Lloyd. He worked with Lloyd until 1923, and went on to establish the Laurel and Hardy team. Roach wrote, produced and sometimes directed hundreds of comedy shorts and features.
In 1928, the Hal Roach studio began releasing its films through Metro-Goldwyn-Mayer, which is how he became connected with its early musical pictures. In 1930, MGM wanted to add comic relief to The Rogue Song, so Roach directed additional sequences featuring Stan and Ollie as members of Lawrence Tibbetts band of outlaws.
In 1933, the Hal Roach Studio and MGM co-produced The Devil’s Brother, a Laurel and Hardy musical that Roach directed. He also worked as an uncredited director on Swiss Miss and The Bohemian Girl (which he co-wrote), and produced Babes in Toyland and Nobody’s Baby.
Edward Sedgwick Jr (1889-1953) was a colleague and friend of Buster Keaton and, like him, started working in a family vaudeville act at a young age. He acted in his first comedy short in 1914, and started directing in 1920. Sedgwick’s first directorial assignment was making episodes of a serial based on the French Fantômas character.
Although is today associated with Keaton and comedy, Sedgwick worked in a variety of genres during the 1920s, including many westerns. He also did uncredited work on Lon Chaney’s The Phantom of the Opera (1925).
Sedgwick joined MGM in 1926, and went on to direct most of Keaton’s films at the studio, including his first talking picture, Free and Easy.
Some years later Sedgwick did uncredited work on Easy to Wed and Excuse My Dust.
Cecil Blount DeMille (1881-1959) was one of the founders of Hollywood cinema. After a fairly successful career as a stage actor, and less success as a playwright, he helped to found the Jesse L Lasky Feature Play Company (later Paramount) in 1913. DeMille and a team of actors and technicians relocated from New York to Los Angeles and established the first studio in the Hollywood area. His first production was The Squawman (1914), a story he remade twice, in 1918 and 1931.
DeMille produced and directed films in Hollywood for the next forty-three years, ending with The Ten Commandments in 1956. Veering wildly between the prurient and the pious, his work was usually commercially successful, and The Greatest Show on Earth (1952) won one of the all-time most baffling Best Picture Oscars, beating The Quiet Man and High Noon; Singin’ in the Rain was not even nominated.
DeMille directed one of MGM’s strangest musicals, Madam Satan, in which he provided the voice coming from a radio. He also appeared, as himself, in Free and Easy.
Andrew Sarris summarized the career of Malcolm St Clair (1897-1952) thus: his silent films fizzed and his sound films fizzled, it was as simple and tragic as that.
St Clair was an important writer-director of the silent era, primarily in the field of comedy. Starting out as an actor-writer-director with Mack Sennett, he went on to co-direct a couple of shorts with Buster Keaton, from whom he learned a great deal about comedy technique. St Clair also made a series of more sophisticated comedies at Paramount in the mid-twenties, including the original adaptation of Gentlemen Prefer Blondes (1928), co-written by Anita Loos herself.
As Sarris suggests, the quality of St Clair’s pictures declined with the advent of sound, though he continued to work until 1948. One of his early sound films was the MGM musical Montana Moon, which he produced and directed.
One of St Clair’s more interesting later assignments was directing the silent era comedy sequences for Hollywood Cavalcade (1939), including restaging some of his earlier work.
Emil Kreuske (1881-1955) was a silent film actor-turned-director and occasional writer, which probably makes him a Poverty Row auteur. He was essentially a ‘B’ movie director, which makes it all the more surprising that he spent a period at Metro-Goldwyn-Mayer, which officially never made ‘B’ pictures.
Nigh generally made action and adventure stories, and it was a moment of madness when producer Harry Rapf assigned him to direct a musical, Lord Byron of Broadway. He soon regretted it. According to one of the film’s stars, Marion Shilling, Rapf had just lost heavily in the stock market crash when he watched Nigh’s footage. Appalled by what he saw, he yanked Nigh from the project and brought in Harry Beaumont to undertake substantial retakes. But Nigh was accorded a co-director credit, which was quite unusual at MGM. He made no further musicals for the studio and was back on Poverty Row for his next picture.
Hugh Ryan Conway (1886-1952) was an actor and director in silent films from around 1910. From 1925 he was under contract as a director at Metro-Goldwyn Mayer.
Conway was a solid journeyman director, though few of his pictures are likely to end up on any Greatest Ever lists. He worked with most of MGM’s major stars of the 1930s, with particular success on Jean Harlow and Clark Gable assignments such as Libelled Lady and Too Hot to Handle. His largest-scale achievement was A Tale of Two Cities (1935).
Conway only worked on three musicals: They Learned About Women (with Sam Wood), the 1930 New Moon and Let Freedom Ring.
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)
Sidney Arnold Franklin (1893-1972) was a director and occasional producer for over forty years, co-directing in the early years with his brother Chester. His experience working with Mary Pickford and the Talmadge sisters led Irving Thalberg to invite him to MGM in 1928 to direct Norma Shearer.
Franklin’s career at Metro was not spectacular (David Thomson described him as colourless), though he did direct some prestigious projects, including The Barretts of Wimpole Street (1934 and 1957) and The Good Earth (1937), and he produced Mrs Miniver (1942).
Franklin made two attempts at directing musicals, Devil-May-Care and A Lady’s Morals, and many years later he produced Torch Song.
Charles Willard McLaughlin (1873-1934) worked as an actor, director and playwright before he took up screenwriting in 1916, carrying this out alongside work on Broadway.
Mack contributed to the scenarios of It’s a Great Life and Lord Byron of Broadway. He also co-wrote and directed Broadway to Hollywood, the film in which producer Harry Rapf recycled content from the abandoned The March of Time.
