Category: Main Crew
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Ralph Spence
Ralph Spence (1890-1949) became a scenarist in 1912, working for the Selig Company, and went on to contribute to over 130 films. His 1925 Broadway play The Gorilla was filmed several times.
Spence worked on three of Metro’s musicals. He provided additional dialogue for The Florodora Girl, and co-wrote the screenplays for Student Tour and Here Comes the Band.
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Gene Markey
Eugene Willford Markey (1895-1980) was a journalist and novelist who turned screenwriter with the coming of sound, and was occasionally credited as a producer. He also found time to marry not one, not two, but three top Hollywood actors: Joan Bennett, Hedy Lamarr and Myrna Loy. And he had the honour of being described as “a skunk” by actor Louise Beavers.
Markey served with distinction in the Second World War, unlike his close friends John Wayne and Ward Bond, and despite being older than both of them. He rose to the level of admiral, and reputedly demanded to be addressed as such for the remainder of his long life.
Markey’s most enduring screen credit is as co-writer of the infamous Barbara Stanwyck vehicle Baby Face (1933), probably contributing the references Nietzsche. He also contributed, less memorably, to The Florodora Girl, devising the story and writing dialogue.
In later life, Markey settled down as a horse breeder and Southern gentleman.
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Xavier Cugat
Francesc d’Assís Xavier Cugat Mingall de Bru i Deulofeu (or Xavier Cugat i Mingall for short, 1900-1990), was one of the more idiosyncratic performers to work on musicals at Metro-Goldwyn-Mayer, reliably introducing an element of camp to every film he appeared in.
Born in Catalonia, Cugat and his family emigrated first to Cuba, and then to the United States in 1915. His beginnings in show business were as a classical violinist. He took time out to work as a cartoonist, and then formed his own band, which ended up performing at the Coconut Grove in Los Angeles. Specializing in Latin music, Cugat, clutching his signature chihuahua while conducting or performing, became known as the ‘King of Rumba’.
Cugat’s first involvement in a Metro musical was behind the scenes, working with Herbert Stothart and Clifford Grey on a couple of numbers for In Gay Madrid. Fourteen years later he made his debut on screen for Metro (having made a few musicals at Paramount), in Two Girls and a Sailor. Here, as on every other occasion, he played a fictionalized version of the band leader Xavier Cugat.
Cugat appeared in four Esther Williams vehicles: Bathing Beauty, On an Island with You, This Time for Keeps and Neptune’s Daughter. He also supported Jane Powell in Holiday in Mexico, A Date with Judy and Luxury Liner, and showed up in No Leave, No Love.
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Edwin Justus Mayer
Edwin Justus Mayer (1896-1960) was a journalist and occasional playwright who, quite enterprisingly, wrote an autobiography when he was 25 and had achieved very little. From 1927 to 1945 he worked on a number of Hollywood films; in his own words, “I never gave up the stage, the stage gave me up. The pictures gave me a living and the theatre wouldn’t. I see no shame in using your professional weapons to make a living.” His crowning achievement was his final screenplay, for Lubitsch’s To Be Or Not to Be (1945).
Mayer had earlier been one of the three writers credited with the script for In Gay Madrid.
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Salisbury Field
Edward Salisbury Fields (1878-1936) was, amongst other things, a popular playwright, several of whose comedies were adapted into films.
In the early 1930s Fields undertook writing projects for various Hollywood studios. Amongst these was a contribution to the screenplay for MGM’s In Gay Madrid.
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Robert Ober
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.
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In Gay Madrid
Robert Z Leonard Director Robert Ober Director (uncredited) Bess Meredyth Dialogue and continuity Salisbury Field Dialogue and continuity Edwin Justus Mayer Dialogue and continuity Fred E Ahlert Composer Roy Turk Lyricist Herbert Stothart Composer Xavier Cugat Composer Clifford Grey Lyricist Robert Z Leonard Producer Oliver T Marsh Cinematographer William S Gray Editor Cedric Gibbons Art Director Douglas Shearer Sound Recording Director Ralph Shugart Sound Recording Engineer (uncredited) Adrian Costume Designer -
Margaret Booth
In 1977, Margaret Booth (1898-2002) received an honorary Oscar in tribute to her 62-year Hollywood career, during most of which she was arguably the industry’s greatest editor. Remarkably, she carried on working for another eight years.
Like many major Hollywood figures, Booth started out with D W Griffith, working as a negative cutter. She subsequently worked for Louis B Mayer, transferring with him to the new Metro-Goldwyn-Mayer studio. She was appointed as Supervising Editor in 1939, and stayed there until her shameful dismissal in 1986. During that time, as Booth described it, she worked only in the projection room, never the cutting room (though it is believed she did uncredited cutting on Ben Hur (1959). She has been described as “the final arbiter on every picture the studio made”.
The first MGM musical edited by Margaret Booth was The Rogue Song. This was followed by New Moon, The Cuban Love Song, Dancing Lady, Reckless. After that, she technically supervised the editing of every musical, but made a particularly significant contribution to The Wizard of Oz and Gigi.
As late as 1982, aged 84, Booth worked as supervising editor on the Columbia-released musical Annie.
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Charles Schoenbaum
Charles Edgar Schoenbaum (1893-1951) was a hard-working cinematographer whose earliest credit seems to be working for Cecil B DeMille at Paramount in 1917, but who spent much of his career at Metro-Goldwyn-Mayer. He was sometimes credited as Charles E Schoenbaum, and even C Edgar Schoenbaum.
His work was not greatly celebrated–his sole Academy Award nomination was for Little Women in 1949–but he was valued for his work ethic.
Schoenbaum worked on five MGM musicals over a twenty-year period, from The Rogue Song in 1930 to Duchess of Idaho in 1950. In between came Here Comes the Band and the second version of Good News. He was also drafted in by Rouben Mamouian to replace Charles Rosher on Summer Holiday.
