Isabelle Keep (1898-1975) was a small-part player who made almost sixty films between 1919 and 1937. She is probably best-known today for playing Mrs Laurel in Perfect Day (1929) and Mrs Hardy in Be Big! (1931).
Keith appeared briefly in a few major pictures–John Ford’s Riley the Cop (1928), Mata Hari (1931), Anna Karenina (1935)–but can mostly be seen in programmers.
She was uncredited in three Metro musicals: Broadway to Hollywood, Dancing Lady and Reckless.
Muriel Adele Evanson (1910-2000) was spotted in Hollywood aged 16 and given her first part in Mademoiselle Modiste (2926). While still at school, she worked for years in bit parts and did some acting for stock companies.
In 1929, Evans played the female lead in Joyland, a Lupino Lane comedy short. After a short break from acting to get married and divorced, she worked for MGM and Hal Roach, including a role in Laurel and Hardy’s Pack Up Your Troubles (1932).
From then on, Evans’s career was a combination of small, often uncredited, appearances in ‘A’ pictures such as Queen Christina (1933) and Mr Deeds Goes to Town (1936) and, much more frequently, leading roles in’B’ westerns. She was a regular leading lady for Buck Jones and for John Wayne during his wilderness years.
By 1940, Evans had more or less retired from screen acting, though she did continue to do radio work. Much later, she worked as a nurse at the Motion Picture and Television Country House and Hospital, where she also lived out her final years.
Muriel Evans was in three MGM musicals: Broadway to Hollywood, Dancing Lady and Hollywood Party.
Ernestine Hill (1910-2000), like many others, was a model and beauty contest competitor who ended up becoming a Goldwyn Girl. She made her first screen appearance in Eddie Cantor’s Whoopee! (1930).
After a few uncredited roles, including in MGM’s Broadway to Hollywood and Dancing Lady in 1933, Howard achieved a handful of credits, notably in Edmund Goulding’s 1943 comedy, Claudia. But she does not seem to have taken her career very seriously, and spent much of her time taking photographs.
Howard only made about a dozen pictures, but also published two volumes of photographs, including one which captured a world tour she undertook with her close friend Cole Porter.
Francis William Albert Jenks (1902-62) had one of those faces that made him stand out in all of his 140-plus films.
Jenks started out as a teenager, playing the trombone in a band and, after attending university, became a song and dance man in vaudeville. He went to Hollywood in 1933, and his first three screen appearances were as band leaders. Over the next thirty years, Jenks moved smoothly between small, uncredited parts, usually as working men (mailmen, carnies, furniture removers, taxi drivers), and bigger roles fairly high up the credits. Examples of the latter would include the Paramount musical Dancing on a Dime (1940) and the male lead in PRC’s Shake Hands with Murder (1944). He had a small but key role in Barbara Stanwyck’s Christmas in Connecticut (1945).
Later in life, Jenks worked extensively in television, notably partnered with Alan Mowbray in Colonel Humphrey Flack (1953-59).
Jenks appeared in four MGM musicals, commencing with Broadway to Hollywood. His most prominent, and only credited, role was in Thousands Cheer. He also acted in Two Girls and a Sailor and was one of Danny Kaye’s fellow clowns in Merry Andrew.
Moses Harry Horwitz (1897-1975) was the senior stooge in the Three Stooges, at least after the split with Ted Healy, with whom they had performed as, well, Ted Healy and his Stooges. Moe was always a little less stupid than his two comrades, and meted out punishment when it was (and also when it was not) needed.
Moe made his earliest films, for Vitagraph, as a teenager in the 1900s, but these were apparently destroyed in a fire. He and his brother Shemp then undertook a variety of show business jobs, until they teamed up with Healy in the early 1920s. This partnership was on and off over the years, and eventually Shemp was replaced by brother Curly.
Healy and the stooges appeared in several MGM pictures before Healy struck out on his own again and Larry, Moe and Curly became the Three Stooges. Moe Howard, along with Larry Fine, appeared in all 190 of the Three Stooges’ shorts and all twelve features.
Moe was in three MGM musicals: Broadway to Hollywood, Dancing Lady and Hollywood Party.
Jerome Lester Horwitz (1903-52) was, by general consent, the greatest of the six performers who, at various times, comprised the Three Stooges. His brother Moe and vaudeville performer Larry Fine were permanent presences in the trio, but Curly, somewhat reluctantly, took over when original member Shemp Howard decided to leave.
Curly Howard had been a watcher-on of his brothers’ performances when they were a part of the act called Ted Healy and his Three Stooges, and was drafted in when Shemp grew tired of working with the difficult Healy. He was required to cut his hair down to the scalp, something he hated for the rest of his life.
But Curly was considered the most naturally gifted comedian in the act, and introduced many of its best-loved bits of business: the mock-Brooklyng pronunciation (“Soitanly!), the manic laugh (“Nyuk-nyuk-nyuk”) and much of the physical buffoonery, which he could improvise at will.
Curly appeared in almost 100 Three Stooges shorts between 1933 and 1947, when ill-health, culminating in a stroke, ended his career.
The Three Stooges never made their own feature film during Curly’s tenure, but he did make brief appearances in three MGM musicals: Broadway to Hollywood, Dancing Lady and Hollywood Party.
William D’Wolf Hopper (1858-1935) was a vaudeville and musical theatre performer who found fame through the recitation of Ernest Thayer’s mock-heroic poem ‘Casey at the Bat’.
Hopper, who made his professional debut in 1878, aspired to be a leading man in serious drama, but his height and bulk (6 feet 5 inches and around 230 pounds) ruled that out. But he had a deep bass voice, and found success in musicals. He starred on Broadway in more than thirty shows.
It is estimated that Hopper recited ‘Casey at the Bat’ around ten thousand times. A recording exists, as well as a short sound film made in the Phonofilm process in 1923.
Hopper starred in a number of silent films, including an unlikely-looking Don Quixote in a 1915 adaptation of Cervantes’s novel.
In 1930, Hopper took part with other vaudeville veterans in filming a section of The March of Time. The film was never completed, but Hopper’s performance can be seen in Broadway to Hollywood.
Hollywood gossip columnist Hedda Hopper numbered among DeWolf Hopper’s six wives.
Alex Elihu Tenenholtz (1887-1971) was a stalwart of Yiddish theatre, both in pre-revolutionary Russia and in his adopted home in the United States. In 1925 he established a Yiddish theatre company with Cecilia Adler, the half-sister of Luther and Stella, and in 1926 was offered a contract by Metro-Goldwyn-Mayer.
In one of his early films, The Mask of Comedy (1926), he appeared with Norma Shearer, and over the next few years he acted with most of Hollywood’s top women actors: Marion Davies (The Cardboard Lover [1928]), Marie Dressler (Bringing Up Father [1928]), Joan Crawford (The Duke Steps Out [1929]), Blanche Sweet (The Woman Racket [1930]), Loretta Young (Three Girls Lost [1931]), Kay Francis (British Agent [1934]) and Carole Lombard (Nothing Sacred [1937]).
Holtz also appeared uncredited in three MGM musicals: Broadway to Hollywood, Hollywood Party and Let Freedom Ring.
When Hotz’s career was reduced to Poverty Row productions in the late 30s, he took up chicken farming instead. He returned to acting, predominantly on television, in 1959.
Australian Robert Greig (1879-1958) played a film butler on at least twenty-three occasions, which is as close as you can get to being a butler without actually butling. He also played valets, doormen and at least two major domos.
More importantly, Greig was a key member of Preston Sturges’s stock company, appearing in six of the director’s films, including The Lady Eve (1941, as Burrows, the butler). In Sullivan’s Travels (1941, again playing a butler named Burrows), he was given a key speech, commenting on his employer’s plan to disguise himself as a poor man: “Poverty is not the lack of anything, but a positive plague, virulent in itself, contagious as cholera, with filth, criminality, vice and despair as only a few of its symptoms. It is to be stayed away from, even for purposes of study. It is to be shunned”.
After a successful career in Australia, Greig had emigrated to the United States and acted on Broadway. He repeated his role as Hives the butler, with the Marx Brothers, in Animal Crackers when the play was filmed in 1930. He worked with them again in Horse Feathers (1932).
Greig worked with Lubitsch on Love Me Tonight and Trouble in Paradise (both 1932) and in top-class screwball comedies such as Theodora Goes Wild (1936) and Easy Living (1937). He stepped back to the Revolutionary War with John Ford’s Drums Along the Mohawk (1939) and to the ancient Middle East in The Thief of Bagdad (1940).
Robert Greig appeared in four MGM musicals: Broadway to Hollywood, Rose-Marie (the only credited role), The Great Ziegfeld (as the protagonist’s butler) and I Married an Angel.
Bernard J Fagan (1850-1937) acted, sang, composed, choreographed and directed throughout the last decades of the nineteenth century and well into the twentieth.
As a performer, Fagan was particularly noted for his clog dancing and for minstrelsy, including blackface. As a composer, his songs are noted by historians of music as important contributions to the development of ragtime. In later life, Fagan performed in and directed musical theatre, including an appearance in the first production of Samson Raphaelson’s The Jazz Singer in 1925.
Fagan’s only film appearance was when he performed a soft-shoe shuffle for the abandoned MGM musical The March of Time in 1930. The footage was used three years later in Broadway to Hollywood.
