John Conrad Nagel (1897-1970) was a matinee idol of the 1920s who was as out of place in a musical as he looked in The Hollywood Revue of 1929.
Nagel’s only appearance in an MGM musical came as part of his successful and hectic transition to sound: he featured in 19 films released during 1929-31, though Hollywood Revue was perhaps not his greatest moment. It did him no harm, though: Nagel was still working in the late 60s.
Charles Nicholas Carleton (1871-41) was a successful stage actor and director who did not start his film career-proper (he made one picture in 1915) until he was in his mid-fifties, where he became a successful, if fairly anonymous, supporting player.
Carle was the entomology professor in So This Is College, a eunuch in Elmer’s movie in Free and Easy, Knapp in Hollywood Party (credited), Maurice Chevalier’s attorney in The Merry Widow and a member of the Founders’ Club in San Francisco.
The actor born Julian La Faye (1906-79) became a successful second-tier star, notably alongside John Wayne in Flying Tigers (1942). He started his film career playing bits in MGM musicals: Marianne (doughboy), Devil-May-Care (Bonapartist), The Rogue Song (Bandit) and New Moon Russian soldier).
After developing his career, Carroll returned as straight man to the Marx Brothers in Go West, and went on to feature prominently in Lady Be Good, Rio Rita and Fiesta.
Carroll’s last appearance was in Orson Welles’s film maudit The Other Side of the Wind (1975, released 2018).
Florence Arnot (1910-95) had a strange career arc, which is epitomized by her roles in MGM musicals. She was uncredited as Flo in The Broadway Melody, then played the second female lead (below Bessie Love) in They Learned About Women. After that, there were just uncredited appearances as a jilted lover in Lord Byron of Broadway and as a Casquette girl in Naughty Marietta.
It is ironic that Doran’s career never really took off, given that she was married for a time to Joseph Sherman, a senior member of Metro’s publicity department.
The Biltmore Trio actually began as a quartet in The Broadway Melody and comprised Eddie Bush (1911-69), Paul Gibbons (1904-87), Ches Kirkpatrick (19??-19??) and Bill Seckler (1905-83). They performed ‘Truthful Parson Brown,’ the only song not written by Freed-Brown.
They appeared again, as the Biltmore Quartet, in The Hollywood Revue of 1929 and also in a musical by Fox, Words and Music (1929). After that, Kirkpatrick seems to have disappeared and they became the Biltmore Trio, featuring in Chasing Rainbows, Children of Pleasure and Love in the Rough. They were also the eponymous stars of a Metro musical short.
Charles Kenneth Thomson (1899-1967) was a featured player in silent and early sound films, notable for hosting the meetings that led to the formation of the Screen Actors Guild.
Thomson played the wolf Jacques Warriner in The Broadway Melody and Pat’s on-again-off-again fiancé in Children of Pleasure.
Grady Harwell Sutton (1906-95) was a hard-working supporting player for 60 years, often in codified gay roles. He is probably best-known today for his four films with W C Fields.
Sutton’s first uncredited appearance in a Metro musical was as a football spectator in So This Is College. He then waited sixteen years for his most substantial part, as Kathryn Grayson’s would-be suitor in Anchors Aweigh.
This was followed by uncredited appearances in Ziegfeld Follies, Two Sisters from Boston, Holiday in Mexico, No Leave, No Love and, after another sixteen years, Billy Rose’s Jumbo.
Frances Charlotte Greenwood (1890-1977) had aspirations to be a serious actor, but found that her destiny was to make people laugh. This was, in part, owing to her very long legs and the things she could do with them while dancing; as she said herself, “I’m the only woman alive who can kick a giraffe in the eye”.
Greenwood appeared in many film musicals, though only three at MGM. In 1931 she was Pansy Potts, Bert Lahr’s love interest, in Flying High. There followed a gap of 22 years until Dangerous When Wet, and then, just three years later, The Opposite Sex.
Charlotte Greenwood also notched up one entry as a Metro songwriter when she and her husband Martin Broones contributed ‘Campus Capers’ to So This Is College.
Pauline Theresa Moran (1893-1952) was a seasoned vaudeville performer when she became a Mack Sennett Bathing Beauty in 1914. After years of slapstick with Sennett she signed with MGM and was teamed with Marie Dressler for the first time in 1927, a partnership that lasted nine pictures in total.
Moran appeared alongside Dressler in two numbers in The Hollywood Revue of 1929. She was the fraternity cook in So This Is College, then sparring again with Dressler in Chasing Rainbows. Her final musical for Metro was Hollywood Party, as Henrietta Clemp, wife of the multi-est millionaire in Oklahoma.
Sarah Kathryn Sturm (1909-1996) was only a teenager when she appeared on Broadway in George White’s Scandals of 1924. After signing with MGM she became Sally Starr, which has led some sources to attribute her with films of the 1910s made by an actor with the same name.
So This Is College was Starr’s only musical for the studio and, obscure though it is, is her best-known film. She retired from acting in 1938.
