Category: Stars and Supporting Players

  • Jean Hersholt

    Jean Pierre Carl Buron (1886-1956) was born in Denmark to a French father and Danish mother. He is known to have appeared in three short Danish films in 1906, amongst the country’s earliest cinematic works. After struggling to find acting work, he emigrated to America in 1913.

    Hersholt worked steadily throughout the silent era in features and shorts, and including an uncredited role in The Four Horsemen of the Apocalypse (1921). His career moved up a level when he was cast by Erich von Stroheim as the second lead in Greed (1924), the great film maudit of the 1920s. As the duplicitous Marcus, Hersholt was at the centre of the gruelling shoot in Death Valley, where the cameras had to be wrapped in iced towels to prevent them from warping. He reportedly lost 27 pounds and ended up in hospital.

    The rest of Hersholt’s career was spent as a reliable supporting actor,often in character parts, in over 130 features. He was particularly effective as the cruel uncle victimizing Greta Garbo in Susan Lenox (Her Fall and Rise) (1931), and played opposite Shirley Temple, much more benevolently, in Heidi (1937). 

    During the late thirties, he played kindly Dr Christian in a radio series, and went on to recreate the character in a number of pictures and on television.

    Hersholt only appeared in one MGM musical, aged up to play Professor Bertier in The Cat and the Fiddle.

    Jean Hersholt’s name crops up most frequently today in relation to the Jean Hersholt Humanitarian Award, presented by the American Academy to individuals whose actions have “brought credit to the industry”, Recent recipients have included Michael J Fox (2023) and Dolly Parton (2026).

    The award was established to honour Hersholt’s own role in establishing the Motion Picture Relief Fund, money from which was used to set up the Motion Picture Country House and Hospital, where many actor have spent their final years. 

  • Charles Butterworth

    Charles Edward Butterworth (1896-1946) was one of those Hollywood character actors with a very defined onscreen persona which he carried with him from picture to picture: mild-mannered, courteous and hesitant/confused. 

    After starting out as a journalist, Butterworth dabbled in writing  humorous pieces, which ended with him performing comic monologues in vaudeville. This led, in turn, to Broadway shows.

    In 1929, Butterworth performed a monologue in a Paramount short called Vital Subjects, and followed this with 47 appearances in feature films, almost always credited. He was top-billed in a handful of pictures, for example Baby Face Harrington (1935), but was usually cast in a strong supporting role.

    Butterworth played the Comte de Savignac in Rouben Mamoulian’s Love Me Tonight (1932) and was Algy Longworth in Bulldog Drummond Strikes Back (1934). He provided comic relief in Magnificent Obsession (1935) and was the Duke of Ephesus in the, not wholly successful, screen adaptation of Rodgers and Hart’s The Boys from Syracuse (1940). Butterworth was an adept ad libber, and often improvised better dialogue than had been written for him.

    Charles Butterworth featured in five MGM musicals of the 1930s: The Cat and the Fiddle, Hollywood Party, Student Tour, The Night is Young and Let Freedom Ring.

    Butterworth died aged 49, when his car ran off the road in an unexplained accident. 

  • Jeanette MacDonald

    Jeanette Anna MacDonald (1903-65) was unquestionably MGM’s most popular musical star of the 1930s. She made sixteen pictures in fourteen years, eight of them opposite Nelson Eddy. Her films were mainly operettas, with a few notable exceptions. Unlike Eddy, she was a capable actor, with a particular skill at comedy.

    MacDonald had made her professional stage debut in 1920. Working steadily, she obtained her first starring role on Broadway in 1927. She was spotted by Ernst Lubitsch, who took her to Hollywood to star in his first sound picture, The Love Parade (1929). (She was first, presumably to give her some on-set experience, uncredited in Say It with Songs [1929]).

    She made seven films released in 1930, some good (Monte Carlo [1930], again with Lubitsch), some bad (the execrable The Lottery Bride [(1930]).

    MacDonald had a quieter year in 1932 (like every other musical performer in Hollywood), but made two outstanding pictures, Lubitsch’s One Hour With You (1932) and Love Me Tonight (1932), directed by Rouben Mamoulian. She then signed her contract with MGM.

    The sixteen Metro musicals were: The Cat and the Fiddle, The Merry Widow (her final film with Lubitsch), Naughty Marietta (teaming for the first time with Eddy), Rose-Marie, San Francisco (very much a change of pace), Maytime, The Firefly, The Girl of the Golden West, Sweethearts, Broadway Serenade, New Moon, Bitter Sweet, Smilin’ Through, I Married an Angel, Cairo and Three Daring Daughters.

    In the last of these, she played a divorcée with children, and her career as a film star was effectively over. She sings a few songs in The Sun Comes Up (1949), but this is a Lassie film, not a musical.

    MacDonald was also by now suffering from the heart condition that ended her life so early. She spent her final decade and a half performing in concerts, stage musicals, opera and on the radio.  

  • Clara Blandick

    The screen immortality of Clara Blanchard  Dickey (1876-1962) rests on her role as Dorothy’s Auntie Em in MGM’s The Wizard of Oz. Playing aunts was something of a speciality: she was Tom Sawyer’s Aunt Polly in three different pictures, and Esther Blodgett’s Aunt Mattie in A Star is Born (1937), amongst many others.

    Blandick made her stage debut in Boston at the age of 21, and made her first Broadway appearance in 1903, in Raffles, the Amateur Cracksman. She continued to work on Broadway and in touring productions.

    Some sources claim she made her first film in 1908, but the earliest appearance identified by the AFI is Mrs Black is Back (19140, an adaptation of a Broadway hit made by Famous Players.

    Blandick was part of the 1929 exodus to Hollywood, where she worked as a character actor until the early fifties, sometimes credited, sometimes not, and well over 100 pictures in total. She played the snooty mother in Shopworn (1932) and was uncredited in The Bitter Tea of General Yen (1932). Blandick was credited again in Ford’s Drums Along the Mohawk (1939) and DeMille’s North West Mounted Police (1940), and uncredited in Lubitsch’s Heaven Can Wait (1943).

    As well as The Wizard of Oz, Blandick appeared without credit in three other MGM musicals: Going Hollywood, The Big Store and Du Barry was a Lady.

  • The Radio Rogues

    The Radio Rogues was a comedy trio comprising James Nicholas ‘Jimmy’ Hollywood (1895-1955), Edward ‘Eddie’ Bartell (1907-91) and Henry Taylor (1907-69). They were essentially impressionists, performing standard songs with jokes and celebrity mimicry.

    The trio appeared as comic relief in a number of feature films during the 1930s, including the MGM musical Going Hollywood, and starred in a few comedy shorts.

    All three occasionally appeared solo in low budget pictures, and Taylor also did some work as a screenwriter.

    A fourth performer, impressionist Sydney ‘Syd’ Chatton appears to have also performed with Hollywood and Bartell, including in the Broadway production of Helzapoppin’ (1938).

  • Bobby Watson

    Robert Watson Knucher (1888-1965) started out in vaudeville as a teenager, and also toured the United States with a travelling medicine show. He moved up through appearing in shows at Coney Island, to a Broadway debut in 1918, where he continued to work.

    Watson made his first film in 1925 in That Royle Girl, a minor work by D W Griffith. He went on to appear, usually uncredited, in around ninety pictures, including: China Seas (1935), Captains Courageous (1937), The Miracle of Morgan’s Creek (1943, and one of nine pictures in which he played Adolf Hitler), The Big Clock (1948, and a rare credited role as one of the employees at Janoth Publications), A Foreign Affair (1948, and Hitler again) and The Four Horsemen of the Apocalypse (1962, his last film and playing Hitler).

    Bobby Watson acted in five MGM musicals, though he was credited only in the first, playing the press agent Thompson in Going Hollywood. The uncredited appearances were in Born to Dance, Singin’ in the Rain (as the diction coach in ‘Moses Supposes’), The Band Wagon and Deep in my Heart. 

  • Patsy Kelly

    Bridget Sarah Veronica Rose Kelly (1910-81) started out in show business as Frank Fay’s stooge in vaudeville before quickly moving on to Broadway shows, in which she performed alongside many of the top comedians of the day.

    Kelly’s earliest confirmed film appearance is the lead role in The Grand Dame (1931), a Vitaphone short shot in New York. Nineteen-thirty-three was an important year: she had an important supporting role in MGM’s musical Going Hollywood, playing Marion Davies’s best friend; and Hal Roach chose her to replace ZaSu Pitts as Thelma Todd’s partner in a series of comedy shorts. Pitts had played her usual scatty self, while Kelly was the ultimate wisecracking dame. 

    Throughout the 1930s, Kelly appeared as smart-mouthed support in comedies and musicals, including Every Night at Eight (1935) and Pigskin Parade (1936), and she was the female lead in the creepy comedy The Gorilla (1939), with Bela Lugosi and the Ritz Brothers.

    It is believed that Kelly’s career declined in the 1940s because of her insistence on living her life as an out lesbian. Returning to New York, she entertained the troops during the war, and performed on radio and in summer stock. She also worked as personal assistant to Tallulah Bankhead.

    Supporting work in films opened up to her again in the 1960s, and she also worked extensively on television. She made a successful return to Broadway in 1971 in a revival of No, No, Nanette, followed by another revival, Irene, in 1973.

    Patsy Kelly made one other musical at MGM,  starring in Nobody’s Baby.

  • Ned Sparks

    Canadian Edward Arthur Sparkman (1883-1957) made his film debut in silent pictures, a medium only partly suited to an actor whose unique presence relied on two attributes: yes, a deadpan face, but also, and most importantly, a monotone, nasal voice that seemed to deride everything around it.

    Sparks developed his unique style in one of the many Broadway productions in which he appeared after 1912. (His early life had been a gallimaufry of unlikely incidents, including gold prospecting and studying for the ministry.)

    After over thirty silent films, initially made in New York studios, Sparks made his talkie debut in The Big Noise(1928), an Allan Dwan production for First National. He went on to steal scenes in about fifty more pictures, including 42nd Street (1933), Gold Diggers of 1933 (1933), Lady for a Day (1933), Imitation of Life (1934) and Magic Town (1947), his final appearance, made as a favour to James Stewart. It was his proud boast that he never smiled in any of them.

    Sparks was only in one MGM musical, Going Hollywood, where he began a lifelong friendship with Bing Crosby.

  • Stuart Erwin

    For fans of low-budget programmers, Stuart Erwin (1903-67) lives on as the first actor to play comic-strip boxer Joe Palooka on screen, in Palooka (1934).

    Erwin started acting at the University of California, and went on to work in Los Angeles stock theatre companies. He broke into films with a role in Mother Knows Best (1928), Fox’s first talking picture.

    He went on to make over 100 films, usually in credited supporting roles, but with a few leads. Even though he was the star of Pigskin Parade (1936), he was perversely nominated in the Best Supporting Actor category at the Academy Awards.

    Erwin’s films were generally not prestigious, and he was arguably more successful in radio and television.

    Stuart Erwin featured in just one MGM musical, playing the producer and financial backer of the film being made in Going Hollywood.

  • Fifi D’Orsay

    The first two screen appearances of Marie-Rose Angelina Yvonne Lussier (1904-83) were in They Had to See Paris and Hot for Paris (both 1929). Her characters also epitomized Parisian gaiety and ‘ooh-la-la’. But she was actually a French-Canadian who never went to France, or anywhere else outside North America, in her life.

    D’Orsay moved to New York as a young woman and found work in a revue by claiming to have experience at the Folies Bergère.She later took her surname from a brand of perfume. She worked in vaudeville until moving to Hollywood and achieving short-lived stardom until she foolishly walked out on a contract with Fox in 1936 and found it difficult to obtain work.

    She then returned to vaudeville, taking film roles when she could get them, and worked right through to the early seventies. In 1971, D’Orsay played Solange, an aging French chorus girl in the original Broadway production of Follies.

    One of D’Orsay’s best roles was as the awful Lili in MGM’s Going Hollywood. She made one other musical for the studio, playing Marcelle in the French-language version of The Merry Widow.

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