John Cooper (1922-2011) was a rare child actor who managed to extend early success into a long and successful life and career. Cooper made his screen debut aged six, though he had been carried around as an extra before that, and appeared for a couple of years as one of Hal Roach’s ‘Little Rascals’.
Under contract to Roach, Cooper was loaned to Paramount to star in Skippy (1931), under the direction of his uncle, Norman Taurog. In the same year he supported Wallace Beery’s Oscar-winning turn in The Champ.
Cooper worked regularly throughout his teenage years, notably as the second male lead in Fritz Lang’s The Return of Frank James (1940), also finding time to have an affair with Joan Crawford. His films as an adult in the 1940s were not of great note, and he took time out to serve in the navy. By 1949 he had started working regularly in television. In 1954 he made his first foray into television direction, going on to work on a wide variety of comedy and drama series, and winning two Primetime Emmys. From 1959, he was also working as a producer.
Cooper continued to act, and is well-known for playing Perry White in the Christopher Reeves Superman pictures. He finally retired in 1989.
Jackie Cooper made appearances in two MGM musicals: as a child in Broadway to Hollywood, and as a teenager in Ziegfeld Girl, as Lana Turner’s brother and Judy Garland’s beau.
Francis Phillip Wuppermann (1890-1949) was the Wizard of Oz. It was his most famous role, the one that has gained him immortality. But it was not his only role: he made about a hundred films altogether, including thirteen other MGM musicals.
A graduate of Cornell University (he studied business administration), Morgan made his start in acting in the theatre, in a Broadway production of Mr Wu in 1914. His screen debut came two years later, a supporting role in a Vitagraph picture. He was a journeyman player in both media until the late 1920s, when he appeared on stage in Gentlemen Prefer Blondes (1927). Three years later he created the title role in the comedy Topaze.
In the cinema, a highlight was co-starring as Bunny in John Barrymore’s Raffles, the Amateur Cracksman (1917). He was always based in New York, and apparently told his friend Ralph Bellamy he was selling out by going to Hollywood. Six months later, Morgan was there himself and, after returning East for two Broadway productions, became a fixture in the film capital. He was under contract with Metro-Goldwyn-Mayer for the rest of his life, though he was loaned out in 1933 for Hallelujah, I’m a Bum.
Morgan had a few leading roles, for example in The Affairs of Cellini (1934), which earned him an Oscar nomination. More often, he worked as a character actor, always bringing added value to whatever picture he was in. Particular highlight was Lubitsch’s The Shop Around the Corner (1940), as the tragi-comic Mr Matuschek, and his role in Borzage’s anti-Nazi The Mortal Storm (1940).
Morgan was a very good actor, and did also star in a number of pictures, perhaps most notably James Whale’s The Kiss Before the Mirror (1933). In an entertaining minor MGM film from 1943, A Stranger in Town , he starred as a Supreme Court Justice trying to have a duck-hunting vacation in a small town.
The musicals in which Morgan appeared, beside The Wizard of Oz, were Broadway to Hollywood (playing the lead), The Cat and the Fiddle, Naughty Marietta, The Great Ziegfeld, Rosalie, Sweethearts, Broadway Serenade, Balalaika, Broadway Melody of 1940, Hullabaloo (another lead), Thousands Cheer, Yolanda and the Thief and Summer Holiday. This means he worked with Jeanette MacDonald and Nelson Eddy, Fred Astaire, Eleanor Powell, Judy Garland, Gene Kelly, Mickey Rooney and Kathryn Grayson: most of the musical performers whose stars glittered in the MGM firmament.
Frank Morgan, despite his usually cheery persona on and off screen, had a serious problem with alcohol, believed to have been triggered by the murder of the brother with whom he was closest. He was a functioning alcoholic, but the impact on his general health was almost certainly a contributing factor to his death from heart failure at the age of 59, just after he had started shooting Annie Get Your Gun.
Mary Rose Brady (1892-1939) will have found it relatively easy to break into the New York film industry, given that her first picture, As Ye Sow (1914) was made by William A Brady Productions, her father’s company. She had previously acted on stage, including in a Broadway production with which her father was associated. She continued to work in the theatre during her film career, including a leading role in the 1931 premiere of Eugene O’Neill’s Mourning Becomes Electra.
Brady acted in films until 1923, then concentrated on the stage until travelling to Hollywood in 1933. After one supporting role at MGM, she starred in two musicals, playing very different kinds of stage mother: Broadway to Hollywood and Stage Mother.
Alice Brady’s most beloved role is probably as Carole Lombard’s batty mother in My Man Godfrey (1936), which earned her a nomination for the Best Supporting Actress Oscar. She won in the category the following year, for her part in In Old Chicago (1938), this time as Tyrone Power’s mother, responsible for starting the cataclysmic fire.
Brady’s final role was as yet another mother, the noble Abigail Clay in John Ford’s Young Mr Lincoln (1939).
Charles Rogers (1887-1956) is generally known as Charley and, like his namesake Charlie Chaplin and his close friend Stan Laurel, he started out working in British music halls, before emigrating to the United States in 1912.
In the same year, Rogers played the Artful Dodger in Oliver Twist, one of the earliest multi-reel features, produced by a New York studio. He continued to work in the East Coast film industry for several years, before finally making his way to Hollywood.
In 1927, Rogers appeared uncredited in Love ‘em and Feed ‘em, and stayed at the Hal Roach Studios for many years, quickly moving into writing and directing.
Rogers has been described as, in creative terms, second only to Stan Laurel on the Roach lot, and he worked on a number of Laurel and Hardy’s best shorts and features. These included, as a gag writer, We Faw Down, Two Tars (both 1928), Hog Wild and Laughing Gravy (both 1930). Rogers contributed the original stories and screenplays for Block-Heads (1938), A Chump at Oxford and Saps at Sea (both 1940).
Rogers directed or co-directed, and also contributed to the writing of, three of Laurel and Hardy’s operettas: The Devil’s Brother, Babes in Toyland (in which he also played Simple Simon) and The Bohemian Girl. He also wrote gags for Swiss Miss.
Away from Laurel and Hardy, Rogers played Josef Goebbels in the studio’s bizarre wartime semi-feature That Nazty Nuisance (1943). One of his last jobs was an uncredited appearance in Chaplin’s Limelight (1952).
James Carmody Lankton (1884-1942) was a character actor who made over 200 films, often playing angry authority figures, and frequently making comedy out of his baldness. He appeared often in support of the Three Stooges and Laurel and Hardy.
Following a period in vaudeville and burlesque shows, Morton made his first film in 1912, while also working as a stage actor in Los Angeles. But his screen career really began after the introduction of sound, when he did a lot of work at the Hal Roach studios.
As well as comedy shorts, Morton made appearances, often uncredited, in features, including Modern Times (1936)Alexander’s Ragtime Band (1938) and The Return of Frank James (1940).
Morton was in four Metro musicals: The Devil’s Brother, Naughty Marietta, A Night at the Opera and The Bohemian Girl.
Shortly before his death, Morton went on tour with The Laurel and Hardy Revue (1940).
Robert Clinton Oakes (1899-1972) made close to 400 film and television appearances in a career that lasted over forty years. The son of a Montana horse rancher, it was fitting that a huge proportion of his roles were in westerns.
Chandler made his first, uncredited, appearance in a Paramount western in 1927, but was starring opposite Betty Bronson in his second, Open Range (1927). Sound posed no problem for him, and he had a featured role in The Forward Pass (1929). But the status of his roles on non-westerns and ‘A’ pictures started to decline. Eventually, he settled into a long series of credited and uncredited character parts.
Chandler had small parts in ten Cecil B DeMille pictures, took orders from Ming the Merciless in the Flash Gordon serials, and showed up in films as diverse as Roman Scandals (1933), Marie Antionette (1938), They Died with Their Boots On (1941), Laura (1944), The Dark Mirror (1946), Red River (1948) and Rancho Notorious (1952).
For MGM, Chandler appeared in The Devil’s Brother and, uncredited, in The Merry Widow, The Bohemian Girl, The Firefly, Rosalie and Born to Sing.
Matthew O’Grady McHugh (1894-1971) never achieved the level of fame of his brother Frank, but appeared in more films (well over 200) than his sister Kitty.
From a theatrical family, the three siblings performed a stage act together as teenagers. Afterwards, Matt worked in stock companies before making his Broadway debut in Street Scene in 1929, and recreated his role in the 1931 film version.
The following year, McHugh and Edward Brophy played the Rollo brothers, owners of the carnival in Tod Browning’s Freaks (1932). Here, as in most of his other roles, he acted with a Brooklyn accent, despite having no connection with the area.
McHugh’s later appearances, mostly uncredited, included parts in Barbary Coast (1935), Holiday (1938), Mr Smith Goes to Washington (1939), The Devil and Miss Jones (1942), Phantom Lady (1944) and The Dark Corner (1945).
Matt McHugh was in four MGM musicals: The Devil’s Brother, and uncredited in Dancing Lady, Broadway Melody of 1938 and At the Circus.
Enrico Armetta (1888-1945) left Sicily aged 14, as a stowaway on a boat bound for New York. He managed to avoid being sent back, and was working as a valet at the Lambs Club when actor Raymond Hitchcock got him a job in the chorus of a musical.
Armetta worked for stock companies and on Broadway for a few years, and also appeared in a handful of films for New York-based companies. In 1920, he made his way to Hollywood, and established a career playing stereotypical Italians in pictures such as Fantômas (1920) and A Girl in Every Port (1928).
Armetta’s career as a supporting player really took off with the coming of sound, when there was a demand for actors who could do ethnic accents, and he became a familiar face in about 150 films as various Luigis, Giuseppes and Tonys. He had featured roles in two of John M Stahl’s greatest melodramas, Imitation of Life (1934) and Magnificent Obsession (1935), while also playing uncredited barbers, waiters and street vendors.
Henry Armetta had a featured role in The Devil’s Brother, and appeared in a further five MGM musicals: The Cat and the Fiddle (as the taxi driver), The Merry Widow (uncredited as the lascivious Turk at Maxim’s), Everybody Sing, The Big Store and Anchors Aweigh.
Actor and director Arthur Pierson (1901-75) was born in Norway but raised in Seattle.
As an actor, he made it to Broadway in 1929, making his first film three years later, a supporting role in Paramount’s No One Man (1932). The following year he made his sole appearance in an MGM musical, as Lorenzo in The Devil’s Brother.
Pierson left Hollywood in 1935 to return to Broadway. He acted in a couple of more pictures in the forties, but then turned to writing and directing. He went into television as a producer, and ended his career as an executive responsible for story supervision at Hanna-Barbera. Series on which he worked included The Jetsons, Jonny Quest and The Secret Squirrel Show.
Lucile Ruth Browne (1907-76) had been working with a theatre company in Chicago when the Fox Film Corporation gave her the female lead in the western The Last of the Duanes (1930).
Browne’s subsequent career was a combination of featured roles in ‘B’ westerns and uncredited appearances in ‘A’ pictures. For example, in 1935 she played a bit as a nurse in Magnificent Obsession, and also starred opposite Gene Autry in Republic’s singing cowboy picture Tumbling Tumbleweeds.
A rare exception to this rule was a featured role in MGM/Hal Roach’s The Devil’s Brother. Her only other appearance in an MGM musical was as a chorus girl in Sweethearts.
Browne effectively retired in 1938 to raise a family, making only occasional screen appearances thereafter, ending with the Margaret Sullavan weepie No Sad Songs for Me (1950).
