Tag: Metro-Goldwyn-Mayer

  • The Devil’s Brother

    The Synopsis

    Diavolo is returning to his camp [By Yonder Rock Reclining]. He tells his men he has found “a skinny old lord who stinks of gold”, who has a pretty wife with sparkling jewels. He could not steal from them, because he was disguised as the Marquis de San Marco, though he did steal the lady’s heart. Diavolo had travelled in a coach with them, and now describes what happened.

    Lord Rocburg was sleeping as Diavolo sang to Lady Pamela [The Gondolier, Fond Passion’s Slave]. He flirts with her and she shows off her jewellery, some of which is hidden inside a fruit cake. Diavolo asks if she is not afraid of bandits, but Pamela assures him they would never find her jewels, nor her husband’s 500,000 francs. Rocberg wakes when he hears his money mentioned and glares at the Marquis, expressing his dislike of popinjays. 

    Back in the present, Diavolo tells his men to go and rob the coach.

    In a nearby town, soldiers are gathered outside the Taverna del CuCu [Drink, For Joy Bestowing]. Inside, the tavern owner Matteo tells Zerlina, his daughter, to stay away from soldiers or his plans for her will be spoiled. Zerlina tells him she loves Lorenzo, but he insists she will marry Francesco tomorrow. 

    Zerlina runs to tell Lorenzo, who tells her to just refuse to marry Francesco. She explains that Matteo has no money and will lose the tavern if she does not marry a wealthy husband. Lorenzo hopes to catch Diavolo and get the reward money, but Zerlina reminds him he has been searching for months. Lorenzo assured her he is getting closer. 

    Meanwhile, Stanlio and Ollio are riding through the mountains, on a mule and a horse respectively. Ollio tells Stanlio to give him their money, because it will be safer with him. Holding the two bags, he talks about all the sacrifices they have made to save the money, so that now they can settle down and live off the fat of the land. Two bandits hold them up and take the money.

    Ollio says they will have to start all over again, right at the bottom, but Stanlio suggests they start at the top by becoming bandits themselves. Ollio likes the idea, pointing out that they can do it because being a bandit does not require any brains.

    They approach an elderly woodchopper and, holding him at gunpoint, demand his money. The woodchopper begs them not to rob him, explaining that he struggles to feed his sixteen children. His story moves the pair to tears and they give him what money they have, only to see him drop it into a big bag of cash. 

    The woodchoppers flee in panic when they hear Diavolo singing [On Yonder Rock Reclining]. Stanlio and Ollio hide, and a large woodchopper explains that Fra Diavolo will cut their throats. Stanlio is scared, but Ollio assures him that he knows a bandit when she sees one. 

    Rocberg’s coach arrives in the town and they tell the soldiers they have been robbed and Pamela’s jewels taken {My Lord and Lady Have Been Robbed]. Certain it was Diavolo, Lorenzo leaves with his troops. 

    In the forest, Stanlio and Ollio come across Diavolo and hold him up. Ollio claims to be Diavolo, and sings ‘On Yonder Rock Reclining’. He forgets the words, but the song is completed by the real Diavolo. Realizing their mistake, Stanlio and Ollio turn to run away, and are confronted by the bandits. Diavolo decides to hang them. When Stanlio pleads for his life, Diavolo says he will be spared if he hangs his friend. 

    Diavolo admires the jewels, but is angry that his men missed the 500,000 francs. He decides to follow the coach to the inn. 

    Prevented from running away, Stanlio, after much prevarication, tries to hang Ollio, but the tree breaks under his weight. Diavolo cannot take his men with him because they would be recognized, so he decides to spare Stanlio and Ollio, and take them with him.

    At the inn, Rocburg has offered 10,000 francs for the return of the jewels. Pamela has retained one medallion, that was hidden in her cleavage, and the cash, which is sewn into her petticoat. 

    Stanlio and Ollio carry Diavolo, disguised as the Marquis, to the inn in a sedan chair. Flirting with two servant girls, Stanlio waves his red handkerchief at them and they are attacked by a nearby bull.

    Meanwhile, Diavolo continues his flirtation with Pamela, rousing Rogberg’s jealousy.

    Stanlio and Ollio see a notice offering 20,000 francs for the capture of Diavolo, and decide to get it for themselves. 

     

    Rocberg attempts to trick Pamela by faking a note from the Marquis and slipping it under her door, but it disappears under a rug. He hides in the Marquis’s room, while Diavolo visits Pamela in her room. Stanlio and Ollio burst into the Marquis’s room and mistakenly bundle Rocberg under his cloak. 

    Diavolo tries to find out from Pamela the hiding place of the money, but fails. He hears Stanlio and Ollio outside, struggling with their captive, and looks down from the balcony, hearing their betrayal. Realizing their mistake, they flee, with Diavolo in pursuit. He gives them one more chance.

    Later, Diavolo puts sleeping powders into wine and tells Stanlio and Ollio to take it to Rocberg, with his compliments. Rocberg refuses to accept it, so Stanlio drinks it himself. 

    Diavolo tells them to wait in the courtyard until it is quiet, then climb up to the balcony. Drowsy, Stanlio starts to sing ‘On Yonder Rock Reclining’, and Diavolo threatens to cut out his tongue if he ever does it again. 

    Zerlina sleeps in a bed outside Pamela’s door, in case she is needed in the night, while Ollio struggles to keep Stanlio awake. On his balcony, Diavolo gives the signal for them to climb up. They do so, though with great difficulty. Diavolo leads them across to Pamela’s balcony, while Zerlina settles herself to sleep [For a servant there’s no denying]. Diavolo gives his companions pistols, telling them to cover Rocberg while he searches the room. Then Diavolo hears the soldiers returning [Victory Crowned, Victoria, Victoria, Victoria]. Pamela and Rocberg are awakened. Zerlina rushes downstairs and Stanlio climbs into her bed. 

    Lorenzo tells Rocberg that they did not catch Diavolo, but they found his hiding place and killed twenty of his men. Rocberg returns to his bed. Diavolo, back on his own balcony, flirts with Pamela, then sees Lorenzo climbing up to Zerlina. 

    Next morning, preparations are made for Zerlina’s wedding [‘Tis Easter Day, ‘tis Easter Day]. Matteo welcomes Francesco. 

    Pamela rushes downstairs, crying that her medallion has been stolen. Lorenzo makes it clear that he suspects ‘the Marquis’. Diavolo responds by mentioning the figure he saw climbing up to the balcony during the night and asks Lorenzo what he was doing? Lorenzo refuses to say, but denies stealing the medallion. Diavolo suggests they are all searched, and offers to go first. The medallion is found in Lorenzo’s cloak. Diavolo then pleads for mercy towards Lorenzo, insinuating that he stole because he was in love with Zerlina. Pamela agrees not to press the case. Lorenzo thanks her, but vows to prove his innocence.

    Lorenzo instructs his lieutenant to question the Marquis, who seems to be able travel freely without ever being robbed.

    Matteo sends Stanlio and Ollio to the cellar to bring up the best wine. 

    ‘The Marquis’ tells the lieutenant that he did once see Diavolo singing. [Proudly and Wide, My Standard Flies]. 

    In the cellar, Stanlio and Ollio get into a mess trying to get wine from the barrel. Unknown to Ollio, Stanlio is drinking it and gets drunk. Meanwhile, Diavolo searches again for Rocberg’s money.

    Diavolo finally persuades Pamela to reveal where the money is hidden. He then persuades her to change her clothes, so that he can steal the petticoat. 

    Back upstairs, Stanlio is now very drunk, and embarrasses Zelrina by singing the song they had overheard her singing the previous evening. She explains to Lorenzo, and suggests that, if he was close enough to hear her sing, he might have seen the robber. Lorenzo questions Stanlio and Ollio, and they confusedly say enough to convince him that the Marquis is Diavolo. He orders his men to surround the inn. 

    Diavolo has the petticoat, but sees that he is trapped. He grabs a sword and prepares to fight his way out [On Yonder Rock Reclining]. All the wedding guests hide. Diavolo and Lorenzo fight. Stanlio stumbles into the duel, disarming Diavolo, who is captured, along with Stanlio and Ollio. Diavolo returns the stolen jewels and Zerlina asks for the 10,000 francs reward. Rocberg says he does not have the cash with him, but Diavolo produces the petticoat and hands over the money to Lorenzo. Rocberg rushes off to find Pamela. Matteo welcomes Lorenzo as his son. Rocberg finds Pamela still waiting for Diavolo.  

    Diavolo, Stanlio and Ollio are placed in front of a firing squad. Tearfully, Stanlio takes out his red handkerchief, causing the bull to run riot again. In the confusion, all three escape.

  • Broadway to Hollywood

    The Synopsis

    Tony Pastor’s Theatre, New York in the 1880s [Hansom Cab Drivers]. Lulu and Ted Hackett are a successful comedy-dance act on the East Coast vaudeville circuit [We Are the Two Hacketts]. They love each other, and Ted’s flirtations with chorus girls are closely watched over by Lulu. Their son, Ted Jr, joins the family act, and the Two Hacketts become the Three Hacketts. 

    Ted Jr is a scene-stealer and already has the same eye for girls as his dad. Lulu’s sister offers to raise Ted Jr on her farm, but Lulu knows the only life her son wants is in show business. 

    Years later, Ted Jr falls in love with Anne Ainsley, a dancer. He also begins to see that the family’s act is becoming old fashioned. Anne leads her own dance troupe, ‘Anne Ainsley and Her Dancing Dolls’ [The Honeysuckle and the Bee]. 

    Anne and Ted Jr are going out, but Lulu does not approve. Anne tells Ted Jr she has an appointment to see vaudeville star Joe Weber, of the Weber & Fields double act, to talk about a part in their new show. She offers to talk to Weber about Ted Jr, but he is not sure he has the heart to break up the Three Hacketts. 

    Weber is impressed by Ted Jr’s loyalty to his parents. He offers him a part in the new show, and also offers to find parts for Lulu and Ted. The parents agree, but only because Ted persuades himself Weber and Fields actually want them as much as they want Ted Jr. 

    On the opening night [Snow Ballet], the show is running long and Lulu and Ted’s lines are cut [Ma Blushin’ Rosie]. Eventually, their dance is cut as well. After the show, Lulu and Ted do not attend the party at Delmonico’s. Ted Jr arrives home drunk and Lulu and Ted tell him they are quitting the show. Ted also warns his son not to start drinking too much.

    Some time later, Ted Jr and Anne are married and performing as a double act [PoorLittle G-String; Melody in F]. Back in vaudeville, the Two Hacketts are struggling [In the Garden of My Heart] and their agent tells them their act is so out-of-date that he can no longer get them bookings on the Orpheum circuit. 

    Lulu and Ted meet Ted Jr and Anne at a railway station, but they have little to say to each other. Ted Jr and Anne’s show is having a successful tour, but Ted Jr has started drinking, and is philandering like his father, even though they now have a baby. An older colleague advises Anne that she needs to act to save her marriage. Anne confronts Ted Jr in their dressing room. They quarrel and Anne rushes from the room, falling from a balcony to her death. 

    A remorseful Ted Jr tells his parents that success went to his head and that he was responsible for Anne’s death. He continues as a solo performer, but is drinking heavily and eventually is fired. Lulu and Ted have raised their grandson, Ted III, who is now part of their act. They are reduced to performing six shows a day in theatres that also show films. 

    It is 1917, and they get a letter from Ted Jr telling them he has enlisted and is about to go overseas. A few months later, he is killed in action. 

    In 1929, vaudeville theatres are closing and converting to picture houses. Ted III has an offer to go to Hollywood, and does so against Ted’s wishes. He is a success, and Lulu and Ted go east to live with him. Ted III has a film star’s mansion, but has become conceited and, like his father, drinks and chases women too much. The studio boss tells him to start behaving or he will be let go. 

    Ted III goes missing, causing a costly delay on a picture he is making. Ted determines to find his grandson and does so. Dragging him back to the house, Ted tears a strip of him. Ted III insults his grandfather, who collapses. 

    Ted III reforms and begins to work hard. Lulu and Ted visit the set of the musical he is making. While watching his grandson perform a number incorporating moves he taught him as a boy [Knee Deep in Rhythm], Ted dies. Lulu holds his hand and watches Ted III dance.        

  • Brooks Benedict

    Following military service in the First World War, Harold J Mann (1896-1968) worked in various jobs in Hollywood before making his acting debut in William Wellman’s Cupid’s Fireman (1923).He chose a name that matched his lounge lizard appearance.

    Benedict went on to appear in over 350 films. Initially, he had featured roles, such as the College Cad in Harold Lloyd’s The Freshman (1925), but by the sound era he was mostly playing uncredited bit parts. 

    Benedict was credited in What Price Hollywood? (1932), and also appeared in Sons of the Desert (1933), The Thin Man (1934), In Old Chicago (1938), Mr Smith Goes to Washington (1939), The Letter (1940), Yankee Doodle Dandy (1942), Now, Voyager (1942), Phantom Lady (1944), The Killers (1946), It’s a Wonderful Life (1946), Out of the Past (1947) and Strangers on a Train (1951).

    Brooks Benedict acted in five Metro musicals, starting with The Devil’s Brother. He went on to appear in Sweethearts, Lady Be Good, Du Barry was a Lady and Holiday in Mexico.

  • Frank Terry

    Frank Ernest Edwards (1871-1948) had a long career touring the world as a stage actor before becoming a jack-of-all-trades in Hollywood.

    From 1917, Terry worked at the Hal Roach Studios as a gag writer, story contributor, scenarist, assistant director, director and actor. He worked regularly, and in many of these capacities, with Laurel and Hardy, appearing as Hives the butler in Me and My Pal (1933). In the same year he had a bit part in The Devil’s Brother.

    Outside the Roach studio, Terry played one of the hunters who find the Monster in the blind man’s cottage in The Bride of Frankenstein (1935).

    IMDb claims he played a bailiff in Old Mother Riley in Paris (1938), though it is unclear why he would have been in England.

    Frank Terry’s most notorious contribution to film history is as the man who handed Harold Lloyd the stage bomb that took off several of his fingers. Terry was also injured in the incident. 

    Frank Terry retired from show business and became a Christian missionary. 

  • George Miller

    The IMDb entry for George Miller (1903-??) raises more questions than it answers.

    It gives him seven credits, with a 1930 debut in a ‘B’ western’. It then shows four appearances with Laurel and Hardy, including in the musical The Devil’s Brother. 

    It then claims he played the Reeve in the historical sequence at the beginning of Powell and Pressburger’s A Canterbury Tale (1944), suggesting a relocation to the UK. 

    Finally, IMDb says he played Kasim Baba in a 1953 BBC production, Chu Chin Chow – On Ice, a version of the 1916 musical on an ice rink.

    Make of that what you will. 

  • Jack Hill

    Lawrence Young Hill (1887-1963) made his uncredited screen debut in Shiver and Shake (1922), the first of many appearances for the Hal Roach Studios, where he also worked as an occasional stunt performer.

    Hill was a regular in Laurel and Hardy pictures right from the beginning, working as an extra in their first screen pairing, Putting Pants on Philip (1927). In Two Tars (1928) he knocked Stan over with a mattress, while in Below Zero (1930) he helped throw the pair out of the restaurant. In Bonnie Scotland (1935), Hill had three different roles.

    Inevitably, Jack Hill made appearances in three of MGM’s Laurel and Hardy musicals: The Devil’s Brother, The Bohemian Girl and Swiss Miss.

  • Arthur Stone

    Arthur Taylor Goetze (1883-1940) was only making films for about twelve years, but still managed to notch up around 80 appearances. Prior to that, he had worked in vaudeville and, most recently, as a makeup artist. He was married to Dorothy Westmore, from the famous Hollywood makeup dynasty.

    Working for Hal Roach, Stone had a passing similarity to Harry Langdon, and played a similarly child-like character. He then moved into playing character roles in First National features. By the end of the silent era, he was playing co-starring roles alongside actors such as Coleen Moore and Jean Hersholt.

    The coming of sound saw Stone move into smaller character roles, often in westerns, until he was hired by Mack Sennett to make a series of comedy shorts. In his final years, he moved between down-the-bill character roles, for example in Charlie Chan in Egypt (1935) and uncredited bits. He can be seen as one of the lynch mob in Fritz Lang’s Fury (1936), providing a little comic relief.

    Stone appeared without credit in one MGM/Hal Roach musical, The Devil’s Brother.

  • Dick Gilbert

    Richard Gilbert (1889-1960), popularly known as ‘Fighting Dick’, started out as a boxer in 1907. He had some success, but was also described as a “punching bag” when facing superior opponents. Online claims that he once beat Jack Dempsey appear to have no substance. 

    After retiring from the ring, Gilbert found steady work as a heavy in silent comedies, frequently working for the Hal Roach Studios. He was usually uncredited, but did secure the occasional substantial role, for example in the western The Man from the West (1926). 

    Gilbert featured in many Laurel and Hardy shorts, and also in two of their feature-length musicals, The Devil’s Brother and The Bohemian Girl. 

  • Francis Ford

    Francis Joseph Feeney (1881-1953) was a Hollywood pioneer, producer and director of scores of pictures, who is now remembered only for the bit parts he played in the films of his younger brother, John Ford. Ironically, it was Francis who gave his brother his introduction to film making.

    Francis left the Feeney home as a teenager and was for years unheard of by his family. After drifting around in a variety of jobs, he began working in the New York film industry, and eventually moved to Texas, and, finally, Hollywood, where he directed and appeared in westerns for Thomas Ince.

    In 1913 he signed with Universal, and began making serials starring Grace Cunard. After regaining contact with his family, he invited his brother John to Hollywood and gave him a job. Later, John Ford would claim his brother was the only director he ever learned from.

    Francis Ford’s career declined as John’s ascended, and by the late 1920s he was working as a character actor. He appeared , usually without credit, in many films of note, as well as those of his brother, including Frankenstein (1931), The Plainsman (1936), They Died with Their Boots On (1941), The Ox-Bow Incident (1943) and Hangover Square (1945). For John Ford, he usually played old men and/or drunkards.

    Ford was in two MGM musicals: The Devil’s Brother and The Girl of the Golden West. 

  • The Cuban Love Song

    Some Thoughts

    The Cuban Love Song is the story of a selfish man who manages to both have his cake and eat it, yet manages to be enjoyable in spite of this.

    This was, as well as being MGM’s last musical for a couple of years, the final film under Lawrence Tibbet’s contract with the studio. He handles himself very well in what is essentially a romance with music. Contemporaries may have smiled at well-known sex pot Lupe Velez playing a virginal peanut vendor, but she pulls it off, and her scenes with Tibbett are very believable, as is her faked bravura when she knows Tibbett has to leave her.

    This is a pre-code musical with some pretty blatant out-of-wedlock sex, though the fact that Velez dies might have made Will Hays feel slightly better about it. The man, of course, ends up with a son and in a clinch with Karen Morley, who has little to do in the picture other than be a good egg, but she does it very well.

    The optical printer had been in widespread use since 1927, and enabled The Cuban Love Song to achieve its most memorable sequence, when Lawrence Tibbett duets with himself, performing both baritone and tenor vocals. It was his last song in a film for four years, and it is a worthy one.

    There are a couple of good Fields-McHugh numbers in the film, but these are augmented by two genuine Cuban songs, one of which is reprised by Cuban artist Ernesto Lecuono, triggering a Proustian moment for our hero. The other is well-performed by Velez and nicely staged by W S Van Dyke, directing the first of the eleven musicals he worked on. Overall, his direction is fluid, with camera movement working in support of the narrative.

    Mention must be made, finally, of Jimmy Durante, energetic as always in his supporting  role, and playing the most unlikely-looking member of the US Marine Corps.

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