Tag: MGM musical

  • C Gardner Sullivan

    Charles Gardner Sullivan (1884-1965) was a prolific screenwriter with around 200 credits, the great majority of which were from the silent era. He was noted for the unusual amount of directorial detail included in his screenplays. Producer Jesse Lasky, speaking of Sullivan’s collaboration with Cecil B DeMille on films like The Buccaneer (1938) and Union Pacific (1939), described him as “the methodical giant who composed sequences of short shots and elaborately prepared camera angles that were calculated to give DeMille pictures a tremendous sense of visual place”.

    It was while working as a journalist that Sullivan began contributing story ideas to film studios. The first accepted would seem to have been Her Polished Family (1912), though this is not included by IMDb.

    When Lee Surrenders (1912) was filmed by Thomas Ince, beginning a long collaboration between Sullivan and the producer/director. In 1914, the writer relocated to Hollywood and joined Ince’s permanent staff. He worked on some of Ince’s most successful pictures, and co-wrote Civilization (1916), the big-budget anti-war film. It was a subject he would return to fourteen years later, when he supervised the screenplay for All Quiet on the Western Front (1930).

    By 1920, Sullivan was the highest-paid writer in Hollywood and, for a time, ran his own production company. 

    Sullivan made one contribution to MGM’s musicals, co-writing, with Bess Meredyth, the screenplay for The Cuban Love Song

  • John Lynch

    John G Lynch (1870-1936) was a successful business person operating a chain of theatres on the East coast who, in his mid-forties, contributed a story to a New York picture company and began a new career.

    Within a few years he was working for the Thomas Ince Corporation in Hollywood, churning out stories and occasional screenplays. When he died in 1936, he was working as an editorial supervisor at Metro-Goldwyn-Mayer. 

    Lynch is credited with Adaptation on The Cuban Love Song, but it is unclear what he adapted, since the picture appears to be an original story.

  • W S Van Dyke II

    The reputation of Woodbridge Strong Van Dyke II (1889-1943) as ‘One-Shot Woody’ was what enabled him to direct over ninety films in twenty-five years, half of them during the sound era.

    Van Dyke’s mother was an actor, leading to his own early appearances on the stage as a child. Constantly on tour, he claimed to have attended schools in every state. 

    He undertook many jobs during his early years as an adult, before obtaining his first job in the film industry in 1915. He began pretty much at the top, as one of a number of assistant directors under D W Griffith on The Birth of a Nation (1915). Two years later, after having written a number of films, he directed his first feature, The Land of Long Shadows (1917), based on his own screenplay. 

    Van Dyke’s work in silent films was prolific, but undistinguished. It was as a director of sound pictures that he came into his own. He travelled to Tahiti in 1928 to make White Shadows in the South Seas, MGM’s first feature with recorded sound (music and sound effects). Two years later he shot Trader Horn (1931) mostly in Africa, with some dialogue scenes reshot in Hollywood. 

    Van Dyke went on to become a mainstay of MGM’s production schedule, reputedly Louis B Mayer’s favourite (because most efficient) director. He directed the first Johnny Weissmuller film as Tarzan the Ape Man (1932), The Thin Man (1934) and three of its sequels, and Marie Antoinette (1938). 

    He made nine musicals for MGM and, after The Cuban Love Song, all of them starred either Jeanette MacDonald, Nelson Eddy, or both of them together: Naughty Marietta,(which he also produced), Rose-Marie, San Francisco (also produced by Van Dyke), Rosalie, Sweethearts, Bitter Sweet, I Married and Angel and Cairo.

    Van Dyke was also used regularly to direct reshoots or new scenes for other directors’ pictures, and he did this for Broadway Melody of 1936 and the 1940 New Moon, again with MacDonald and Eddy.

    Woody Van Dyke was a Christian Scientist and, when he learned in 1943 that he was terminally ill, refused medical treatment and took his own life.

  • The Cuban Love Song

    The Crew

    W S Van DykeDirector
    John LynchAdaptation
    C Gardner SullivanScreenplay
    Bess MeredythScreenplay
    John ColtonAdditional Dialogue
    Gilbert EmeryAdditional Dialogue
    Robert E HopkinsAdditional Dialogue
    Paul Hervey FoxAdditional Dialogue
    Albert LewinProducer
    Herbert StothartComposer
    Dorothy FieldsLyricist
    Jimmy McHughComposer
    Moïses SimonsSongwriter (uncredited)
    Rafael HernándezSongwriter (uncredited)
    Harold RossonCinematographer
    Margaret BoothEditor
    Cedric GibbonsArt Director
    AdrianCostume Designer
    Douglas ShearerSound Recording Director
    Paul NealSound Recording Engineer (uncredited)
    Jack MintzAssistant Director (uncredited)
    Paul MarquardtArranger (uncredited)
    Charles MaxwellArranger (uncredited)
  • Jayne Shadduck

    Jayne Dunham Francis Shadduck (1915-93) was barely 17 when MGM hired her to provide baby sounds in The Cuban Love Song

    This was followed by a ten-year career combining small parts in some decent films (for example, 42nd Street and Gold Diggers of 1933 (both 1933) and Annie Oakley (1935) with voice work for Walt Disney. She provided the voices of Mickey Mouse’s nephews, Morty and Ferdie, in a number of short cartoons.

    Shadduck was also an aviator at a time when this was rare for women.

    After leaving show business, Shadduck lived in Hawaii and spent years being, by the account of her son, the mother from hell.

  • Harry Strang

    Harry R Strang (1892-1972) had the sort of career Hollywood was built on: thirty-six years and more than 500 appearances as a tough-guy  character actor.

    Strang trained at AADA and made his professional debut on the stage in 1910. His career in the theatre was interrupted by the First World War, in which he served with the marines. He then returned to the stage, working much of the time with stock companies.

    Harry Strang was one of the many stage actors who found work in Hollywood after the introduction of sound, and he was frequently cast in military roles that would have benefitted from his own wartime experience. His many appearances included parts in Hell’s Angels (1930), The Seas Beneath (1931, becoming part of John Ford’s Stock Company), What Price Hollywood? (1932), King Kong (1933), The Prisoner of Shark Island (1936), Gone With the Wind (1939), Saboteur (1942), Laura (1944), Detour (1945), The Lady from Shanghai (1945), White Heat (1949), Beyond a Reasonable Doubt (1956) and The Last Hurrah (1958).

    Strang was in five Metro musicals: The Cuban Love Song (as a marine sergeant), San Francisco, Born to Dance, New Moon and Thousands Cheer

    When you have made eight films with John Ford and also worked with Hawks, Capra, Lang and Welles, you can definitely say you have had a career. A very active career in small parts was lucrative enough for Strang to maintain two homes after he retired in 1965, where he could pursue life as an avid birdwatcher.

  • George Kuma

    Mystery surrounds the actor named George Kuma. According to IMDb, he played the “Japanese Tattoo Artist” at the beginning of The Cuban Love Song. There are no other credits, but it is stated that he was born in Hawaii in 1900. The AFI Catalog concurs about Cuban Love Song, but cites one other appearance, in the same year, a Fu Manchu tale called Daughter of the Dragon (1931).

    The United States Federal Census for 1930 certainly confirms that a George Kuma, born in Hawaii in 1900, was living in California at the time of the census, so he could have made two screen appearances in the following year. Or he might not have. 

  • John George

    Four feet and two inches tall, Tutie (or possibly Tufie) Fatella (1898-1968) emigrated with his family from Syria to the United States in around 1911. By the age of 18, he was in Hollywood, starting out on a career as a character actor that would last almost fifty years and about 250 performances.

    George’s first film is believed to have been Bobbie of the Ballet (1916), which starred Lon Chaney. In the 1920s he worked regularly with both Chaney and director Tod Browning, being particularly memorable as Cojo in the macabre The Unknown (1927). He also featured in Rex Ingram’s The Prisoner of Zenda (1922) and Scaramouche (1923).

    In the sound era, George played a scientist in both Browning’s Dracula and its Spanish version, Drácula (both 1931). He renewed his acquaintance with Bela Lugosi in Edgar G Ulmer’s The Black Cat (1934). Later appearances included The Hunchback of Notre Dame (1939), The Picture of Dorian Gray (1945), Canyon Passage (1946) and a cameo in the Lon Chaney biopic Man of a Thousand Faces (1957). George’s last big screen appearance was in One-Eyed Jacks (1963), but he continued working in television. 

    Amongst John George’s many roles were eleven in MGM musicals, all uncredited: The Cuban Love Song, Babes in Toyland, Rose-Marie, San Francisco, Let Freedom Ring, At the Circus, Du Barry Was a Lady, Two Sisters from Boston, Big City, Singin’ in the Rain and Deep in My Heart.

  • Palau Brothers

    Orquesta Hermanos Palau consisted of a core of five brothers: Manolo, Felipe, Luis, Rafael and Raimundo (dates all unknown), and was one of the most popular dance bands in Cuba during the 1930s and 40s. They were, in fact, part of a musical dynasty, dating back to the 1850s and through to today.

    In 1931, the band travelled to Hollywood with Ernesto Lecuona, to perform in MGM’s The Cuban Love Song.

  • Enesto Lecuona

    Ernesto Lecuona y Casado (1896-1963) was a popular and prolific Cuban pianist and composer. Something of a prodigy, he wrote his first song aged 11, and graduated from the National Conservatory of Havana when he was seventeen.

    Lecuona travelled the world as a concert pianist, as well as writing around 600 compositions. He wrote film music, but only made one film appearance, performing ‘The Peanut Vendors Song ‘, with the Palau Brothers Orchestra, in The Cuban Love Song.

    Lecuona left Cuba for America after the 1959 revolution, before moving to Spain.

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