Mathilde Comont (1886-1938) started working in French films for the Gaumont studio in 1908, later working for Max Linder.
After moving to Hollywood, Comont found regular work, most notably playing the Prince [sic] of Persia in The Thief of Bagdad (1924). She notched up around sixty supporting roles for various studios, including two appearances in Metro musicals, Call of the Flesh and The Cuban Love Song.
French actor Jeanne de la Fonte (1898-1933) began performing as a child when she joined her parents in their circus act. As a teenager, she toured as a dancer, making her first film in Australia while on tour there in 1918.
Adorée arrived in America in 1919 and worked both in vaudeville and the legitimate stage, performing in musical comedies. In 1920 she starred in Raoul Walsh’s The Strongest, based on a novel by French politician Georges Clemenceau.
A Hollywood star, Adorée appeared opposite John Gilbert in nine films, including The Big Parade (1925), and made four with Ramon Novarro.
In spite of her French accent, Adorée made a successful transition to talking pictures, but her career ended abruptly after she contracted tuberculosis. She was cast in Call of the Flesh at Ramon Novarro’s insistence, but was extremely ill throughout production. She died shortly afterwards at the tragically early age of 35.
Ernest Torrance-Thomson (1878-1933) was born in Scotland and trained at the Royal College of Music, being a highly-gifted pianist and baritone singer. He toured with the D’Oyly Carte Opera Company until developing an untreatable problem with his vocal cords.
Torrence emigrated to America in 1911 and worked successfully on the stage, including on Broadway. He made his first film in 1914, working steadily thereafter as a character actor, with occasional leads. He is most often seen today playing Buster Keaton’s father in Steamboat Bill Jr (1928).
Torrence’s sole MGM musical was Call of the Flesh, in which he played the hero’s mentor.
The Numbers
| Just for Today | Herbert Stothart, Clifford Grey | Ramon Novarro |
| Dance | Unknown | Ramon Novarro, Renée Adorée |
| Not Quite Good Enough For Me | Herbert Stothart, Clifford Grey | Ramon Novarro |
| Cavatina from L’Elisir d’Amore | Donizetti, Romani | Ramon Novarro, Ernest Torrence, Mathilde Comont |
| Questa o quella from Rigoletto | Verdi, Piave | Ramon Novarro |
| Lonely | Herbert Stothart, Ramon Novarro, Clifford Grey | Ramon Novarro |
| Ah! fuyez, douce image from Manon | Massenet, Meilhac, Gille | Ramon Novarro |
Some Thoughts
My grandpa saw the girly shows
And told me of one special pearl,
He said the hottest show in town
Was called the Florodora Girl
So sings Chip in On the Town, reading from his forty-year-old New York guidebook. He has to miss out, unfortunately, but a glimpse of the show can be caught in The Florodora Girl, a fictional tale about one of the original six chorus girls in the Broadway production of Owen Hall and Leslie Stuart’s Florodora.
The show opened on Broadway in 1900 the film, as its subtitle ‘A Story of the Gay Nineties’ makes clear, is set in the late-Victorian period. This is certainly the period of most of The Florodora Girl’s songs. The then-ubiquitous Stothart-Grey partnership only wrote two numbers for the picture, with the assistance of Andy Rice. The rest are popular songs from the period. But the new songs blend in comfortably as pseudo-Victorian, especially ‘Pass the Beer and Pretzels’, which is part of a three-minute medley performed by Marion Davies and chorus.
Robert Barrios suggests that the film’s music is “present less for its own sake than to provide atmospheric upholstery”. There is a degree of truth in this, but it is not the whole story. For example, ‘Don’t Wake Me Up, I’m Dreaming’ (which may have a third set of lyrics by Clifford Grey or Andy Rice), is sung over, and mirrors, Daisy’s yearning looks at Jack after she refuses his flowers. And ‘Tell Me Pretty Maiden’ not only involves Jack’s intrusion into the on-stage performance, but the lyrics and movements of the singers are utilized to become Daisy’s half of their conversation.
This reflects Harry Beaumont’s growing comfort with the musical. His staging and framing is much more inventive than in his earlier efforts, especially in the sequence at the Bowery slumming ball.
Marion Davies is clearly more comfortable as Daisy than she had been as Marianne, and her lively performance won deserved praise from critics. And as the film’s producer, she benefited from having a star who happened to own a private beach suitable for shooting a lengthy portion of the first half. Davies’s staff were able to provide catering that was a cut above what the cast and crew were used to in Culver City.
James Davis (1853-1907) was a solicitor who allegedly chose the pen name Owen Hall because it sounded like ‘owing all’, reflecting his frequently bankrupt state.
Hall achieved greater success as a librettist, helping to write some of the most successful British musical comedies of his day. Amongst these was Florodora (1899), for which he provided lyrics to Leslie Stuart’s music.
The show’s breakout song, ‘Tell Me Pretty Maiden’ is performed by Marion Davies and chorus, with interruptions by Lawrence Gray, at the end of The Florodora Girl.
Thomas Augustine Barrett (1863-1928) has been called one of the most gifted composers of musical comedy on the British stage. His early hits, written for the music hall, included ‘Lily of Laguna’ and ‘Soldiers of the King’.
Stuart’s first West End musical comedy, which became an international success, was Florodora (1899), and it had two quite different impacts on MGM musicals. Firstly, the show formed the background for The Florodora Girl, a fictional story about one of the original Broadway chorus girls. A song from the show, ‘Tell Me Pretty Maiden,’ features at the climax of the film.
Decades later, Florodora, misnamed Florodora Girl, is one of the many no-longer-relevant New York sights featured in Chip’s out-of-date guidebook in On the Town and mentioned in ‘Come Up to My Place’.
Johann Paul Dreiser Jr (1857-1906) is considered one of the most important American songwriters of the late nineteenth century. Like many of his contemporaries, he started out performing in minstrel shows, and ended up as a music publisher.
In between, Dresser wrote an estimated 150 songs. Like Stephen Foster from an earlier generation, he leaned heavily on sentimental themes such as motherhood, the home, and patriotism.
Dresser’s best-known song is ‘On the Banks of the Wabash,’ which featured in many Hollywood films, including The Florodora Girl. A bridge over the Wabash River now bears his name.
Dresser was the older brother of novelist Theodore Dreiser, whose career he supported financially.
I can tell you nothing about Alfred E Rick (18??-19??) except that he and Maurice Scott wrote the comic song ‘Swing Me Higher, Obadiah,’ as performed by music hall artiste Chummie La Mara and, later, by Marion Davies in The Florodora Girl.
Only one fact is known about composer Maurice Scott (1878-1933). In 1917 he composed a song that forty-something years later would lend its title to an internationally-acclaimed stage musical and an award-winning film: ‘Oh, It’s a Lovely War’ was written by Scott and John P Long for the music hall entertainer Ella Shields.
It was another music hall artiste, Chummie La Mara, who sang Scott’s ‘Swing Me Higher, Obadiah,’ later performed by Marion Davies in The Florodora Girl.
