Tag: MGM musical

  • Frank Morgan

    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.

  • Alice Brady

    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).   

  • Broadway to Hollywood

    The Cast

    Alice BradyLulu Hackett
    Frank MorganTed Hackett
    Jackie CooperTed Hackett Jr. as a Child
    Russell HardieTed Hackett Jr.
    Madge EvansAnne Ainsley
    Mickey RooneyTed Hackett III as a Child
    Eddie QuillanTed Hackett III
    Jimmy DuranteJimmy
    Fay TempletonHerself
    Edited from The March of Time (1930)
    May RobsonVeteran Actress
    Albertina Rasch DancersThemselves
    Edited from The March of Time (1930)
    Tad AlexanderCousin David (uncredited)
    Edward BrophyJoe Mannion (uncredited)
    Ruth ChanningWanda (uncredited)
    William Collier Sr.Himself in archive footage (uncredited)
    Marie DresslerHerself in archive footage (uncredited)
    Louis MannHimself in archive footage (uncredited)
    Claire Du BreyAunt Clara (uncredited)
    Nelson EddyJohn Sylvester (uncredited)
    Sidney BraceyMan in Balcony (uncredited)
    Barney FaganEdited from The March of Time (uncredited)
    Josephine SabelEdited from The March of Time (uncredited)
    DeWolf HopperEdited from The March of Time (uncredited)
    Joe WeberEdited from The March of Time (uncredited)
    Lew FieldsEdited from The March of Time (uncredited)
    Robert GreigDiamond Jim Brady (uncredited)
    Tenen HoltzBooking Agent (uncredited)
    Curly HowardFritz the Clown (uncredited)
    Moe HowardOtto the Clown (uncredited)
    Frank JenksCall Boy (uncredited)
    Jean HowardGrace (uncredited)
    Muriel Evans1st flirty blonde chorus girl (uncredited)
    Isabelle Keith2nd flirty blonde chorus girl (uncredited)
    Miriam MarlinChorus girl (uncredited)
    Edwin MaxwellRockwell (uncredited)
    Alexander PollardButler (uncredited)
    Helen ParrishCousin (uncredited)
    Edward Peil SrStage Manager (uncredited)
    Una MerkelFlirt in audience (uncredited)
    Charles RiceHimself (uncredited)
    Fred CadyHimself (uncredited)
    Tom Nawn and CompanyPerformers (uncredited)
    Bobby SomersTed Hackett III as a Baby (uncredited)
    Forrest TaylorConway (uncredited)
    Sherry HallAssistant on film set (uncredited)
    Leo WhiteJoe Weber (uncredited)
    Billy SullivanUndetermined Role (uncredited)
    Eddie FosterUndetermined Role (uncredited)
  • Broadway to Hollywood

    The Numbers

    Hansom Cab DriversGus EdwardsDancers
    We are the Two/Three HackettsAl Goodhart, Edgar Allan WoolfAlice Brady, Frank Morgan, Russell Hardie, Mickey Rooney
    The Honeysuckle and the BeeWilliam H PennMadge Evans and dancers
    Snow BalletDimitri TiomkinAlbertina Rasch Dancers
    Ma Blushin’ RosieJohn Stromberg, Edgar SmithRussell Hardie, Fay Templeton
    Poor Little G StringFred E AhlertRussell Hardie, Madge Evans
    Melody in FAnton RubinsteinAlbertina Rasch Dancers
    In the Garden of My HeartErnest Ball, Caro RomaNelson Eddy
    Knee Deep in RhythmAl GoodhartEddie Quillan and dancers

  • The Devil’s Brother

    Some Thoughts

    Ever since Laurel and Hardy’s last-minute insertion into The Rogue Song, Hal Roach had wanted to put them into a feature-length operetta. He chose Fra Diavolo, a one-hundred-year old work by Daniel Auber; the film was known by that title outside the United States.

    The Devil’s Brother (a meaningless title) is essentially an editing together of two separate films. Hal Roach directed the musical and dramatic sequences, using Hap Depew as cinematographer, while Charley Rogers (and Stan Laurel) directed the comedy sequences, photographed by Art Lloyd. This ended up proving that Roach was a better producer than he was director: the parts attributed to Rogers were highly praised, while those for which Roach was responsible were not. In fact, previews led to the excision of a significant amount of the non-comedic footage.

    This was an untypical Laurel and Hardy picture (historical setting, no bowler hats) and the pair were hesitant about making it. But it turned out to be one of their favourites amongst their films, as well as the most commercially successful. It features some classic Laurel and Hardy routines, including the introduction of ‘Kneesy-Earsy-Nosy’, the frustratingly difficult coordination game that Stan made look so easy.

    There is a third excellent performance in The Devil’s Brother, with Thelma Todd being given a rare opportunity to show her range. She plays Lady Pamela, an English aristocrat, and actually sounds more convincing than British-born James Finlayson, playing her husband. Todd is almost unrecognizable as the fast-talking working girl she played in most of her films.

    Dennis King, as might be expected, carries off the musical sequences with aplomb, though it cannot be said he is totally convincing as a ruthless cutthroat. He holds his own in his scenes with Stan and Ollie, though he later admitted to finding their improvisations very challenging. Lucile Brown is an effective ingenue and handles her one song capably (and fetchingly, since she is in lingerie). But Arthur Pierson’s Lorenzo demonstrates why he gave up acting to move behind the camera.

    A feature musical with the MGM imprimatur, The Devil’s Brother clearly has a larger budget than was normal for Hal Roach productions. This is demonstrated by the number of actors and extras on screen, and by Dolly Tree’s costumes. 

  • Leroy Shield

    Leroy Bernard Shield (1893-1962) started playing the piano at a dance academy aged 10, and was a professional concert pianist at 12. Later, he was a regimental band leader during his military service. 

    In 1923, Shield became a staff musician for a company that went on to form part of RCA. In 1929, RCA provided the Hal Roach Studios with the technology for the transition to sound, and Shield travelled to Hollywood to assist with the process. This included working with performers during their initial voice tests.

    While there, Shield composed incidental music that was used in Roach’s Our Gang and Laurel and Hardy shorts. The pieces were used in many of their pictures, and are often misattributed to Marvin Hatley, who composed ‘Dance of the Cuckoos’.

    Shield only received two onscreen credits, for the feature musical The Devil’s Brother and Our Relations (1936). He made one screen appearance, as a band leader in Let’s Do Things (1931), the first of the Thelma Todd and ZaSu Pitts series.

    In later life, Shield worked extensively in radio, toured with Toscanini, and wrote classical compositions.

  • James Greene

    James Francis Greene (1899-1935) was a sound recording engineer at the Hal Roach Studios, responsible for the sound on some of Laurel and Hardy’s most beloved pictures, including The Music Box (1932, with location recording required on those steps), County Hospital (1932), Towed in a Hole (1932) and Busy Bodies (1935).

    He was also the sound recording engineer on the duo’s first operetta, The Devil’s Brother (1935).

    Greene’s career was tragically cut short when he experienced an insulin shock which the police took to be drunkenness. He was thrown in a cell and died when no treatment was given.

  • Dolly Tree

    British-born Dorothy Marian Isbell (1899-1962) was something of a Renaissance woman, successful in a variety of roles, including as an illustrator, actor and, most notably, as a costume designer.

    As a teenager, Tree’s love of the theatre prompted her to start designing posters. This became a professional opportunity in 1917 when she was employed to produce posters and programmes for a well-known impresario. She also produced comic illustrations for newspapers and periodicals.

    Between 1915 and 1918, Tree starred in around eight British films, including Hindle Wakes (1918), the first version of Stanley Houghton’s 1912 play. 

    Designing costumes for stage and screen began in the early 1920s, and she also designed for the Folies Bergère. Tree emigrated to the United States in 1926 and worked on Broadway, including designing for pre-Hollywood Mae West. By this time, her designs were having an impact on the wider fashion scene of the Jazz Age.

    Tree’s Hollywood career began in 1929, first at Fox, and then eleven years at Metro-Goldwyn-Mayer. Pictures she worked on included The Thin Man (1934), David Copperfield (1935), Libeled Lady (1936) and Fury (1936) and The Good Earth (1937).

    Dolly Tree designed costumes for fifteen MGM musicals: The Devil’s Brother, The Night is Young, Here Comes the Band, A Night at the Opera, A Day at the Races, Thoroughbreds Don’t Cry, Rosalie, Listen Darling, Tce Follies of 1939, Babes in Arms, Let Freedom Ring, At the Circus, Strike Up the Band, Little Nellie Kelly and Go West.

    Tree’s career effectively ended in 1942, when divorce led to a drink problem. Her reputation has long rested in the shadows created by Adrian and Orry-Kelly, but there is now a growing awareness of her importance as a designer.  

  • William H Terhune

    William Hilton Terhune (1899-1940) directed half a dozen shorts for Hal Roach in the 1930s, but was predominantly an editor, starting at the studio as a cutter in 1926.

    Terhune was the editor on Topper (1937) and its first sequel, Topper Takes a Trip (1938). He also worked on the Joan Crawford picture Susan and God (1940) for MGM.

    William Terhune edited the four Laurel and Hardy musicals, The Devil’s Brother, Babes in Toyland, The Bohemian Girl and Swiss Miss, as well as the Marx Brothers’ At the Circus.

  • Bert Jordan

    Albert Adrian Jordan (1887-1983) worked in the British film industry in the 1910s before emigrating to America, where he found work as a cutter at Vitagraph.

    Jordan moved to the Hal Roach Studios in 1921, where he stayed for the bulk of his career. Stan Laurel, who was the creative force behind the Laurel and Hardy films, admired Jordan’s work to the extent of insisting that he edit all of their pictures, if he was available.

    This meant that Jordan worked on virtually all of the Laurel and Hardy features, including their four musicals, The Devil’s Brother, Babes in Toyland, The Bohemian Girl and Swiss Miss.

    Jordan also edited one of the Roach studio’s most prestigious productions, Lewis Milestone’s Of Mice and Men (1939).

    After leaving Hal Roach, Jordan worked mostly in television until he retired, aged 75.

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