The Musicals of Metro-Goldwyn-Mayer

Tag: MGM musical

  • Marianne

    3 August 1914 in the French village of Beinville: war has been declared and Marianne says goodbye to her sweetheart, André, promising to wait for him [Marianne].

    André (George Baxter) gives his ring to Marianne (Marion Davies) before leaving for the war

    Four years later, the war is over and a company of American soldiers marches into the now-devastated village, amongst them Stagg, Soapy and Sammy. They are hungry and steal a pig that belongs to Marianne, who now runs an inn. She rescues the pig, whose name is Anatole. Lieutenant Frane, an MP, asks what is happening and Marianne lies to protect the three soldiers. All of them are attracted to Marianne [When I See My Sugar].

    Marianne prepares food for the whole company and they cram into the inn [Blondy]. Marianne resists all Stagg’s advances. Stagg, Soapy and Sammy find out that Marianne is caring for four war orphans.

    The next morning, Stagg approaches Marianne again. She is attracted to Stagg, but continues to reject him [Just You, Just Me], especially after he pretends his girl back home is Mary Pickford.

    Frane pays Marianne to cook Anatole for the General’s dinner. Stagg misinterprets the reason Frane is giving her money [Just You, Just Me]. Later on, Marianne cooks Anatole while the General and his party wait in the backroom. Stagg thinks Marianne has cooked the pig for Frane and steals it, giving it to Soapy and Sammy to take to their comrades. When Stagg discovers his mistake, he rushes to bring back the stolen pig. Marianne tries to cover for him, but Frane realizes what has happened and has Stagg arrested.

    Soapy and Sammy find Marianne very upset about what has happened to Stagg and try to cheer her up [Hang On to Me]. She wants to go and intercede with the General, but Soapy and Sammy explain that he will only see other officers.

    Marianne, as the French lieutenant, appeals to the General (Robert Edeson)

    Marianne disguises herself as a French officer and forces her way into the General’s office. Revealing who she is, she says that she accidentally gave the pig to Stagg, and the General orders that Stagg be returned to his command. Stagg is released and sent back in the General’s car with Marianne, who is still in disguise. Stagg recognizes her and tells ‘the lieutenant’ how sorry he is for getting Marianne in trouble and that he loves her. Then he kisses her.

    Later, Stagg looks for Marianne, who is washing clothes at the river. The company is about to pull out, and Stagg tries to persuade Marianne that he really loves her and wants her to go back to America with him. She tells him about her promise to André, who is a prisoner but will be home soon [Marianne]. Stagg says he will not give her up, but Marianne says she must do her duty and they part.

    The company throws a leaving party at the inn [Oo-La-La-La-La; The Girl From Noochateau; Louise].  Stagg comes in and makes another appeal to Marianne in front of the company [Just You, Just Me]. Stagg says he will wait and fight André and, at that moment, André enters the room. He is blind.

    The next morning, as the soldiers are preparing to leave, Stagg sees André go into the inn and he goes across to bid farewell to Marianne. André asks Stagg to help him persuade Marianne not to waste her life on a man who can only be a burden. Marianne takes André’s hand and says “I love you. I love you with all my heart,” looking at Stagg while she says it. Stagg rejoins his comrades and they march away. While André and Marianne are waving them off, he realises the truth.

    Months later, Stagg, Soapy and Sammy are in business together in New York. A letter arrives from Marianne. André has decided to become a priest and Marianne is coming to New York. Stagg rushes to meet her off the boat.  

  • Marianne (1929)

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  • The Hollywood Revue of 1929 (1929)

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  • Nacio Herb Brown

    Nacio Herb Brown (1896-1964) was hired by MGM in 1928 to write scores for sound pictures; it was at a point when synchronized music was still perceived by many as the most promising feature of the new system. 

    Brown was paired with lyricist Arthur Freed to produce songs for the studio’s first all-talking picture, The Broadway Melody. Their partnership continued for many years as the contributed numbers to The Hollywood Revue of 1929, Marianne, Lord Byron of Broadway, Montana Moon, Dancing Lady, Going Hollywood, Student Tour, Broadway Melody of 1936, A Night at the Opera, San Francisco, Broadway Melody of 1938, Thoroughbreds Don’t Cry, Ice Follies of 1939, Babes in Arms, Two Girls on Broadway, Hullabaloo, Little Nellie Kelly, Lady Be Good, Born to Sing, Presenting Lily Mars, Meet Me in St Louis, Three Little Words, Pagan Love Song, Singin’ in the Rain and The Affairs of Dobie Gillies.

    Brown also worked with other lyricists on It’s a Great Life, Ziegfeld Girl, The Big Store, Swing Fever, Holiday in Mexico, On an Island With You, The Kissing Bandit and Seven Hills of Rome.

  • Arthur Freed

    No one had a longer connection with MGM musicals than Arthur Freed (1894-1974), starting at the very beginning with The Broadway Melody in 1929 and ending in 1960 with Bells Are Ringing. Of course, his role changed significantly during that period.

    Freed had not been working  long as a lyricist at MGM when he and composer Nacio Herb Brown were assigned the task of producing the first bespoke score for a film musical. Following the success of The Broadway Melody, Freed’s songs were a mainstay of the studio’s musical output for a quarter of a century. He and Brown contributed numbers to The Hollywood Revue of 1929, Marianne, Lord Byron of Broadway, Montana Moon, Dancing Lady, Going Hollywood, Student Tour, Broadway Melody of 1936, San Francisco, Broadway Melody of 1938, Thoroughbreds Don’t Cry, Ice Follies of 1939, Babes in Arms, Two Girls on Broadway, Hullabaloo, Little Nellie Kelly, Lady Be Good, Born to Sing, Presenting Lily Mars, Meet Me in St Louis, Three Little Words, Pagan Love Song, Singin’ in the Rain and The Affairs of Dobie Gillies

    He also worked without Brown on the 1930 Good News and on A Lady’s Morals, The Prodigal, Hollywood Party, A Night at the Opera, Strike Up the Band, Babes on Broadway, Bathing Beauty, Anchors Aweigh, Ziegfeld Follies, Yolanda and the Thief and Love Me or Leave Me.

    During the 1930s Freed spent time on Metro’s sound stages, watching the staging of his songs and learning about the craft of creating film musicals. He also devoted time to ingratiating himself with studio head Louis B Mayer, making known his ambition to become involved in the production side of the process. Finally, in 1938, Mayer decided to give Freed his chance.

    Arthur Freed initiated the filming of The Wizard of Oz and was its de facto producer, although only credited as associate producer; Mayer safeguarded the project by appointing the more experienced Mervyn LeRoy as producer.

    Having shown what he could do, Freed was made a full producer and worked on 39 musicals and a handful of non-musicals during the next thirty years. The musicals were Babes in Arms, Little Nellie Kelly, Strike Up the Band, Lady Be Good, Babes on Broadway, For Me and My Gal, Panama Hattie, Cabin in the Sky, Du Barry Was a Lady, Girl Crazy, Best Foot Forward, Meet Me in St Louis, Yolanda and the Thief, The Harvey Girls, Ziegfeld Follies, Till the Clouds Roll By, Good News, Easter Parade, The Pirate, Summer Holiday, Words and Music, The Barkleys of Broadway, Take Me Out to the Ball Game, On the Town, Annie Get Your Gun, Pagan Love Song, An American in Paris, Royal Wedding, Show Boat, The Belle of New York, Singin’ in the Rain, The Band Wagon, Brigadoon, It’s Always Fair Weather, Kismet, Invitation to the Dance, Silk Stockings, Gigi and Bells Are Ringing.

    The Freed Unit became MGM royalty and made most of the musicals upon which the studio’s current reputation rests. Opinions vary as to the extent to which Freed can take credit for this achievement, and the unit did produce a few duds. But, at the very least, Arthur Freed was the catalyst for a body of work of unrivalled sophistication and artistry.

  • Irving Berlin

    No other songwriter made a contribution to the Hollywood musical on the same scale as Irving Berlin (1888-1989), who published his first song in 1907 and retired 55 years later. He worked for all the major studios on films including Top Hat (1935),  Follow the Fleet (1936) and Carefree (1938) for RKO, On the Avenue (1937), Alexander’s Ragtime Band (1938) and There’s No Business Like Show Business (1954) for 20th Century-Fox, Holiday Inn (1942), Blue Skies (1946) and White Christmas (1954) for Paramount, and This is the Army (1943) for Warner Bros. 

    Two songs contributed to Hallelujah were Berlin’s first work for MGM. Seven years later, ‘A Pretty Girl is Like a Melody’ was the centrepiece number in The Great Ziegfeld. In 1948 Berlin’s ‘God Bless America’ turned up in Big City.

    The same year saw Metro’s first full Irving Berlin feature, when he contributed 17 numbers (reduced to 16 in the final edit) to Easter Parade (or, to give the full title from the film’s opening, Irving Berlin’s Easter Parade).

    In 1950 Metro filmed Berlin’s recent Broadway success, Annie Get Your Gun, retaining 11 of the stage version’s 14 songs.

    Finally, Easter Parade’s ‘Shakin’ the Blues Away’ was the basis for the only production number in Love Me or Leave Me.

  • Hallelujah (1929)

    King Vidor directed one of the most iconic sequences in any film musical, when Judy Garland sings ‘Over the Rainbow’ in The Wizard of Oz, though his work on the film was uncredited. Ten years earlier Vidor had made his only other, more extended, contribution to the genre when he devised and directed Hallelujah, Metro’s first all-Black musical.

    Daniel J Haynes as Zeke, picking cotton in the opening scene of Hallelujah

    Most of the MGM directors who excelled in film musicals–Vincente Minnelli, Gene Kelly, Stanley Donen, Charles Walters–were inextricably linked to the genre, even if they later or occasionally branched out into other areas. Even Rouben Mamoulian had a background in film and stage musicals before undertaking Summer Holiday. King Vidor is the only director of prestige dramas to have made a substantial contribution to Metro’s musical tradition.

    Hallelujah could not, as Ethan Mordden suggests in The Hollywood Musical, have been less like a musical in the Broadway Melody tradition. Set in and around the cotton plantations of the American South, it is a story of sin and redemption, intended by Vidor to say something serious about, and present an accurate picture of, “the Negro race”. Inevitably, stereotypes and racist tropes of the time are not absent from a film written and made by white people, but Hallelujah is generally acknowledged as a sincere effort to show Black characters as people rather than types, especially in their experience of grief and passion (Donald Bogle,Toms, Coons, Mulattoes, Mammies, & Bucks, 1984). 

    It is also, in Rick Altman’s view, the first masterpiece of the folk musical genre, with its focus on togetherness and community (The American Film Musical, 1987). Unlike its predecessor, The Broadway Melody, Vidor’s film presents characters in everyday settings, rather than the showbiz world that lends itself to song and dance; it is an attempt to tell a story through the music of the community represented. Most of the songs are spiritual in nature, less concerned with performance than with the spontaneous expression of religious faith. Song expresses emotions that cannot be enunciated any other way.

    A repentant Zeke sings ‘Swing Low, Sweet Chariot’

    Vidor’s vision was compromised by the studio’s insistence on incorporating two numbers written by Irving Berlin, to improve the picture’s commercial potential. ‘Waiting at the End of the Road’ is a pseudo-spiritual, sung by Zeke and Spunk when they set off to sell the cotton, and reprised when Zeke preaches. ‘Swanee Shuffle’ is sung by Nina Mae McKinney and is at least appropriate to her character’s character. 

    Dance is also character-driven in Hallelujah. ‘Dance 1’ is a tap dance performed as a spontaneous outburst of joy by children at a family gathering, while McKinney’s ‘Dance 2’ reveals Chick’s inner nature, as well as performing the narrative function of enticing Zeke.   

    Much of Hallelujah was filmed on location in Tennessee and Arkansas, giving it a sense of space and fluidity very different from most of its contemporaries. This was achieved by the decision to film the location sequences without sound, and to add the songs and dialogue later, Back in Hollywood. The price of freeing the camera in this way was a torturous six-month post-production period in which an approach to synchronizing sound and image had to be improvised on the hoof.

    Bogle is right in calling Hallelujah‘s story akin to “operatic absurdity” and it can never be more than a white humanist’s vision of a culture known only from the outside. It is, nonetheless, one of the first Hollywood masterpieces of the sound era and the first musical film of real substance.       

  • George Cunningham

    Very little seems to be known about George Cunningham (?1904-?62). He is mentioned as the uncredited creator of the rudimentary choreography in The Broadway Melody, though it has been suggested that some of that work was by Sammy Lee. Both Cunningham and Lee are credited on The Hollywood Revue of 1929.

    The trail ends there, though IMDb also cites Cunningham as the director of a few jukebox musical shorts in the 1940s.

  • Gordon Avil

    Hallelujah was the first film photographed by Gordon Avil (1899-1970), who went on to work with King Vidor again on The Champ (1931). These were the most prestigious projects of his lengthy career, much of which was spent in television from 1955 onwards.

  • Irving Thalberg

    The Boy Wonder Irving Thalberg (1899-1937) was the creative engine room of Metro-Goldwyn-Mayer from the studio’s creation in 1925 until his early death. In twelve years he supervised over 400 pictures, including virtually all of its prestige productions, without ever choosing to take an on-screen credit. 

    Thalberg had some level of involvement with most of MGM’s musical output from The Broadway Melody in 1929 until A Day at the Races, on which he was working at the time of his death; it was he who brought the Marx Brothers to Metro, reviving their flagging careers at the cost of comedic purity.

    Thalberg effectively launched the musical genre as the driving force behind The Broadway Melody. He showed his inclination for experimentation-within-limits by okaying Hallelujah even though King Vidor warned him it would make no money.

    Thalberg brought Grace Moore and Lawrence Tibbet from the Metropolitan Opera and gifted stardom to Jeanette MacDonald. He persuaded Luise Rainer to take the small role in The Great Ziegfeld that won her an Oscar.

    Although business-oriented, Thalberg was prepared to devote time and money to producing high-quality work, and he made profits as a result. His impact on the early development of the MGM musical is impossible to quantify, but a philosophy of excellence can certainly be seen in the work that followed, especially in the golden age of the early 1950s.

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