Cedric Gibbons, Art Deco sets and the Hollywood dream

Art Director Cedric Gibbons

This post is my contribution to the MGM Blogathon, hosted by the wonderful Silver Scenes. There’s a whole roster of posts celebrating the 90th anniversary of this prolific studio: read them all here.

For someone who shaped much of the visual aesthetic of film in its formative years, Cedric Gibbons isn’t well known outside of art and production editors and classic film enthusiasts. Surprising, considering that his name is associated with more than 1500 films between 1924 and 1956, thanks to a stipulation in his MGM contract that ensured he received art director credit for every movie the studio released in the US, and he took the Academy Award statue he designed (allegedly on a paper napkin) home 11 times. In terms of Oscar wins, he’s the Academy’s most successful art director. It’s not just contemporary audiences who are unaware of Gibbons’ influence, it’s likely that audiences of the day were unaware of the man and perhaps even his work – after all, set design is meant to fade into the background and complement the ‘action’.

The Kiss Cedric Gibbons 1

The Kiss Cedric Gibbons 1
Still from The Kiss, starring Greta Garbo (Set design: Cedric Gibbons, costume design: Adrian)

Thanks to Gibbons’ prolific name-checking, it’s impossible to ascertain exactly which movies films were art directed solely by him. Generally, he collaborated on, oversaw or approved the ‘look’ but was not responsible for every detail. All employees responsible for visuals – including costumes, props, make-up and special effects – were required to submit their ideas to Gibbons. According to art director Preston Ames, who joined Gibbons’s staff in 1938, “[he] worked closely with me, as he did with all his art directors. The best way to describe our operation is to compare it to an architect’s office. You confer with the head man, but eventually you are assigned an architect who works on your project.” Similarly, Vincente Minnelli described Gibbons as “medieval fiefdom, its overlord accustomed to doing things in a certain way.”

Wizard of Oz Gibbons

Wizard of Oz Gibbons
Still from The Wizard of Oz (Set design: Cedric Gibbons, costume design: Adrian)

Rather than hampering creativity, this ‘certain way’ created a visually unified MGM look; usually characterised by all-white rooms or sets that oozed luxury, elegance and glamour. Audiences would always have known when they were watching an MGM production, and not just because they were greeted by Jackie or Tanner. Gibbons was instrumental in creating an aesthetic that ran across all MGM films, tweaking each one to suit its genre.

In fact, the sets resembled the stars that acted out tableaux upon them, and were an extension of the escapism that wartime and postwar audiences craved. Gibbons often opted for luxury even if the screenplay didn’t call for it – this was an amped-up ideal of everyday life, where polished floors, mirrored surfaces and crystal surfaces were de rigeur. George Cukor’s Dinner at Eight (1933) is typical Gibbons. Based on a Broadway play written by George S. Kaufman and Edna Ferber, there are no exterior shots, all the action takes inside, allowing Gibbons to create a ‘show off’ set, that makes use of 11 shades of white. This, and other similar sets, were often known as BWS (the Big White Set); although the original design is credited to Astaire-Rogers musicals, it’s a look that Gibbons helped perfect.

Dinner at Eight Gibbons

Dinner at Eight Gibbons

Dinner at Eight Gibbons
Still from Dinner at Eight (Set design: Cedric Gibbons, costume design: Adrian)

The streamlined, modern Deco look was visually effective, and was likely directly inspired by a trip he took to the Exposition International des Arts Décoratifs et Industriels Modernes in Paris (1925). By then, Gibbons was already working at MGM, formed by Samuel Goldwyn and Louis B. Mayer in 1924. He succeeded Russian designer and fashion illustrator Erté, who struggled to turn his artistic ambitions into commercially viable sets. Gibbons, who understood how the studio system worked thanks to a stint at Edison Studios and on Goldwyn’s New-Jersey lot, was a natural fit. Some of Gibbons’ earliest films at MGM, including Our Dancing Daughters (1928), Our Modern Maidens and Grand Hotel exemplified the ‘Gibbons look’.

Our-dancing-daughters Gibbons

Our-dancing-daughters Gibbons

Our-dancing-daughters Gibbons
Stills from Our Dancing Daughters (Set design: Cedric Gibbons, costume design: David Cox)

Our Dancing Daughters, the first in a trilogy of films starring Joan Crawford, was a quintessential Jazz Age movie. The look of the film celebrated a particular Paris-borrowed modernity that was heavily influenced by F. Scott Fitzgerald (The Beautiful and the Dammned was published in 1922, The Great Gatsby in 1925), set against a remarkable decor designed by Gibbons and Richard Day. Diana, Crawford’s character, resides in a beautiful home filled with glossy floors (perfect for dancing!), beautiful furniture (perfect for housing all those beautiful clothes!) and Deco sculptures. Moderne interiors, with their geometric shapes and elaborate stepped recesses were the perfect look for black and white movies, especially following the development of incandescent lighting, which was able to pick up and highlight all the details. In Our Dancing Daughters, the look was all about wealth, elegance and the finer things in life, and the American audience adored it. The aesthetic directly contributed to the film’s success (other aspects – it was a silent with a synchronised soundtrack – seemed somewhat out-dated) and inspired other set designs and home decor trends. The American public didn’t just want to watch the dream; they wanted to live it too.

Grand Hotel Cedric Gibbons
The lobby of the Grand Hotel

Set in Berlin but shot in LA, Grand Hotel was a collaborative effort. Gibbons was assisted by Edwin B. Willis and Alexander Toluboff; the trio created an elaborate lobby with a circular check-in desk framed by a curved chequered floor. The desk is finished with banded metal strips that are echoed in the window frames; it’s a highly stylized vision that’s perfect for a black and white film. The circular motif was echoed in the sweeping shots that accompanied each characters entrance, usually through a revolving door, which was the focus of the films opening, establishing the set as a character in its own right, and acting as a marker between interior and exterior action. According to Donald Albrecht:

“Circles are prominent in every aspect of the Grand Hotel’s design– an appropriate image for the spinning-wheel-of-fortune scenario. The circular motif appears in the hotel’s round, multilevel atrium with open balconies, in the continually revolving doors, and in ornaments on balcony railings. It also appears in the round reception desk, which acts as a pivot for the curving shots that follow the movement of the film’s characters, who travel across the black-and-white floor like pawns in a chess game. Movie plot and architecture have seldom been so closely harmonized.”

Grand Hotel Cedric Gibbons
Greta Garbo in Grand Hotel (Set design: Cedric Gibbons, costume design: Adrian)

Although Gibbons didn’t win an Oscar for the movie, it collected the Best Picture gong in 1932, cementing his reputation as one of the most influential art directors. His Oscar wins included The Bridge of San Luis Rey, Blossoms in the Dust, Gaslight, Little Women and the elaborate An American In Paris. Gibbons may be  best remembered for the Art Deco template he created in the late 1920s, but An American In Paris (1951) proves that time did not diminish his creative output. A celebration of Parisian joie de vivre, the film was actually shot at the MGM studios in California, much to Gene Kelly’s dismay. Gibbons designed 44 sets, and much of the effects (including the final scene) were achieved through clever camera angles and trickery. The movie doesn’t have the sophisticated elegance of Gibbons’ earliest works but it’s an effective recreation of faded Paris streets, albeit in an unrealistic, faketastic way. That’s not to the film’s detriment though; choreographed musicals are by their nature somewhat dreamlike and the set picks up on those elements, especially during the closing 16-minute ballet scene.

An American In Paris Gibbons

An American In Paris Gibbons

An American In Paris Gibbons
Stills from An American In Paris (Set deign: Cedric Gibbons, costume design: Orry-Kelly)

An American In Paris Gibbons

Gibbons’ artistic interiors weren’t just restricted to film. One of his best productions was the Art Deco residence he designed and lived in with his first wife, silent film star Dolores Del Rio. The cinematic two-storey residence, which was completed in 1930, could almost pass a film set, and included details that could have come straight from a movie – including a rumoured trapdoor that connected the master bedroom closet to the closet in the downstairs bedroom. Apparently Gibbons slept downstairs, and would climb through the door to reach his wife’s bedroom. True or not, it’s the kind of detail that wouldn’t be out of place in his Big White Sets.

Cedric Gibbons Art Deco home

Cedric Gibbons Art Deco home

Gibbons died in 1960, just four years after retiring. It’s impossible to overstate how much his vision influence film and American interiors, but perhaps his legacy is best summed up by Elia Kazan: “MGM was not run, oddly, by L.B. Mayer, but by the head of the art department”. The Golden Age of Hollywood was saturated with talent, but even within that field, Gibbons stood out. By all accounts a larger-than-life character, he would arrive at the studios in a Dusenberg, wearing a grey hat and grey gloves. His aesthetic style didn’t start on the screen – it started off it; his talent was in his ability to translate an artistic language into commercial set pieces that tapped into American consciousness and established ‘the movies’ as a place audiences frequented to live out their dreams.

Louis B. Mayer’s Santa Monica beach house, also designed by Cedric Gibbons

Further reading: Designing Dreams: Modern Architecture in the Movies by Donald Albrecht / Designs on Film: A Century of Hollywood Art Direction by Cathy Whitlock / MGM: Hollywood’s Greatest Backlot


24 thoughts on “Cedric Gibbons, Art Deco sets and the Hollywood dream

      1. I can think of no other that insires me so. It was an awesome post. I feel like I was born in the wrong decade. Of course, one would have to be wealthy to appreciate/live in it.

  1. Phenomenal entry on the architect of MGM’s “look.” Watching a film such as “Libeled Lady,” where the decor perfectly complements each of the four main characters, makes one appreciate Gibbons’ work.

    1. Glad you mentioned Libeled Lady, I actually haven’t seen it which is why I didn’t include it in the post. The images I found during my research looked wonderful!

  2. Oh yum! HIs work is legend and still so beautiful to behold. How much fun for him that he had a workshop as rich as MGM to bring life to his beautiful visions. Great post and luscious photos.

    1. Thank you! It would be interesting to know if he ever had to exercise creativity within a limited budget and how that would have affected his designs. Somehow I feel like that was a challenge Gibbons never had to face 😉

  3. Wowww these are gorgeous! As you said, a lot of times the sets are meant to blend in and not be particularly noticeable—so it’s great to have all these lovely photos to drool over.

    Funny, though it’s so stylized as you note, Gene Kelly mentioned in interviews that people often mistook those American in Paris sets for the real Paris! Maybe the kind of dreamlike, American ideal of what Paris should be—which Gibbons captured so beautifully.

    1. Re-watching it, it’s so stylized. I guess we have to remember that audiences of the day wouldn’t have been as familiar with Paris, so were more easily fooled!

  4. Oh please don’t say that people are unaware of Cedric Gibbons today! I knew his name at the age of seven. He was one of THE most iconic art directors. It is a shame that any record of just what details he contributed to each film is lost, although how true about Gibbons being the man who contributed the “look” of MGM. Gibbon’s team had a varied look however and were not limited to one style. Unlike a Lyle Wheeler set ( which I can proudly spot within 20 seconds! ) each MGM set is quite different and unique ….except for those bathed-in-white art deco 1930s sets. Thanks for a great read and for a swell contribution to the blogathon!

  5. Brilliant post! Sometimes, especially in black and white movies, the sets are everything. More than once I dreamed about having a house in the same style I saw in movies. I saw Cedric’s name several times on the screen, but until now I haven’t taken a deeper look in his creations.

  6. Great piece on an overlooked aspect of moviemaking, especially during the golden age. One of my own favorite sets Gibbons designed (or is credited with) is the house inhabited by Dorian Gray in “The Picture of Dorian Gray” – his design was not only beautiful but had a psychological purpose, informing you about Dorian’s character in its intricacy and decadence.

    1. I actually haven’t seen that. I’m a big fan of the the book (in fact, Wilde in general) and I was concerned it wasn’t measure up. Maybe it’s worth a watch for the set alone…

  7. Late to this website ….. love learning about this man. I recall my Mother speaking about growing up in the 30s during the Depression, how difficult it was, and how there were times they wondered about feeding the family. But she also recalled how walking several miles to a movie theater in Clarion, PA with her older sister to see films that made them feel uplifted and hopeful. Films like the ones Cedric Gibbons applied his talent to doing just that. She said they would walk the miles home and put on a ‘show’ that emulated what they had just experienced at the theater… tap dancing, singing, acting out parts. It made them happy, they felt good.

    I cannot recall feeling that way for a very long time after going to a movie….

    Thanks for the website. Absolutely love it

  8. Cedric Gibbons loved ultramodern design, and worked with Art Director Arthur Lonergan on the set designs and furnishings in the classic MGM science fiction blockbuster FORBIDDEN PLANET in 1955-56.

    The glass table and coffeepot shown in the futuristic home of Morbius were his own personal property, in the scene where Robby the Robot makes coffee for crewman Jerry Farman (Jack Kelly) and Altaira (Anne Francis). Mr. Gibbons arranged for MGM to send a truck over to his home and had it packed up and shipped to the studio in Culver City, and then returned to his home after shooting.

    Thanks for your wonderful and interesting article with photos!

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