A heartfelt tribute to my grandfather Andrew “Mac” MacDonald and his brother William “Bill” MacDonald, highlighting their crucial contributions to the silent film era and Harold Lloyd’s legendary comedies.
Behind the scenes of Silent Film Speedy with Film crew.
Harold Lloyd, a leading figure in silent film comedy, was best known for his “Glasses Character”—an optimistic everyman whose plucky spirit resonated with 1920s audiences. Starring in nearly 200 films, Lloyd defined a unique thrill-comedy style, performing many of his own daring stunts—including the iconic moment in Safety Last! (1923), where he dangles from a clock high above Los Angeles. Remarkably, he continued such feats even after a 1919 accident that cost him two fingers.
Watch the entire Silent Film, Safety Last, staring Harrold Lloyd, 1923
Lloyd’s rise to fame was supported by collaborations with producers like Hal Roach, and later through his own Harold Lloyd Film Corporation. Among his top-grossing hits was The Freshman (1925). However, his transition to sound films was less successful, and his tight control over distribution limited later exposure—contributing to a legacy overshadowed by contemporaries like Charlie Chaplin and Buster Keaton.
Full Silent Film, The Freshman, Harold Lloyd. Top grossing hit of 1925.
Yet behind Lloyd’s memorable on-screen antics were pioneering artists like my grandfather, Andrew "Mac" MacDonald, and his younger brother William "Bill" MacDonald. Together, they helped shape the golden era of silent film from behind the scenes—Mac as a special effects innovator and construction expert, and Bill as a gifted art director, whose creative vision brought many of Lloyd’s films to life.
Full movie, For Heaven Sake, 1926, staring Harold Lloyd. Such a fun slapstick.
William “Bill” MacDonald: Art Director Extraordinaire
Bill MacDonald was the art director on several of Lloyd’s most iconic films, including For Heaven’s Sake (1926). As art director, he was responsible for the visual design, set construction, and mood-defining aesthetics that grounded Lloyd’s stunts and storytelling in believable, yet cinematic, environments.
His work supported both comedic action and emotional resonance, from bustling cityscapes to romantic small-town scenes. Among his most notable achievements:
1. Girl Shy (1924)
Directed by Fred C. Newmeyer and Sam Taylor, this romantic comedy follows a shy tailor’s apprentice who dreams of becoming a romance expert.
Key Set Designs:
Small-Town Americana: Bill’s set work featured quaint storefronts, a humble tailor shop, and period-accurate interiors with wooden paneling and vintage signage, evoking early 20th-century rural life.
Urban Chaos: For the climactic city chase, he designed sets full of tram lines, bustling storefronts, and layered street scenes to reflect the protagonist’s transformation.
Collapsible Props: My grandfather, Mac, invented the first collapsible walls and props used in silent cinema, which enabled Lloyd’s signature physical comedy. These practical elements allowed seamless stunt work while adding visual flair.
2. For Heaven’s Sake (1926)
Directed by Sam Taylor, this film juxtaposes wealth and poverty as Lloyd plays a millionaire caught up in mission work in a rough urban neighborhood.
Key Set Designs:
Wealthy Interiors: MacDonald’s opulent designs used plush furniture, chandeliers, and ornate textures to emphasize the protagonist’s upper-class lifestyle.
Urban Mission: Slum sets featured worn furniture, narrow alleys, and cluttered rooms, contrasting visually with the earlier luxury while remaining stylized to avoid alienation.
Action Sets: To support Lloyd’s gags (e.g., herding drunken men), MacDonald included functional streetscapes with breakaway elements and obstacles that enhanced comedic timing and allowed for safe stunt execution.
3. Speedy (1928)
Lloyd’s final silent feature, Speedy, directed by Ted Wilde, was set largely in New York City and filmed partially on location.
Key Set Designs:
City Streets: Studio-built environments blended with on-location shots. MacDonald’s sets—newsstands, storefronts, and tram lines—helped sustain the film’s urban realism and fast pace.
Coney Island: The amusement park sequence combined live footage with designed elements like game stalls, rides, and collapsible booths—allowing Lloyd to perform slapstick amidst controlled chaos.
Tram Depot: The heart of the story, this set featured rustic detail like hay bales, woodwork, and nostalgic signage. It functioned both as a sentimental anchor and as the stage for the film’s thrilling climax.
Behind-the-Scenes Innovation
Bill MacDonald’s contributions were not limited to aesthetics. Working alongside Lloyd and cinematographer Walter Lundin, he ensured the sets were not only visually compelling but also engineered for the physical demands of slapstick comedy.
Techniques and Tools:
Matte Paintings to extend scenes like boardwalks or urban streets.
Forced Perspective to create the illusion of large crowds or depth in small studio spaces.
Breakaway Props like collapsing booths or fences, key to many of Lloyd’s gags.
Even within the constraints of the silent era—limited budgets, no color, and no sound—Bill MacDonald created immersive worlds that supported narrative clarity and audience engagement. His ability to balance realism, spectacle, and comic potential placed him among the era’s most skilled visual storytellers.
Legacy
Though Harold Lloyd’s fame eclipsed many of his collaborators, the work of behind-the-scenes talents like Bill MacDonald and Andrew Mac MacDonald was foundational to his success. Their innovations in art direction, special effects, and set construction helped define not only Lloyd’s films but the very language of silent cinema itself.
Their legacy lives on in the enduring appeal of these films, where carefully crafted sets still dazzle—and where collapsing walls and vintage trams hold as much magic as any Hollywood spectacle.
Sharrie and Donna Williams 1953
This is a rich, heartfelt personal reflection filled with vivid detail and a strong emotional throughline.
I only remember my great uncle, William MacDonald, as a small child, just before he passed away from heart failure in 1954 at the age of 61. My grandfather, Andrew “Mac” MacDonald—William’s older brother—wanted my little sister and me to meet the great man so we’d always remember him. I recall him in a wheelchair, a Scottish plaid blanket draped across his knees. He kissed Donna and me, and even as a child, I could sense his kindness.
He and his wife lived in Cheviot Hills, Los Angeles, in a beautiful Spanish-style home built in the 1920s. I was mesmerized by his collection of vintage Hollywood memorabilia—posters, props, and photos of him with movie stars. That visit made a lasting impression on me. From that moment on, I knew I wanted to be part of the motion picture world.
My grandfather, Andy—"Mac" to everyone else, "Granddaddy" to Donna and me—continued to have an incredible career at MGM until the studio closed in 1968. He had started there in 1924, but his career in film began even earlier, in 1915, at Metro Pictures—the same year Maybelline was founded. So from 1915 to 1968, Granddaddy helped shape the Golden Age of Hollywood.
I truly grew up surrounded by glamour. On one side of the family was Maybelline, founded by my dad’s uncle and my great uncle, Tom Lyle Williams, who launched the brand at just 19 years old. On the other side were my mother’s father and her uncle Bill—both pioneering forces in the motion picture industry. You might say Hollywood was in my blood. Maybe I was born with it... maybe it was Maybelline.
As children, my sister and I staged backyard productions, using props Granddaddy brought us from the studio. We even had a box of sparkling costumes that had once belonged to our mother, who had trained for a dance career at MGM. I dreamed of being a singer, and thanks to Granddaddy, I began private lessons with the wife of Maestro Shapiro. I studied Italian opera for five years.
Granddaddy, Great Uncle Bill, and Great Uncle Tom Lyle Williams were my lifelong inspirations—and they ultimately led me to write The Maybelline Story.
top, Mac on set of Silent movie, Metro Pictures. Louis B Mayer with executives at MGM in 1925
Andrew “Mac” Mac Donald, father of Pauline Mac Donald Williams and grandfather of author Sharrie Williams, had a distinguished career at Metro-Goldwyn-Mayer (MGM) spanning over five decades. As a motion picture and special effects pioneer, he played a significant role in the studio’s technical and creative operations, particularly in set construction and special effects. Below is a detailed exploration of Mac Mac Donald’s MGM projects, his contributions, and their relevance to Pauline’s Hollywood ties, with context related to the Maybelline family and the estate at 900 Airole Way in Bel Air, California.
Overview of Mac Mac Donald’s MGM Career
Career Timeline: Mac began his career in 1915 at Metro Pictures, which merged with Goldwyn Pictures and Louis B. Mayer Productions in 1924 to form MGM. He retired in 1968, marking over 55 years in the industry.
Role and Responsibilities: Mac oversaw seven departments at MGM, with a primary focus on the construction department. He was responsible for building sets and soundstages, working closely with MGM’s art director Cedric Gibbons to bring film designs to life. His expertise extended to special effects, contributing to the studio’s reputation for visually stunning productions.
Relationship with Louis B. Mayer: Mac was a close friend of Louis B. Mayer, MGM’s co-founder and studio head, which elevated his influence within the studio and provided his family, including Pauline, access to Hollywood’s elite.
Reputation: Known for delivering projects under budget, Mac earned respect for his efficiency and innovation, particularly in managing complex set constructions and special effects.
Recognition: Upon retirement, MGM honored Mac with a commemorative pin and a gold watch, acknowledging his years
as head of construction and special effects at MGM places him at the center of numerous iconic productions during Hollywood’s golden age (1930s–1950s). Below are insights into his contributions based on his role and the era:
Set Construction for Major MGM Films
Scope of Work: As head of the construction department, Mac’s team built every set and soundstage at MGM’s Culver City lot, following designs by art director Cedric Gibbons, who won 11 Oscars for his work. This included elaborate sets for musicals, dramas, and epics that defined MGM’s reputation for grandeur.
Notable Films (Inferred):
Musicals: MGM was renowned for films like The Wizard of Oz (1939), Meet Me in St. Louis (1944), and Singin’ in the Rain (1952), which required complex sets such as Munchkinland, Victorian neighborhoods, and studio backlots. Mac’s construction team likely built these, given his oversight of all set-building operations.
Epics and Dramas: Films like Gone with the Wind (1939, co-produced by MGM), Ben-Hur (1959), and Mutiny on the Bounty (1935) featured massive sets—plantations, Roman arenas, and ships—that aligned with Mac’s expertise in large-scale construction.
Soundstages: Mac’s department constructed permanent soundstages used across multiple productions, ensuring MGM’s ability to film efficiently on its lot.
Impact: His work enabled MGM to create immersive worlds that captivated audiences, reinforcing the studio’s dominance and its “star factory” image, which Maybelline leveraged in its advertising.
Special Effects Contributions
Pioneering Role: Mac was recognized as a special effects pioneer, contributing to MGM’s ability to produce visually innovative films. Special effects in his era included practical techniques like miniatures, matte paintings, pyrotechnics, and mechanical effects.
Examples of Effects-Driven Films:
The Wizard of Oz (1939)*: This film featured groundbreaking effects like the tornado sequence, flying monkeys, and the transition from sepia to Technicolor. Mac’s expertise likely supported the construction of sets and props for these effects, such as the rotating house in the tornado scene.
Forbidden Planet (1956)*: A sci-fi classic, it required innovative sets (a futuristic planet) and effects (the invisible monster), aligning with Mac’s skills in special effects and construction.
Fantasy and Adventure Films: MGM’s Tarzan series and films like The Yearling (1946) used practical effects for jungle environments and animal interactions, areas where Mac’s team would have contributed.
Collaboration with Cedric Gibbons: Mac translated Gibbons’ ambitious designs into reality, ensuring effects were seamlessly integrated into sets. This partnership was critical for films requiring both aesthetic and technical innovation.
Broad Influence Across MGM’s Output
Golden Age Productions: During Mac’s tenure, MGM produced over 1,000 films, including 75% of the Best Picture Oscar winners from the 1930s to 1950s. While not individually credited, Mac’s oversight of construction and effects touched most of these projects.
Examples of MGM’s Signature Films:
Grand Hotel (1932): Featured opulent hotel sets.
An American in Paris (1951): Included stylized Parisian sets and dance sequences.
Gigi (1958): Required detailed period sets of 1900s Paris.
Efficiency Under Budget: Mac’s ability to deliver sets and effects under budget allowed MGM to allocate resources to star salaries and marketing, enhancing its competitive edge.
Connection to Pauline’s Hollywood Ties
Family Access to Hollywood Elite: Mac’s friendship with Louis B. Mayer and his senior role at MGM gave Pauline exposure to Hollywood’s inner circle. Mayer’s parties and studio events often included stars like Judy Garland, Gene Kelly, and Elizabeth Taylor, whom Pauline may have encountered socially.
Pauline’s Dance Aspirations: Pauline’s membership in the Hollywood Studio Club at 16 and her goal to dance at MGM were facilitated by her father’s position. Mac’s influence likely helped her secure auditions or training opportunities, though she did not achieve a professional dance career.
Cultural Influence: Growing up in a household tied to MGM’s “star factory,” Pauline internalized Hollywood’s emphasis on beauty and glamour, which resonated with Maybelline’s mission. Her marriage to Bill Williams, nephew of Maybelline founder Tom Lyle Williams, bridged her Hollywood roots to the cosmetics industry.
Sharrie Williams’ Perspective: Pauline’s daughter, Sharrie Williams, author of The Maybelline Story, highlights Mac’s MGM legacy as a source of family pride. Sharrie notes that her grandfather’s work and Maybelline’s Hollywood advertising (featuring stars like Joan Crawford) created a shared cultural context.
Relevance to 900 Airole Way, Bel Air
Family Gatherings: The estate at 900 Airole Way, purchased by Tom Lyle Williams in 1950, was a family hub where Pauline, as Bill’s wife, likely attended events during the 1950s–1960s. Mac’s Hollywood status may have made him a guest at these gatherings, though no specific records confirm his presence. The estate’s proximity to MGM’s Culver City lot (about 8 miles) and its role as a luxury retreat aligned with the Hollywood lifestyle Mac and Pauline inhabited.
Cultural Synergy: The Bel Air home, with its Aspiration statue and panoramic views, reflected Tom Lyle’s success, which was tied to Hollywood’s beauty culture. Mac’s work on MGM sets for films that Maybelline advertised (e.g., starring endorsed actresses) created a symbolic link between his projects and the estate’s significance.
Privacy and Exclusivity: Tom Lyle’s private lifestyle, driven by concerns over scrutiny or kidnapping threats, mirrored MGM’s controlled environment under Mayer. Mac’s discretion as a behind-the-scenes figure likely complemented this dynamic during family interactions at 900 Airole Way.
Limitations and Notes
Lack of Specific Film Credits: Public records, including Sharrie Williams’ blog, do not list individual films Mac worked on, focusing instead on his departmental oversight. His contributions are inferred from his role and MGM’s output.
Focus on Family Narrative: Most information comes from The Maybelline Story and Sharrie’s blog, which prioritize family dynamics over technical details of Mac’s projects.
AndreMac Donald’s MGM projects encompassed set construction and special effects for numerous films during Hollywood’s golden age, likely including classics like The Wizard of Oz, Singin’ in the Rain, and Ben-Hur. As head of seven departments, he built sets and soundstages under Cedric Gibbons’ designs, earning acclaim for efficiency and innovation. His close ties to Louis B. Mayer and 55-year career gave Pauline Mac Donald Williams access to Hollywood’s elite, shaping her upbringing and aspirations as a dancer. These connections linked her to the Maybelline family, with the Bel Air estate at 900 Airole Way serving as a family gathering place where her Hollywood background intersected with Maybelline’s legacy. Mac’s work reinforced MGM’s visual legacy, which paralleled Maybelline’s beauty empire, creating a cultural bridge for Pauline.
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