A companion piece to the Warner Brothers and Paramount ones, this list should include many “familiars” you readers have already seen on TCM. In fact, MGM is probably the studio whose shorties we see the most on the tellie.
Mighty Metro-Goldwyn-Mayer certainly boasted the most elaborate shorties in the business. Unfortunately the studio wasn’t as committed like some of the others and the bulk is consolidated to a three decade period. In the beginning, it was happy to just play distributor for the German-based UFA’s travelogues and animal documentaries, while Hal Roach was persuaded to leave the Pathé Exchange in 1927 after nearly 13 years to continue his Our Gang, Charley Chase and Laurel & Hardy 2-reelers for the next 11 or so… before selling the Our Gang name and performers to Metro in 1938. It also acquired Hearst’s “News of the Day” newsreel. MGM was at its peak during the thirties and forties with Robert Benchley, Crime Does Not Pay, John Nesbitt’s Passing Parade and Pete Smith’s Specialties. Yet despite the novelty of CinemaScope and stereophonic sound, the studio quickly lost interest in shortie production once Pete Smith decided to retire after finishing the 1954-55 season. Only three “featurettes” were made for the fall ‘55-56 before focusing exclusively on “behind the scenes” promotionals for upcoming feature releases (and I have only listed those that TCM regularly airs here). Stop, Look And Listen (a hodgepodge of live action and camera trick “animation” done like Norman McLaren’s Neighbors) was one late exception to the rule.
Like the other lists, this is strictly “live-action”. MGM also distributed two animated cartoon series of Ub Iwerks’, Flip the Frog and Willie Whopper (1930-1933), but surprisingly left most of his Comicolor Cartoons for producer Pat Powers to handle on a states rights basis. Then, in 1934, they contracted ex-Disney and Schlesinger-Warner animation directors Hugh Harman and Rudolf Ising for an all color “Happy Harmony” series that lasted until Fred Quimby headed their in-house department in 1937. For the next two decades, this unit produced Captain & the Kids, Barney Bear, Tom & Jerry, Droopy and Spike with directors William Hanna, Joe Barbara, Tex Avery, Dick Lundy and Michael Lah, among others. (Harman and Ising also worked again with them for a while, with the latter contributing the first non-Disney Oscar winner in animation: The Milky Way.) After closing shop in the spring of 1957 (with enough cartoons for the next full year’s release schedule) and with Hanna-Barbera moving to TV (and launching a HUGE empire in the process), new Tom & Jerry ‘toons were “re-activated” three years later by Gene Dietch operating in Czechoslovakia (1960-62), followed by Chuck Jones in 1963 (with TV specials and a feature The Phantom Tollbooth added by the time he split with MGM in 1970). Among the “one shots” added over the years: The Toy Parade (reviewed by Film Daily on October 11, 1932 as an “MGM Oddity”) was produced by Ub Iwerks but was a stop-motion puppetoon, unlike the cell-animated Flip & Willie. An elaborate Technicolor abstract experiment was made by Oskar Fischinger and called An Optical Poem (released March 8, 1938). Later, there was a cluster of John Sutherland productions co-produced by Harding College between 1947 and 1951 (with MGM handling after 1949); these were cartoon “documentaries” that promoted American capitalism during the height of the Cold War and fit in well with such live-acton shorts of the period like The Hoaxters.
Key references used are the same as with the other lists: BoxOffice, Film Daily and Motion Picture Herald Magazine back issues (latter two found on the Internet Archive), the IMDb.com site, Motion Pictures 1912-1939 (1951), Motion Pictures 1940-1949 (1953), Motion Pictures 1950-1959 (1960) and Motion Pictures 1960-1969 (1971). Then there’s Leoard Maltin’s The Great Movie Shorts (a.k.a. Selected Short Subjects, Crown, 1972) which has a particular focus on MGM and Hal Roach… and probably inspired me more to investigate shorties than any other book.
This is the basic set up for each film listed:
Title of film
producer and/or director listed in () If you see (---), it means I don’t have director information… yet.
black & white (bw) or color
“approximate” running time in minutes (m) or running time in reels (1 reel is under 11 minutes, 2 reels under 25 minutes) since I couldn’t find an exact time frame here
Series Title with key star listed in () and a top billed star in 
release date or copyright © date and sometimes a filming date in ()
(any awards) or *DVD* availability
brief description… and I do keep it brief. Additional cast members are also listed here.