Annie Oakley is an incredible shot who was raised ‘Doin’ What Comes Naturally’. Frank Butler, the star sharpshooter in ‘Colonel Buffalo Bill’‘s show, however, knows full well that’s not how ‘The Girl That I Marry’ must be. Anyway, not at least until he finds that ‘My Defences are Down’. Though Annie defiantly says ‘Anything You Can Do I Can Do Better’, she realizes that ‘You Can’t Get a Man With a Gun’. The victor at the end is love; as you know, ’It’s Wonderful’. After all, ’There’s No Business Like Show Business’. —IMDb
The son of a producer and MGM executive, and a mother who was one of the Mooney Sisters in vaudeville, George Sidney worked his way up from messenger boy to director of numerous MGM musical hits—at one point 15 consecutive box office winners. Though his artistry is not as renowned as Vincente Minnelli, Stanley Donen and Busby Berkeley, Sidney can lay claim to having directed such classic musicals as “Anchors Aweigh” (1945) “The Harvey Girls” (1946), the 1951 remake of “Show Boat” and “Bye Bye Birdie” (1962).
Sidney actually broke into show business as a five-year old, playing sidekick to Tom Mix in the silent film “The Littlest Cowboy” (1921). But he did not pursue acting as a child. Instead, at age 18, Sidney went to work at MGM, first as a messenger boy, then as a sound technician and film editor. Still a teenager, he graduated to directing “Our Gang” comedies, and, at the age of 20, was put in charge of directing all of MGM’s screen tests. He was also directing short films… read more
American director/choreographer Busby Berkeley made his stage debut at five, acting in the company of his performing family. During World War I, Berkeley served as a field artillery lieutenant, where he learned the intricacies of drilling and disciplining large groups of people. During the 1920s, Berkeley was a dance director for nearly two dozen Broadway musicals, including such hits as A Connecticut Yankee. As a choreographer, Berkeley was less concerned with the terpsichorean skill of his chorus girls as he was with their ability to form themselves into attractive geometric patterns. His musical numbers were among the largest and best-regimented on Broadway. The only way they’d get any larger was if Berkeley moved to films, which he did the moment films learned to talk. His earliest movie gigs were on Sam Goldwyn’s Eddie Cantor musicals, where he began developing such techniques as “individualizing” each chorus girl with a loving close-up, and moving his dancers all over the stage… read more