Husband-and-wife songwriting team Edward and Dixie Crane (Robert Young and Ann Sothern) churn out the hits but can’t keep sour notes from plaguing their marriage in this lavish musical co-starring Lionel Barrymore and Red Skelton. Although they still love each other, the Cranes get divorced. Dixie’s friend Marilyn Marsh (Eleanor Powell) tries to reunite the two, but it isn’t easy. The film won a Best Song Oscar for “The Last Time I Saw Paris.”
Norman Zenos McLeod (September 20, 1898 – January 27, 1964) was an American film director, cartoonist and writer.
McLeod made several successful and influential movies such as Taking A Chance (1928), Monkey Business (1931), Horse Feathers (1932), Alice in Wonderland (1933), Topper (1937) and Merrily We Live (1938). Other memorable films directed by McLeod includes It’s a Gift (1934) with W. C. Fields, and the Danny Kaye comedy The Secret Life of Walter Mitty (1947) and The Paleface starring Bob Hope (1948).
His nickname, as recorded on a publicity still on the set of Monkey Business, was “Macko.”
He was educated at the University of Washington and spent two years as a fighter pilot in the Army Air Service in France during World War I. He was married to Evelyn Ward. He died, aged 65, following a stroke. He has a star on the Hollywood Walk of Fame. —Wikipedia
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