David Butler
David Butler (born December 17, 1894, San Francisco, California, U.S.—died June 14, 1979, Arcadia, California) was an American director whose lengthy career was highlighted by numerous popular musicals and comedies and included notable collaborations with Shirley Temple, Bob Hope, and Doris Day.
(Read Martin Scorsese’s Britannica essay on film preservation.)
Butler was raised in the theatre by his stage-director father, Fred J. Butler, and his actress mother, Adele Belgrade. In the early 1910s he began acting in silent films, and he worked with such directors as D.W. Griffith, Tod Browning, King Vidor, Frank Borzage, and John Ford. In 1927 Butler helmed his first film, High School Hero, a comedy for Fox Film Corporation (later Twentieth Century-Fox), and he quickly became a sought-after director. His notable early films included the musicals Sunny Side Up (1929), featuring Janet Gaynor and Charles Farrell, and Just Imagine (1930), an ambitious futuristic comedy starring comedian El Brendel as a man who awakes after 50 years and finds himself in 1980s New York City. Butler also directed Will Rogers in several movies, including A Connecticut Yankee (1931), an adaptation of Mark Twain’s novel; Down to Earth (1932); Handy Andy (1934); and Doubting Thomas (1935).
In the mid-1930s Butler began working with Fox discovery Shirley Temple. After directing her in Bright Eyes (1934), for which he also cowrote the story, he helped guide her to stardom with The Little Colonel (1935), The Littlest Rebel (1935), and Captain January (1936). The hugely successful comedies helped establish Temple as Hollywood’s top box-office attraction. Butler’s later movies for Twentieth Century-Fox included Pigskin Parade (1936); Ali Baba Goes to Town (1937), a clever musical featuring Eddie Cantor; Kentucky (1938), starring Loretta Young, Richard Greene, and Walter Brennan; and Kentucky Moonshine (1938; also called Three Men and a Girl), an uninspired outing with the Ritz Brothers.
In 1939 Butler left Twentieth Century-Fox and subsequently worked for several studios. After directing Bing Crosby in the comedy musicals East Side of Heaven (1939) and If I Had My Way (1940), he handled the team of Bob Hope and Dorothy Lamour for the first time in Caught in the Draft (1941). The film was so successful that they rejoined forces for Road to Morocco (1942)—one of the best in the “Road” series, which also starred Crosby—and They Got Me Covered (1943), a lesser espionage farce with Otto Preminger as one of the villains. The Princess and the Pirate (1944) also starred Hope, though Lamour was replaced by Virginia Mayo.
In 1944 Butler ventured into biopics with Shine on, Harvest Moon, which featured Ann Sheridan and Dennis Morgan as vaudeville stars Nora Bayes and Jack Norworth, respectively. The following year he turned to westerns with San Antonio, a solid drama starring Errol Flynn and Alexis Smith. Butler then directed Morgan and Jack Carson in a number of films, including Two Guys from Milwaukee (1946; also called Royal Flush), the musical The Time, the Place, and the Girl (1946), Two Guys from Texas (1948; also called Two Texas Knights), and the clever satire It’s a Great Feeling (1949). In 1949 Butler reunited with Temple for The Story of Seabiscuit (also called Pride of Kentucky).
Butler was then entrusted with new Warner Brothers star Doris Day for a series of hugely popular musicals: Tea for Two (1950); Lullaby of Broadway (1951); April in Paris (1952); By the Light of the Silvery Moon (1953), with Gordon MacRae; and Calamity Jane (1953), with Howard Keel. Inexplicably, Butler subsequently made several action films, including the feeble King Richard and the Crusaders (1954) and the war drama Jump into Hell (1955). In 1956 he returned to more familiar fare with the comedy The Girl He Left Behind, starring Tab Hunter and Natalie Wood.
In the mid-1950s, Butler began to focus on television work, and he directed episodes for such notable series as Wagon Train, The Deputy, Twilight Zone, Leave It to Beaver, and Daniel Boone. After helming the feature film C’mon, Let’s Live a Little (1967), he retired.