Show Boat (1951)

Pretty good movie overall. First half was nothing special but it got better as it went along.

This is a must-see and one of the best documentaries - and films - of this year.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

The film never slows down or bores, plunging from one harrowing sequence to the next.

Much of the last act of "Show Boat" shows the characters of Magnolia, Captain Andy and Parthy years after Gaylord has abandoned his wife, unaware that she is carrying his child. Whatever reason that was done is only known in the letters of the MGM vault or those who had access to them, but somehow the film feels a bit tighter, if not complete. The 1936 version is the definitive "Show Boat", classic in every way that made the musical such a ground-breaker, the "Hamilton" of its time when it opened on Broadway in 1927. But for years, this MGM remake was the only version available, with the earlier versions shelved along with other studio versions of films that MGM got the rights to and re- made. It was the first of three teamings of the beautiful Kathryn Grayson and the dashing Howard Keel, and when they were reunited years later on the Oscars to reprise a bit of "Make Believe", Academy Award audience members went wild.This was not the first time that Ms. Grayson had played Magnolia; She had appeared in the abbreviated version as a part of the Jerome Kern musical biography "Till the Clouds Roll By" which featured Tony Martin instead of the yet undiscovered Keel. But by 1951, Keel was a film star, having scored a success in the movie version of "Annie Get Your Gun", and was perfectly cast as her leading man. While Lena Horne performed "Can't Help Lovin' Dat Man" as Julie in "Till the Clouds Roll By", for some reason, MGM would not cast her (obvious reasons considering the political climate of the time) and Ava Gardner (dubbed) was cast. Years later, Horne would write about her disappointment and narrated part of "That's Entertainment III", but her bitterness was towards the studio, not Ava. Either way, it was an unfortunate oversight, although Ava in her acting is outstanding.The rising song and dance team of Marge and Gower Champion take on the lighter roles of Ellie and Frank, performing "Life Upon the Wicked Stage" and "I Might Fall Back on You", but they are rather inconsequential to the story other than to provide friendship to Magnolia after she runs off with Gaylord and is abandoned by him. Joe E. Brown is a delightful comic surprise as Captain Andy, both lovable and poignant, his tears over hearing daughter Magnolia singing "After the Ball" quite emotional. Agnes Moorehead as the nagging Parthy fills her character with an underlying sentimentality that shows through her strict temperament, but it is still a variation of future "Bewitched" character Endora (and her "Singing Nun" character as well) that she is basically portraying.As much of the score was cut out for this movie version, this is not the perfect "Show Boat", but for what remains, it is colorful, well acted, beautifully sung and energetically danced. I'm glad that some of the rather dated comedy was deleted, and want to give special praise to William Warfield who outside of Paul Robeson delivers the very best "Old Man River" I've ever heard. In fact, I really feel that both Robeson and Warfield deserved Oscar nominations for their performances which capture so much of the emotional heartbreak that strong black men were undergoing when racism was rampant and accepted. I had the pleasure of meeting Ms. Grayson at a screening of "Kiss Me Kate", and she was joined by Annette Warren who dubbed for Gardner. The shots of Gardner as she goes from lovely leading lady to drunken has-been are heartbreaking, as is the scene where she hides from old friend Magnolia (not wanting to be seen for what she's become), and that final shot of her on the docks looking on. Kleenex is a must for those parts and makes up for the lapse of what was taken out to cut down on running time or be accepted in a politically tumultuous time in American history.

While it's far from one of my favorite musicals, I did enjoy this version of Show Boat quite a bit. The songs are nice, particularly "Ol' Man River" and "Can't Help Loving Dat Man." The sets, costumes, and Technicolor are all beautiful. Speaking of beautiful, the great Ava Gardner really steals the show here. Despite only playing a supporting part, she's riveting to watch and left a lasting impression on me. That's more than I can say for leads Kathryn Grayson and Howard Keel, who are both a little on the dull side. Joe E. Brown is fun to watch in a supporting part. Agnes Moorehead is wasted, however, as Brown's old crow of a wife. She basically just shows up a few times to be a shrew. There are quite a few themes in this that were risqué for their time but won't have as much impact today. Oddly enough, the 1936 film version of Show Boat was more gritty than this one. Both versions are good, though, and you should see them both if you like classic musicals.

I fell in love with Show Boat when I saw it. Yes the ending is a little corny, but everything else is a joy. The Technicolour is truly lavish, colourful and just a feast for the eyes and the costumes are lovingly designed too. The opening sequence especially is a mini-masterpiece of music, style and colour I feel. The songs are classics and nothing less than that, I don't have a personal favourite but I have always been fond of Ol' Man River and Can't Help Loving Dat Man. The direction is satisfying, the pacing is more secure here, the plot with its themes of compulsive gambling and miscegenation and the dialogue sparkles. And the performances are real jewels in the crown, Kathryn Grayson is wonderful, as is Howard Keel, whose voice and looks I cannot get enough of. However, my favourite performances come from Ava Gardner, who looks stunning and has rarely given a more poignant performance and William Warfield, whose rendition of the difficult Ol' Man River is somewhat richer and warmer than Paul Robeson's timeless rendition. Overall, a wonderful musical. 9/10 Bethany Cox

I get goose bumps just thinking of the larger than life opening of this film... Kathryn Grayson was one of the favorite stars of screen musicals during their heyday in the late 1940s and early 1950s. Kathryn Grayson was a visually and vocally striking singer and actress who graced some of the most popular films of the postwar era, including "Anchors Aweigh" (1947) and "Kiss Me Kate" (1953). Blessed with a coloratura soprano from an early age, she was discovered by MGM chief Louis B. Mayer while a teenager, and was signed to a contract without the benefit of a screen test or drama lessons. In this version of Show Boat, Ms. Grayson, plays Magnolia Hawks, the captain's innocent daughter, who falls for the handsome gambler Gaylord Ravenal (Howard Keel). Show Boat is widely considered one of the most influential works of the American musical theatre. As the first true American "musical play", it marked a significant departure from operettas, light musical comedies of the 1890s and early 20th century and the "Follies"-type musical revues that had defined Broadway.According to The Complete Book of Light Opera, "Here we come to a completely new genre – the musical play as distinguished from musical comedy. Now... the play was the thing, and everything else was subservient to that play. Now... came complete integration of song, humor and production numbers into a single and inextricable artistic entity. The third and (to date) last film version of the Edna Ferber/Jerome Kern/Oscar Hammerstein II musical. (1929, 1936, 1951) One of the few titles I can think of where every version is good! I.B. TECHNICOLOR. Almost a novelty when it was introduced to film in the early 1920's, Technicolor reached its zenith in the 1940's and 50's, when classics like WIZARD OF OZ, THE ADVENTURES OF ROBIN HOOD, SHE WORE A YELLOW RIBBON, SNOW WHITE and GONE WITH THE WIND were released using the brilliant, deeply-saturated hues of dye-transfer Technicolor. I.B. (or "imbibition") Technicolor prints are becoming increasingly scarce treasures since Technicolor stopped U.S. production of them in 1974. So tonight's print may be a worn print with some scratches and splices, but the color can not be matched even with today's technology. Finally, Ava Gardner is stunningly beautiful in this film and turns in a tender and heartbreaking performance. Last year on a film run I was able to visit the Ava Gardner Museum in Smithfield, North Carloina, and it was amazing. Well worth the 4 ½ hour drive from Culpeper. And Marge Champion is the only one of the stars from this film that is still alive today at age 90. She plays Ellie May Shipley, the dancer in the red & white striped dress & umbrella. Now sit back and enjoy this old fashioned cruise back in time on MGM's Show Boat!