Show Boat (1936)

I had not seen the 1936 version of "Show Boat" in several years, and was delighted to find it at last on DVD."Show Boat", an epic musical based on Edna Ferber's sprawling novel of life and love on and off a Show Boat traveling along the Mississippi River, marked the musical theatre's first maturity. The plot had drama and depth, most of the characters had dimension, and the songs by Jerome Kern and Oscar Hammerstein II were skillfully integrated into, and part of, the plot. With his next long-time professional partner Richard Rodgers, Oscar Hammerstein II continued the evolution of musical theatre begun by "Show Boat" with "Oklahoma!". But the Rodgers and Hammerstein revolution was in the future. It's tempting to compare the 1936 "Show Boat" with MGM's more showy 1951 version. The 1951 "Show Boat" achieves the standard MGM glamour and gloss. It's attractive on the surface, with little depth underneath . The 1936 version has the advantage of a screenplay by Hammerstein and a much better cast. Any version of "Show Boat" is a cross between melodrama (stylistically) and operetta (musically), but in the 1936 version everything plays out with more conviction. The 1936 version has the ring of truth to it. The 1951 "Show Boat" has the beauty and glamour of Ava Gardner as Julie. But lovely Ava doesn't come anywhere near the heartbreaking pathos of Helen Morgan as Julie in 1936. Julie is the singer who is forced off the Show Boat when her inter-racial marriage becomes public knowledge. (Julie is bi-racial, her husband is white. Inter-racial marriage was a big taboo in 1890, when "Show Boat" begins). Morgan gives a very natural performance. Perhaps Julie's tragedy was something Morgan knew all too well. Sadly, Morgan followed a similar path, alcoholic and dead just five years after "Show Boat." In the 1951 "Show Boat", William Warfield sings a mighty version of "Old Man River", no question. But Paul Robeson's version of "Old Man River" here makes you gasp for breath. You are just in awe of the brilliance of the song and Robeson's performance. In the cases of Helen Morgan and Paul Robeson, you are glad that film actually does preserve classic, historic performances. Both Magnolia (Irene Dunne) and Julie suffer because they "can't help loving that (no good) man." The versatile Irene Dunne displays a rather high and strong soprano as Magnolia, who falls hard for the handsome, but no good, gambling river rat, Gaylord Ravenol, played by the serviceable Allen Jones. This version maintains the epic time span of the story. Magnolia and Gaylord marry and have a daughter named Kim. Deeply in debt, Gaylord abandons Magnolia, leaving her $200.00 so Kim can continue at Convent School. With a little help from her long-time show boat friends and family, (Sammy White and Eva Puck are excellent as the "comic" characters Frank and Ellie) Magnolia learns to stand on her own feet and survive. Magnolia ends up in Chicago at a club where long-lost Julie is singing. Looking at Magnolia from a distance, Julie runs out, sacrificing herself so that Magnolia can have her job. Magnolia becomes a Broadway star, and her young daughter Kim follows in her footsteps. Years later, Magnolia, Kim and Gaylord have a rather rushed reunion at a Broadway theatre. You see, the much older Gaylord has been hanging out by the stage door. Kim doesn't know he is her father, and the ending is corny, but it somewhat works! And the proper story span allows Irene Dunne to convincingly portray Magnolia from a starry-eyed innocent to an older and wiser woman. Charles Winninger is a hoot as Magnolia's father, Captain Andy Hawkes. Helen Westley plays his extremely severe and judgmental wife Parthy. Hattie McDaniel plays Queenie. Queenie is not much different from her Oscar winning role of Mammie in 1939's "Gone With The Wind", but Queenie has a lot more sass. "Show Boat's" treatment of the black characters is a sticky issue that must be addressed. The black characters are strong and featured prominently in the plot. Hammerstein even wrote an extra number for Paul Robeson and Hattie McDaniel. Magnolia is friends with Julie, Joe and Queenie and seems to love them dearly. However, for two extremely jarring minutes, Magnolia appears in "blaceface" make-up, singing something called "Galavanting Around." Perhaps this was appropriate for 1890 and, even 1936. But today, it is beyond embarrassing. I would love to know what political activist Paul Robeson really thought of this cringe-worthy number. This unfortunate number does not prevent "Show Boat" from being an otherwise well-produced classic, but it is the reason I'm giving it Four Stars instead of a full Five Stars.

What A Long Forgotten GEM ( from the Film Vaults ) "SHOWBOAT" ( Released in 1936, Directed by James Whale. Filmed in Black & White) this has been for me to discover for myself. My Mother when She was alive always preferred this Version of "SHOWBOAT", as she lived to see both this 1936 Black and White Version, and MGM's 1951 TECHNICOLOR Version, but she always preferred this 1936 version, and now at long last I can at last see "why" she preferred the 1936 Version for myself ( and since the 1936 version was Held in the FILM VAULTS for ages where Audiences had no access to it, where it most likely I believe was under the Directive & Control of/by MGM so that the Public for many years could not compare both the 1936 Version and the 1951 TECHNICOLOR Version for themselves, since the 1950's Audiences from that point in time had only the 1950's TECHNICOLOR Version as a reference point like myself, as I was born in 1946, and I am what is referred to as a "Baby Boomer" if you will.What a moving experience it is to be able to peel back the years by putting this DVD in the Video player and seeing and hearing what audiences saw and experienced of this DRAMATIC MUSICAL, with it's wonderful melodies and very talented "STARS". If You dear reader have NO OBJECTION to watching FILMS made in Glorious BLACK & WHITE, and you also like Musicals, I need to alert You to GO-WITH-THE-FLOW of the Drama that unfolds during this 1936 FILM, and do not get your "underwear in a knot" when it comes to so called "politically incorrect" matters, because you will be experiencing this FILM with the "WRONG-Sensibility" using those "politically-correct brain-waves and biases of yours" if you intend to do that to yourself.You need to learn dear Film-Friend about how "THE GREAT AMERICAN SONGBOOK" developed and came to us over the past 150 Years with the likes of the Minstrels and indeed "SHOWBOAT-the-Musical" both the Live Theater and Filmed Experience was indeed a Major Part of "THE GREAT AMERICAN SONGBOOK".Having alerted You "the Reader" to some of these matters, I am sure You will derive much more from The Singing & the Drama delivered to us in this 1936 MOVIE of "SHOWBOAT". And as the film begins, try to picture in your mind's eye, as if You were in the MOVIE Theater in 1936 watching "SHOWBOAT" for the Very First Time, and with that Viewpoint in mind, and provided you leave all your "politically in-correct biases behind you as the "Opening Credits" Begin. And if You do this, I am sure You will "Be MOVED IN THE HEART" if you have a fully functioning open-mind when it comes to Early Cinema, as this film plays out in front of you, bearing in mind that "THE TALKING PICTURES" back in 1936 were only Eight Years Old ( might I remind you dear reader, as to how much of the World did You know about, when You were only Eight Years Old Your self ? Eh ?)All I can add to this, is my Wishes for You to "ENJOY" the "SHOWBOAT 1936" Experience, being a part of "THE GREAT AMERICAN SONGBOOK"... and Happy Viewing in GLORIOUS BLACK & WHITE"...

Durante casi toda mi vida he estado enamorado de esta obra musical La he visto en versiones de teatro y de cine, todas muy buenas. Aunque esta versión me gustó mucho y tiene muchas cualidades, no le doy las 5 estrellas porque siento que le hace falta la fotografía a colores. En esta época, una película antigua, en blanco y negro, como esta, por mucho que nos guste, nos deja una ligera sensación de que algo falta:: la fotografía a colores. Por lo demás, la película satisface por las actuaciones y la interpretaciones de las canciones. Es muy recomendable si no les importa la fotografía en blanco y negro.

This is a review of the excellent 2020 Region B2 Special Edition Blu-ray in ‘The Criterion Collection’. It comes with a number of extras.In 1926, American Pulitzer Prize-winning novelist and playwright Edna Ferber wrote a novel, recording the story of performers on a Mississippi paddle boat, the ‘Cotton Blossom’, which served as a travelling theatre for the small towns on the river, from a decade after the end of ‘Reconstruction’ (1887) until the 1920s. The novel moves the action to Chicago, New York, then concludes back on the Mississippi. In 1927, Oscar Hammerstein and Jerome Kern adapted the novel to create a Broadway musical. ‘Universal’ made a silent film of the novel in 1929; a later revision also including 2 of the musical’s songs. However, Universal’s head was dissatisfied, and a full sound version of the musical was planned.The musical had been in 2 acts. Ferber had been surprised that anyone wished to use her book to create a musical. She had to be persuaded to allow it. And it had not been easy; her heavily researched epic did not lend itself to easy synopsis. The 3 hour-long musical was further adapted, and edited, for filming. The second act in particular, in which time passes, was re-engineered using montages, arranged around one of the main musical themes. Some of the songs were cut, and action never returns to the Mississippi, so that a slightly bewildering total break with that element of the story is created, half way through the film.One particular facet of the musical was the involvement of Paul Robeson, the superb African-American Bass-Baritone. Hammerstein and Kern had expanded the role of Joe, a servant on the ‘Cotton Blossom’, especially for Robeson. Due to production delays, he was not available for the Broadway opening, but starred in London(1928) and 2 US revivals, Broadway(1932) and LA(1940). In 1935, several members of the original Broadway cast, plus Robeson, began filming ‘Show Boat’.Critically acclaimed, and popular at the Box Office on both sides of the Atlantic, the film was withdrawn by Universal in the 1940s, as MGM bought the film rights from them, together with all surviving prints. MGM planned a remake, which was filmed in 1951. Though slightly different, it proved equally popular. Also, in 1950, Paul Robeson was blacklisted as a Communist, by HUAC, and the film received little attention then, for many years.Coming to this film fresh last night, we were struck by several things. Firstly, the film is both astounding and uncomfortable viewing, because of it’s attitudes to race. Astounding: ahead of its time, white women, a black woman and a black man sing a big number together, and express friendship. Astounding: Robeson’s ‘Ol’ Man River’. Uncomfortable: the gross stereotyping we see, and the ‘blacking up’ of a white singer. Also, though beautifully staged, shot and performed, it feels increasingly rushed ~ which essentially it was. We enjoyed it very much, but felt it was, to a degree, an opportunity not fully grasped. A magnificent, but flawed, 4½ Stars.

A superb transfer of the 1938 production with a first rate cast only let down by two unfortunate musical numbers that today look uncomfortably racist although at the time of the film’s release were not regarded as such. Alan Jones & Irene Dunn are delightful as the leads and the supporting cast are excellent two in this spectacular version directed by James Whale. Yes the film is dated and several excellent musical numbers have been cut but it’s still a delight for older theatre goers who remember the days when shows had proper music scores and memorable tunes. I heartily recommended this disc for them at least.

Am so pleased to have found a copy of this truly wonderful film. It is, for me, simply the greatest musical of all time. The cast oozes sheer class - as if Paul Robeson, Irene Dunne ,and Alan Jones were not enough there are brilliant supporting performances from Charles Winnegar, Helen Morgan, the unforgettable Helen Westley and the totally irreplaceable Hattie MacDaniel.Jerome Kern has his finest moment here with unforgettable songs following one after the other. Ol Man River, My Bill, Can't Help Loving That Man of Mine pick themselves, but Gallivanting Around and After The Ball are delightful surprises - if you fail to shed a tear at the latter, well done, I failed miserably!! Thanks to internal politics in the movie industry, this version is criminally hard to find. If you see it anywhere and love musicals, buy it - it is a masterpiece, pure and simple

Showing that he was so much more than the supreme director of horror, James Whale made a true classic of American cinema with this version of Edna Ferber's Show Boat with Kern and Hammerstein's fabulous music.The film includes blackface musical numbers that might offend modern sensibilities, but is mitigated with a sensitively handled miscegenation subplot; a humane representation of the Jim Crow south; and a mesmerising performance from the immortal Paul Robeson.An absolutely pristine Criterion image and sound and generous and fascinating extras are included. A must-have for fans of American cinema of the classical Hollywood period.