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Adaptation of the Broadway musical. Magnolia Hawks is the lovely but protected, and thus very naive, daughter of Cap'n Andy Hawks, the genial proprietor of a show boat that cruises the Missisippi, and his nagging wife, Parthy. She is best friends with the show boat's star, Julie LaVerne, but Julie and her husband Steve are forced to leave when it is revealed that Julie has "Negro" blood in her, thereby breaking the state law by being married to the white Steve. Magnolia replaces Julie as the show boat's female star, and the show's new male star is the suave gambler Gaylord Ravenal. "Nola" and Gaylord fall in love and marry against Parthy's wishes. They and their young daughter lead the high life when Gaylord is lucky in gambling, but live like dirt when he's unlucky. During one such unlucky streak, a broken Gaylord leaves Nola, and she is forced to start over by returning to the stage. Like Old Man River, as the famous song from this show goes, she just keeps rollin' along. Written by
HEAR Glorious New Music and Songs by Jerome Kern and Oscar Hammerstein II: "Gallivantin' Around", "Ah Still Suits Me", "I Have The Room Above Her", plus "Make Believe", "Ol' Man River", "Can't Help Lovin' Dat Man of Mine". See more »
This version of "Show Boat" was voted one of the top 25 Greatest Film Musicals by the American Film Institute, on 3 September 2006. See more »
When Ravenal first meets Magnolia, just after he sings "Where's The Mate For Me?", she mentions that she plays the piano. He asks, "Was that you I heard just now?", but there is no indication in the film that he actually has heard her. This is probably because part of the scene may have been edited out before the film's release. In the original show, Ravenal sings the first verse of "Where's The Mate For Me?", and then hears Magnolia practicing offstage. Then he goes on to sing a part of the song which is not included in the film. Immediately afterwards, his first conversation with Magnolia takes place, and so, in the stage version, the audience knows exactly when he heard her practicing. See more »
I just shell them peas.
You ain't pickin' them up.
No, but I could've if you didn't. I could do a lotta things if it was necessary.
Then why don't you?
It ain't necessary.
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The credits for this film say "A James Whale Production" although Whale did not produce the film, while the film's posters say "A Carl Laemmle, Jr. Production", and Laemmle did produce the film. See more »
I was too young to see this version until well after the 1951 one had fixed a certain standard in my brain. It took a TCM rerun to open my eyes. Mind you, I still like the 1951 production very well indeed, but there is a depth of story, song, and character in this one that makes it overall the better of the two (and the "best" of a larger lot).
First, you have Paul Robeson and Helen Morgan. Both are icons who needed no dubbing no matter where or when they sang standards like "Old Man River" and "Just My Bill." Then there is Hattie McDaniel in a role largely skipped in the 1951 movie. And a greater selection of minor songs prevails as well. Indeed, the inclusion of many black people who are missing from the later film give it a unique richness.
Black and white never looked so good.
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