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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 »
"Ah Still Suits Me" was written especially for the film to give Paul Robeson a larger role. 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 »
[showing Julie's picture to the Sheriff]
Why that's Miss Julie LaVerne, ain't it?
Yeah, that's what she calls herself, ever since she got married to a white man!
What d'ya mean?
Frank, come over here; I want you to hear this. You too, Ellie.
Sit down and explain yourself. And you make sure you know what you're talkin' about.
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Though this film version is an extremely faithful adaptation of the Kern-Hammerstein musical version of the novel (rather than the novel itself), and although the film retains all the major changes that Hammerstein made to the novel when adapting it for the stage, the on-screen and poster title for the film reads "Edna Ferber's 'Show Boat'" rather than "Kern and Hammerstein's 'Show Boat'". See more »
A cinematic masterpiece and true to the Ferber epic
This is not a musical. This is a film. James Whale's visual expressionism and the truly remarkable performances he coached from his actors is what makes SHOW BOAT a great movie. As an historical record, this SHOW BOAT is nearest to the Ferber novel as well as the Ziegfeld stage production, using several members of the original and / or London cast. The evocative tone of the film, bringing alive the seedy rural Mississippi River towns, coupled with the natural and subtle acting jobs, make this film real to the touch. Yes, MGM's production is more opulent, with more modern orchestrations and stronger vocals on the part of Gay and Magnolia. Even William Warfield is more polished than Paul Robeson. And that's the trouble. That performance belongs in an opera house. Universal's 1936 SHOW BOAT is musical realism. As for the cultural aspects, blackface happened. Get over it. So did rampant racism; and the misegenation aspects of the script are dealt with frankly and brutally. I know of precious few films of the thirties that were so bold in their statements regarding racial intolerance. And don't think Whale was oblivious to the fact that he was placing one infraction side-by-side with another. It is the perfect unmasking of the hypocrisy of racism - you can make yourself up to look like a nigger; but don't dare marry one or carry a drop of one's blood in your veins or let a real one on the same stage with a white actor.
Why is "Bill" so powerful? Listen to the second chorus. Victor Baravelle brings in high sustained strings. Whale cuts to the old charwomen halting in their work, stopping to listen, wiping away an unwanted tear with an apron.
SHOW BOAT 1936 pulls no punches. It's a masterpiece.
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