A seaplane departs for China. On board are a nurse escaping a loveless marriage to do work with refugees, a woman hoping to surprise her estranged son, a wealthy heiress trying to distance ... See full summary »
The Great Garrick (Brian Aherne) is the most celebrated London theater actor of his day (eighteenth century) and is invited to Paris to star at the Comedie Francaise, the most important ... See full summary »
Olivia de Havilland,
Edward Everett Horton
An Auustrian prince flees his homeland when the Nazis take over and settles in London. He meets a beautiful Austrian émigré who makes him realize his mistake in leaving. He makes a deal ... See full summary »
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
Universal Pictures' head Carl Laemmle was ousted from the company just after this film was completed. He retired from the business the day after its release, as did his 28-year-old son, who never produced another film. See more »
At one point in the story, Cap'n Andy and Parthy discuss hiring a new leading man and leading lady. Just before Cap'n Andy says, "But where do we go from here? We can't give no more shows without a leading man !" he and Parthy are abruptly seen in a slightly different position. See more »
Julie, let's hear the new song, will you?
I don't feel like singin'.
Oh, don't you? What DO you feel like doing, Duchess?
I feel like going off on a tear!
See more »
For the opening credits, we see a cardboard cutout display of a show boat parade, with cutout paper townspeople watching it, on a moving turntable. The parade revolves past the camera carrying cardboard banners on which are printed the title and other credits to the film. Most of the parade figures are simply figures, but among them we can discern cutouts of Paul Robeson and Helen Morgan (the appearance of these figures does not coincide with the appearance of their names onscreen). In the background can be seen the shadows of a paddlewheel and a riverboat. 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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