At fictitious Tait University in the Roaring 20's, co-ed and school librarian Connie Lane falls for football hero Tommy Marlowe. Unfortunately, he has his eye on gold-digging vamp Pat ... See full summary »
Rich kid Danny Churchill (Rooney) has a taste for wine, women and song, but not for higher education. So his father ships him to an all-male college out West where there's not supposed to ... See full summary »
Dowdy housewife Kitty dotes on her self-centered husband but divorces him when his mistress shows up at their home one day to break up their marriage. Bob had become bored with her ... See full summary »
Robert Z. Leonard
Rod La Rocque,
Two wealthy Victorian widows are courted tentatively by two impoverished British aristocrats. When one of the dowagers suggests that her beau go away with her for a month to see if they are compatible, the fireworks begin.
Bea Pullman and her daughter Jessie have had a hard time making ends meet since Bea's husband died. Help comes in the form of Delilah Johnson, who agrees to work as Bea's housekeeper in ... 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
Because of copyright problems involving a real "Cotton Blossom" show boat sailing the Mississippi in the 1930's, the name of the showboat in the film had to be changed to "Cotton Palace". This required omitting the second half of the opening chorus, in which the townspeople sing about the boat while the stevedores continue singing about their daily work, and the "cotton blossom" growing on the levee. The section sung by the stevedores is still heard in the film. See more »
When Joe begins to sing "Ol' Man River" he picks up a board and begins to whittle it. He slices off two pieces and then the camera switches to an oblique shot. But now the board is whittled to a slender rod. See more »
[first lines; the opening credits are halfway through and still being shown, when we hear the black chorus singing offscreen:]
Darkies all work while the white men play,/Loading up boats with the bales of cotton/ Gittin' no rest till de Judgement Day. /Git yourself a brand new gal, /A lovin' baby who's the apple of your eye,/ Coal Black Rose or High Brown Sal,/ They always bake the sparrer and the chickin pie!/ Darkies all work on the Mississippi,/Darkies all work while the white folks play/ ...
[...] See more »
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 »
Seminal Musical Classic Well Worth Seeing Seventy Years Later
Sadly not available yet on DVD, the classic black-and-white 1936 version of the seminal 1927 Oscar Hammerstein-Jerome Kern musical is rarely seen these days since it's been overshadowed by the far more elaborate 1951 MGM color remake (which is on DVD). That's a shame since this one is like a piece of cameo jewelry from a bygone era, a sublimely entertaining piece of Americana so naïve in its approach that its pervasive use of racial stereotypes comes across more as quaint than demoralizing.
Directed by James Whale (the protagonist of 1998's "Gods and Monsters" and most famous for his 1931 classic, "Frankenstein"), it's a multi-generational story that starts with the Hawks family who runs a variety entertainment showboat in the 1880's. The jovial Captain Andy is the boat's impresario who is constantly goaded by his mean-spirited wife Parthy. They have a musically inclined daughter Magnolia who is best friends with the show's star, mulatto chanteuse Julie LaVerne. The local sheriff forces Julie out of the show for being half-black. Andy has Magnolia take her place just as gambler Gaylord Ravenal comes to town and becomes recruited as the show's leading man. Gaylord and Magnolia fall immediately in love, marry, move to Chicago and have a girl they named Kim. There, he gains and loses a fortune and then leaves Magnolia and Kim. Over the years, Magnolia becomes a big stage star and passes the torch to Kim.
The music, of course, is unbeatable with standards, chief among them "Make Believe", "Can't Help Lovin' That Man" and "You Are Love". Even though Irene Dunne was in her late thirties when she made this film, she amazingly gets away with the first half where she plays Magnolia as an ingénue. What's more, she was the rare actress who could act and sing (quite beautifully) at the same time, even when she is required to perform in blackface in "Gallivantin' Around". Allan Jones is a fine singer as Gaylord, though not as interesting an actor especially in the second half when misfortune takes over. When they sing "You Are Love" together, it's still quite magical.
What a treat to be able to see the redoubtable Paul Robeson as Joe singing "Ol' Man River" so powerfully (and filmed with an intriguing montage of woeful images), as well as legendary torch singer Helen Morgan play Julie and perform her signature song, "Bill", so touchingly. Familiar character actor Charles Winninger probably has his best role as Captain Andy, while Hattie McDaniel plays Joe's forceful wife Queenie in a performance as good as her Mammy in "Gone With the Wind". The film is really an intriguing mix of melodrama and great music with socially relevant observations regarding racism, alcoholism and gambling addiction.
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