The "Cotton Blossom", owned by the Hawk family, is the show boat where everyone comes for great musical entertainment down south. Julie Laverne and her husband are the stars of the show. After, a snitch on board calls the local police that Julie (who's half- African-American) is married to a whiteman, they are forced to leave the show boat. The reason being, that down south interracial marriages are forbidden. Magnolia Hawk, Captain Andy Hawks daughter, becomes the new show boat attraction and her leading man is Gaylord Ravenal, a gambler. The two instantly fall in love, and marry, without Parthy Hawks approval. Magnolia and Gaylord leave the, "Cotton Blossom", for a whirl wind honeymoon and being to live in a Pl: fantasy world. Magnolia soon faces reality quickly, that gambling means more to Gaylord than anything else. Magnolia confront Gaylord and after he gambles away their fortune he leaves her - not knowing she is pregnant. Magnolia is left penniless and pregnant, and is left to ... Written by
In the "Ol' Man River" sequence, after the boat has stopped moving to allow Ravenal to climb on board, it begins moving again and passes some dock workers on rafts. Joe is seen in long shot, standing on the deck of the show boat and singing to them the words "You an' me, we sweat and strain...", etc. During that specific moment, his voice is not quite synchronized with his arm and lip movements (he shakes his fists for emphasis). Then, on the line "Ya get a little drunk", he is shown in medium shot, and his voice matches his lip movements perfectly. See more »
[borrowing Magnolia's jewels so that he can pawn them]
Don't worry darling, it's only temporary. I'll get them back for you.
Everything can be temporary - -except us.
See more »
Jerome Kern is never specifically credited for having composed the music. His and Oscar Hammerstein II's joint screen credit reads: "Based on the Immortal Musical Play 'Show Boat' by Jerome Kern and Oscar Hammerstein II'", although Kern wrote only the music. See more »
I will admit (with a great amount of shame) that the first time I saw the 1951 version of "Show Boat" I was not that impressed. I was so used to Kathryn Grayson and Howard Keel as Lilli Vanessi and Fred Grahame, thought Ava Gardner was too beautiful for words, and thought Marge & Gower Champion were the coolest people I had ever seen. That was about it. I was a little bored.
But as I have come to watch it recently, I have discovered it is more magnificent the second time around. As a North Carolina native, I must say this movie holds something very special for me -- and that is TWO North Carolina natives from "Grabtown" and Winston-Salem, our ladies Ava and Kathryn respectively.
First of all, the Technicolor is vibrant and lovely and represents the very fiber that those beautiful, glorious MGM musical treasures of the 1950's were made of.
Supporting characters Joe E. Brown and Agnes Moorehead were, as usual, delightfully wonderful. I don't think I've ever seen either of them do anything "bad." William Warfield's delivery of "Ol' Man River" (accompanied with Julie/Ava's last wistful look toward The Cotton Blossom, of course) never fails to put a tear in my eye.
Howard Keel's voice was in fine form, and he did a great job of portraying the slick gambler, Gaylord Ravenal. Kathryn's voice was, as always, up to par and beautiful, and while perhaps her representation of Magnolia wasn't as vibrant as her portrayal of Lilli in "Kiss Me Kate" or Aunt... whoever it was she played in "Anchors Away" (ooh, I can't remember the name... that's BAD... REAL BAD), she was still her lovely, charming self. I found that her progression from innocent child-like creature to a portrait of woman- and motherhood was captured and characterized very well.
But my favorite parts of the movie were simply Ava Gardner, and Marge and Gower Champion.
Ava is, as always, ridiculously and insanely gorgeous. In fact, I would have liked to have seen more of her than I did. It's a stretch for a white woman to play a bi-racial woman, but she did it with what seemed like such ease. She accompanies so much with a look (which is evident as she watches Gay and Nolie sail off together with Kim -- you all know what I'm talking about). And yes, Ava's singing pipes (in my opinion) were far better than Annette Warren's and MGM is stupid for having dubbed her (just like they were stupid for dubbing Debbie Reynolds in "Singin' in the Rain"). Her songs, "Can't Help Lovin' Dat Man of Mine" and "Bill," were extremely effective, but could've been even more so had they used her real voice. Such expression in those eyes. And my gosh... her speech to Gay! I don't think people in Hollywood ever really looked beyond Ava as anything but a "sex goddess" -- but she really had a beautiful talent.
Now for Marge & Gower Champion: who couldn't love them? Gower is this sort of... fluid-like creature with a stature and grace like Fred Astaire, but instead of Astaire's "lanky movements" that defined his style, he somehow executes the more athletic, brisk movements that defined Gene Kelly's style. And Marge has to be just about the cutest little person I have ever seen (great facial expressions!) and one of the most talented dancers (up there with Gwen Verdon, Carol Haney, Ginger Rogers, Chita Rivera, and all those gifted people) I've ever seen grace a screen. They're sheerly magnetic, and they never miss. "I Could Fall Back on You" and "Life Upon the Wicked Stage" are two of the most outstanding moments in the movie. You'll love them.
All in all, "Show Boat" is most definitely worth a look. Or two. Or three. Or... well, as many as you feel like!
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