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Show Boat (1951)

Approved | | Drama, Family, Musical | 24 September 1951 (USA)
The daughter of a riverboat captain falls in love with a charming gambler, but their fairytale romance is threatened when his luck turns sour.

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Writers:

(screen play), (based on the immortal musical play "Show Boat" by) | 2 more credits »
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Nominated for 2 Oscars. Another 1 win & 2 nominations. See more awards »

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Director: Henry Koster
Stars: Debbie Reynolds, Ricardo Montalban, Greer Garson
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Cast

Complete credited cast:
... Magnolia Hawks
... Julie LaVerne
... Gaylord Ravenal
... Cap'n Andy Hawks
... Ellie May Shipley
... Frank Schultz
... Steven Baker
... Parthy Hawks
... Pete (as Lief Erickson)
William Warfield ... Joe
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Storyline

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 white man, 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 to live in a Pl: fantasy world. Magnolia soon faces reality quickly, that gambling means more to Gaylord than anything else. Magnolia confronts 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 fend ... Written by Kelly

Plot Summary | Plot Synopsis

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Details

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Release Date:

24 September 1951 (USA)  »

Also Known As:

Magnolia  »

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Box Office

Budget:

$2,295,429 (estimated)

Gross USA:

$5,293,000, 31 December 1951

Cumulative Worldwide Gross:

$7,621,000, 31 December 1951
See more on IMDbPro »

Company Credits

Production Co:

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Technical Specs

Runtime:

Sound Mix:

(Western Electric Sound System)

Color:

(Technicolor)

Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

Opening credits: The events, characters and firms depicted in this photoplay are fictitious. Any similarity to actual persons, living or dead, or to actual firms is purely coincidental. See more »

Goofs

The show boat "Cotton Blossom" is inaccurately designed for the era in which the story takes place (the 1880's). The boat used in the film is built in the style of a typical modern luxury riverboat, with giant twin smokestacks and a large paddlewheel in the rear, and it moves on its own power. Modern "show boats" are built that way because of advances made since the 19th century, but authentic show boats of the era did not have smokestacks or paddlewheels, and were not self-powered. They were barge-like structures similar to a long, floating house with a flat roof, and they were connected to, and pushed along by the misleadingly named "towboats", which did have smokestacks and a paddlewheel. If a real show boat of the era had been steam-powered, its steam engine would have had to be placed (very dangerously) smack in the middle of the auditorium. See more »

Quotes

Cap'n Andy Hawks: (hearing of Magnolia's engagement to Ravenal) Son, I hope it's not Saturday night one minute, with a cold Monday morning to follow. Whatever happens, Nollie, always remember to smile.
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Crazy Credits

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 »


Soundtracks

You Are Love
(1927) (uncredited)
Music by Jerome Kern
Lyrics by Oscar Hammerstein II
Sung by Kathryn Grayson & Howard Keel
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Frequently Asked Questions

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User Reviews

A feast for the eyes and ears
28 December 2002 | by See all my reviews

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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