Füge eine Handlung in deiner Sprache hinzuThe daughter of a riverboat captain falls in love with a charming gambler, but their fairy tale romance is threatened after his luck turns sour.The daughter of a riverboat captain falls in love with a charming gambler, but their fairy tale romance is threatened after his luck turns sour.The daughter of a riverboat captain falls in love with a charming gambler, but their fairy tale romance is threatened after his luck turns sour.
- Für 2 Oscars nominiert
- 6 Gewinne & 6 Nominierungen insgesamt
- Pete
- (as Lief Erickson)
- Chorus Boy
- (Nicht genannt)
- Chorus Girl
- (Nicht genannt)
- Minor Role
- (Nicht genannt)
- Man at New Years Celebration
- (Nicht genannt)
- Girl
- (Nicht genannt)
- Croupier
- (Nicht genannt)
- New Year's Eve Cutie
- (Nicht genannt)
- Trocadero Stage Assistant
- (Nicht genannt)
Empfohlene Bewertungen
I have a copy of the soundtrack on good old vinyl and have Ava singing her own songs on it and I have to say, in my humble opinion, that she actually did a better job of it, than the person who dubbed her.
Maybe in 1951 Ava's rendition was a bit.... too hot for the censors, but today, never. Why can't we have Ava's voice back on the film??? What do the rest of you think?
Other than that, the MGM film is just fine--everything is staged with much more zest and enthusiasm than is present in the awkward, lumbering James Whale version. And Marge and Gower Champion's version of "Life Upon the Wicked Stage" is a priceless example of this team's artful way with a show tune. Their contribution is a major asset of the newer version.
Likewise, Grayson and Keel blend their rich voices in song the way they were meant to be heard by Kern & Hammerstein. Irene Dunne had a modest soprano voice but she was not as accomplished a singer as Grayson nor did she deliver numbers with Kathryn's uncommon ease. Performance-wise, Grayson is a bit too subdued against Gardner's more colorful character and did not kick up her heels the way she would in 'Kiss Me Kate', one of her best roles.
As for Allan Jones in the earlier version, he was a personable enough singer/actor but he was nowhere close to Keel's adroit handling of both songs and dialogue. Keel went on to become a staple of some of MGM's finest musicals and a fine reputation as a strong singer.
The pacing of the older film was slow, leisurely and downright boring at times. The remake is much easier on the eyes and ears. There's a hint of snobbism in the putdowns this film gets from some of the more discriminating viewers who cannot forgive whatever changes were made to make the plot line and time frame smoother. A deliberate change in story structure does not make a film inferior to the original.
A high point of the film is, of course, William Warfield's full-bodied version of "Old Man River" -- just another of the film's memorable musical moments. An MGM musical in the grand tradition--not to be missed.
Its strange to say, but I think "opening up" the stage version took away some of the intimacy a live version has. Showboat's greatness does not come from the standard boy meets girl - boy loses girl - boy gets girl storyline. It comes from the music and on stage a number can start with one guy on the docks lamenting the suffering endured along the Mississippi and end with a chorus of voices singing about Ol Man River. The numbers themselves "open up" to fill the stage. But no movie can do that to the same effect.
But my biggest problem with this version is the abbreviation of the story and the musical numbers. The songs Kern and Hammerstein wrote deserve to be fleshed out in all their operatic grandeur. The first act contains what I consider the best back to back to back musical numbers in Broadway history with Make Believe - Ol' Man River - Can't Help Lovin Dat Man and the movie rearranges them out of order and only River is fleshed out. Can't Help should be an 8 minute number with the chorus joining in at the end instead of the barely noticed number in the movie.
Because the music is among the best ever written, it is really hard to make a bad version of Showboat. I'll watch this movie whenever it is on TV but if you really love Showboat, get the EMI 3 CD recording with Frederica Von Stade and Jerry Hadley. And go see it live when you have the chance.
No doubt also that Howard Keel and Kathryn Grayson sang beautifully together. Those three Jerome Kern ballads, Make Believe, Why Do I Love You? and You Are Love were just written for their voices.
Ava Gardner is a beautiful and fetching Julia. Annette Warren's dubbing of Julie LaVerne's songs Can't Help Loving That Man and Bill perfectly matched Ava's speaking voice.
The problem I've always felt with this version is that Howard Keel is too strong a character to be playing Gaylord Ravenal who is essentially a weak personality. Allan Jones in the 1937 version perfectly captured Ravenal's frailty.
That 1937 version also had two people from the original Broadway production who made those parts all their own, Helen Morgan as Julie and Charles Winninger as Captain Andy. And it had the incomparable Paul Robeson though William Warfield is a fabulous Joe.
The singing of the Jerome Kern-Oscar Hammerstein II score is in the major leagues. The rest of the film however is in a minor key when compared with the earlier sound version with Allan Jones and Irene Dunne.
Wusstest du schon
- WissenswertesDirector George Sidney had to leave for a few days because of illness, so uncredited associate producer Roger Edens directed the fog-enshrouded "departure" sequence, including William Warfield's performance of "Ol' Man River." That scene has been praised even by critics who hate this version of "Show Boat."
- PatzerIn the opening scenes with the calliope player, the keyboard is a contemporary 1950's black console, whereas a period console would have been made of wood, and perhaps elaborately carved and detailed.
- Zitate
Cap'n Andy Hawks: It's Saturday night again!
[He slaps Parthy affectionately on her rear end]
Parthy: Oh! It's Wednesday night and don't you strike me!
Cap'n Andy Hawks: It's Saturday night forever!
Parthy: Yes, and Fourth of July... and Christmas... and
[imitating Cap'n Andy when he celebrates New Year's Eve]
Parthy: Hap - - -py New Year!
- Crazy CreditsBecause some of the lyrics to the song "Cotton Blossom" have been altered by uncredited staff writers in this version of "Show Boat", Oscar Hammerstein II is never actually mentioned as having written the lyrics to the songs, although P.G. Wodehouse IS listed as having written the lyrics to "Bill". (This is only partially correct; only about half of Wodehouse's 1917 lyric to "Bill" was used. The rest of the lyric is by Hammerstein.)
- Alternative VersionenEarly preview showings of this film featured Ava Gardner's own singing voice, before the film was officially released with Ava overdubbed by Annette Warren.
- VerbindungenEdited into Hollywood: The Dream Factory (1972)
- SoundtracksCotton Blossom
(1927) (uncredited)
Music by Jerome Kern
Lyrics by Oscar Hammerstein II
Played during the opening credits and sung in first scene
Sung by Cotton Blossom chorus
Top-Auswahl
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Details
Box Office
- Budget
- 2.295.429 $ (geschätzt)
- Weltweiter Bruttoertrag
- 236 $
- Laufzeit1 Stunde 48 Minuten
- Farbe
- Seitenverhältnis
- 1.37 : 1