Show Boat

SHOW BOAT (Universal, 1929), a Carl Laemmle Super Production directed by Harry A. Pollard, is a part-talking/part-silent screen adaptation based more on the dramatic story by Edna Ferber's book than the then successful 1927 Florenz Ziegfeld Broadway musical by Oscar Hammerstein and Jerome Kern. Remade most famously by Universal (1936) starring Irene Dunne and Allan Jones, and Metro-Goldwyn-Mayer (1951) with Kathryn Grayson and Howard Keel, no three editions are alike, all having both different outlook and visual styles of its own.

Opening title: "The mighty Mississippi - deep and moody," begins with the Cotton Palace Show Boat "bringing to the river folk the glorious world of unreality - the theater." As the public cheers the boat's arrival, Magnolia Hawks (Jane LaVerne), a child of show boat owners, Captain Andy (Otis Harlan) and Parthinia Ann (Emily Fitzroy), dances for the public against the objections of her stern mother, who dislikes show people. During the night of the show, Magnolia, hoping to someday become an actress, is caught imitating its leading lady by her mother, who punishes Magnolia with a spanking inside her room. Magnolia calls out the window for actress and dear friend, Julie Dozier (Alma Rubens) for both moral support and comfort. Overhearing Magnolia wishing Julie were her mother, the hurt and jealous Parthinia immediately dismisses Julie from the show, not before Captain Andy enters to have her go out to perform. Years later, Magnolia (Laura LaPlante) grows up to become a successful Show Boat entertainer, but finds it difficult keeping her leading men who constantly get fired by Parthinia after they find themselves falling in love with her. Captain Andy subjects Gaylord Ravenal (Joseph Schildkraut), a gentleman and non-actor, to become Magnolia's new leading man. Fascinated by her beauty and charm, Gaylord eventually elopes with her. Though Captain Andy approves of Gaylord, Parthinia simply refuses to accept him into the family, constantly arguing with him, even after Magnolia gives birth to their daughter, Kim. Some time later, after Parthinia becomes a widow and becomes in charge of the Show Boat, Magnolia and Gaylord, unable to cope with her anymore, buy out their interest of the show boat and, taking along their five-year-old daughter (Jane LaVerne), start a new life in Chicago. Because of Gaylord's compulsive gambling and losing all the earnings and wife's respect, causes a friction in their marriage, leaving uncertainties ahead.

Others in the cast include: Elsie Bartlett (Elly); Jack McDonald (Windy); and Edwards (Schultzy). With Jane LaVerne, playing both mother and daughter roles, being such an adorable child, Stepin Fetchi's Joe, the character who sings the famous "Ol' Man RIver," is reduced here to a cameo dub-singing a slow but dull song titled "Look Down That Lonesome Road." While many of the actors credited being properly cast, especially Laura LaPlante, Universal's top actress of the day, and Schildkraut's less sympathetic gambling husband, it's Emily Fitzroy as Magnolia's frightful mother who gets better attention here over the likable Otis Harlan's Captain Andy.

For anyone having seen the remakes and expecting on hearing its classic songs, would be disappointed. Also missing are the romantic subplots of half-black Julie Dozier and her white husband, Frank Baker; and black comic support of Joe and Queenie. Other than some tunes from the musical used as underscoring for the silent treatment, the existing two hour edition to 1929s SHOW BOAT opens with an audio overture of stage performers of the musical show, including Aunt Jemima singing "Hey, Fella," Helen Morgan's "Bill" and Jules Bledsoe's rendition of "Ol' Man River." Take notice the voice-over announcer, Otis Harlan, introducing Bledsoe's "Ol' Man River" does not occur, cutting straight to the opening titles instead. Virtually silent with original underscoring, it takes the story nearly a half hour before reverting to ten minutes of spoken dialogue set during a bad acting stage play and after. The second talking segment occurs a half hour after reverting to silent scoring and inter-titles. Unfortunately the surviving print's second talkie segment, lasting a good half hour, contains no audio (now lost) using some inserted subtitles in its place. The supposed banjo segment of LaPlante singing on stage is voiceless with no indication to what songs she is actually singing.

Reportedly lost with no prints to have survived due to MGM's acquiring the rights to both Universal editions for its basis for its 1951 Technicolor musical, both 1929 and 1936 adaptations have fortunately survived, with the long unseen 1936 version the only one of the Universal two being available on video cassette and DVD. Regardless of being incomplete both in audio and brief segments, at least Turner Classic Movies cable channel has brought back this original edition back from obscurity, where it has been shown since July 1995, a real curiosity for fans of both stage and screen editions to see for comparison reasons more than anything else. (***)

This primitive Part-Talkie "Super Production" was thought lost until a few years ago, but the print that was eventually unearthed missed a sizeable portion of the dialogue and music track…so that, for about 30 minutes during the second half, it features no sound at all (which makes one wonder why underscoring was not employed by the 'restoration' team to counter this utter silence) – with the spoken lines being superimposed in the form of subtitles over the image itself!

Incidentally, I was under the impression that this was to be a Musical – since the coming of Sound ushered in a flood of such fare. However, it chose to follow the Edna Ferber novel and, consequently, differs to a considerable extent from the subsequent two musical renditions. The shooting incident during a performance occurs much earlier here; similarly, the Julie character gets ousted from the show boat while Magnolia is still a child; her fault in the eyes of her employers (whereas they would stick by her in later versions!) does not relate to race but rather morals, as she is eventually discovered to be the Madam of a clandestine brothel!; Captain Andy dies in a sea-storm in this case (while he is allowed to survive elsewhere) on the night Magnolia gives birth; the leading man's re-appearance at the end occurs on the riverboat rather than in a theater; most conspicuously, perhaps, the character of Joe (who sang the show's most enduring number, "Ol' Man River") barely registers this time around!

Even if we do get to see the heroine – a rather unlikely Laura LaPlante, best-known as the imperiled heiress of THE CAT AND THE CANARY (1927; itself a studio-hopping warhorse) – performing and strumming on a banjo a couple of times, these turn up during the stretch where the soundtrack goes missing! Ironically, though most of the songs were dropped, this still emerges as the longest version at 119 minutes; the IMDb lists an even longer running-time of 147 and, since only 2 of the 5 announced songs are heard during the "Overture" (one of which features Helen Morgan, the Julie of James Whale's 1936 remake!), this may well be true. Given the straightforward narrative in this version, the inherent mawkishness (what with Magnolia's insufferably prudish mother) of the unfolding drama is much more to the fore now. Still, the money problems afflicting the hero (nicely played by Joseph Schildkraut, from Whale's THE MAN IN THE IRON MASK [1939] and which I also viewed recently!) are better delineated here than later – while sets and expository footage came in handy when dusting off the property just 7 years afterwards! That said, the last act feels just as rushed as always.

I am not familiar with how SHOW BOAT passed on to MGM (from Universal) but the closing title card, obviously bearing the epithet "The End", of this particular version is unaccountably accompanied by the Metro logo – for the record, a similar situation exists with respect to the 1931 Paramount version of DR. JEKYLL AND MR. HYDE! Finally, comparisons between the 1929 and 1936 movies unequivocally favor the latter, which is stylish where this is generally stodgy. For the record, I own another film by the same director – UNCLE TOM'S CABIN (1927), based on yet another chestnut – with which this also happens to share its Southern setting.

I had long heard about this film version of "Show Boat", and "Show Boat" being my favorite Broadway musical, I had anticipated this part-talkie as something truly dreadful to sit through. It was televised the other day, and I finally got my chance to see it.

The film is not a catastrophe by any means, but it certainly isn't good, either. It is mostly silent, and much of the dialogue and singing that was originally part of the film has either been lost forever or simply not found yet. Some of the film's two-reel prologue has turned up (both sound and picture) in A&E's biography of Florenz Ziegfeld, so somebody should obtain those excerpts and include them as part of this showing. It is inexcusable for Turner not to have done so. At present, none of the prologue in the TCM print is shown visually; it's all audio, with an "OVERTURE" card on the screen as the songs are sung. And as of now, only two of the five songs originally filmed for the prologue are heard. The prologue now ends with Otis Harlan heard enthusiastically saying, "And now, Jules Bledsoe will sing 'Ol' Man River'!" - however, we never get to see or hear this portion!

The singing by choral groups supposedly heard on the soundtrack isn't in this print of the 1929 film either; all we get during the action is orchestral accompaniment and a few sound effects. Jules Bledsoe's voice can be heard on the soundtrack at the end, singing "The Lonesome Road", a fairly good number also in the style of a work song, but no match for the great "Ol' Man River".

As for the acting, it never becomes the kind of silent film or early talkie acting that strikes people as unintentionally funny. Laura la Plante and Joseph Schildkraut are actually quite good in their dialogue scene on the stage of the show boat (here, as in the 1936 film version, renamed the Cotton Palace). Schildkraut, especially, is good, his Viennese accent hardly getting in the way. He shows a surprising and welcome ability to act "intimately" as opposed to the hammy overacting featured in most early talkies, except in the scene where he gets drunk. Gaylord Ravenal is presented as being much more of a jerk in this version than in the Kern-Hammerstein musical adaptation; he is shown being especially nasty (verbally) to Magnolia when his gambling luck runs out.

The film is directed in a very flat style; nothing in it seems especially interesting and one never becomes involved in the story; in fact, the musical version presents the story more dramatically. The racial angle in the original Ferber novel and in the musical is completely eliminated in this 1929 version, however, draining the film of much of its potential dramatic power and leaving it little more than a romantic soap opera. And without the beautiful Kern-Hammerstein score to hear, except for those two songs in the prologue and an orchestral rendition of "Ol' Man River" played as background music during the boat's arrival, one is tempted to ask, "Why bother with this version when you can have the classic 1936 film, or even the 1951 remake?"

It's such a pity that so much of the audio has been lost. I realize some of the film is supposed to be silent, but those scenes with obviously missing dialogue, are frustrating indeed. If it weren't for that, and the cowardly decision to eliminate the racial angle of Julie's storyline, I'd probably give this version of "Show Boat" 7/10. Despite it's flaws, the performances are very good and emotionally engaging. The actors are more subtle and natural than I expected them to be. I only hope that more of the lost score and audio tracks are discovered and restored someday. Shame on the studio for not taking better care of this historically important film.

I had thought this little gem completely lost and was delighted to spot it on TCM. The restoration is quite good considering the missing soundtrack for a long sequence toward the end. The plots of all three movies differ. This one may be more faithful to the book. The acting is especially good and the drama plays out much less superficially than the later versions.

For future restoration work, it seems to me an awful lot more of the spoken dialog can be recreated with very modest lip reading. I was delighted to realize that the retiring Magnolia, singing unknowingly to a tear-stained Ravenal in the audience, is in fact singing a slow Lena Horne-ish "Can't Help Lovin' Dat Man of Mine". If they can't find that soundtrack, I say, what the heck, see what Marni Nixon's doing these days and give her the job! The haunting Kern-themed orchestral score works just right.

While I agree with the critics here who question the absence of the racial subplots, the scenario holds up very well on its own.