Show Boat

Show Boat is one of my favourite musicals, and I admit to being a solid Howard Keel fan! However, the one thing that gets me, and why they haven't returned it to the original film track, is the dubbing of Ava Gardner's voice.

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?

The coded language being used to criticize this film is ridiculous. Too 'PC' for showing less of the shiftless Negro comic relief...too 'PC' for showing William Warfield sing "Ol' Man River" with operatic sophistication (he was an opera singer, for pity's sake!!)...an accusation that Lena Horne claimed to be promised this film? Where did THAT one come from? According to Ms. Horne's documentary IN HER OWN WORDS (which periodically airs on PBS), she never said she was promised the film, she said she was offered a shot at the stage revival (this, apparently, came from Jerome Kern himself before he passed away) back in 1945-1946. That never materialized and she did 'TILL THE CLOUDS ROLL BY, probably always keeping the idea of doing the film in the back of her head. MGM, so the story goes, apparently had many speculative cast packages for this film once upon a time: Nelson Eddy and Jeanette MacDonald were considered in the 30's as Gaylord and Magnolia, then in the 40's, Tony Martin and Kathryn Grayson-- with either Dinah Shore or Judy Garland as Julie (in retrospect, this wouldn't have been that far-fetched; Shore was a dark-haired, decidedly exotic looking, band singer at the time, and Garland had recorded several Kern songs as singles, including "Bill"), but Garland was already fired from the studio by the time they started filming. The final decision to use the gorgeous Ava Gardner was just fine, thank you; I just wished Gardner was allowed to keep her own singing voice in the final film. And as far as justifying not using Horne (as someone else noted) because she is 'obviously a woman of color:' if the studio felt that way, they wouldn't have created a special 'Light Egyptian' face powder for her to make her darker on film (claiming that without this makeup she photographed white.) The film is wonderful in its rich Technicolor cinematography, costumes, and lush music. Yes, the book has been shortened to make the film less than two hours; otherwise, it would be nearly four hours, just as it is on stage. And when it is remade again as a film (as I imagine it will be someday), will you then complain that it is "too long?"

Please people! Try not to over-analyze, like so many others have done in the other comments about this fabulous Techno-color classic from the early 1950's Hollywood. It isn't supposed to be a carbon-copy remake of the older 1936 version nor is it supposed to be making any sort of PC statements about race! Times changed and so did the attitudes and views of most americans, especially after WWII. Take it for what it is! A great musical wrapped around a love story. Beautiful lead actress, strong male lead and awesome broadway style tunes sung by great voices, especially William Warfield's "Old man River"!

I strongly disagree with some of the other viewers. 'Showboat' -- the 1951 version -- is not inferior to the earlier, darker Universal version with Irene Dunne and Allan Jones. The talent used for the lavish technicolor remake is in itself superior to the cast of the original--Howard Keel, Kathryn Grayson, Ava Gardner, Joe E. Brown, Agnes Moorehead, Robert Sterling -- and most importantly, Marge and Gower Champion who can do no wrong with dance numbers. By comparison, the dances in the original version appear uninspired--and even the legendary Helen Morgan (not a conventional beauty by any standards) fails to evoke the same magic Ava Gardner does as Julie. True, Morgan did her own singing but Gardner's voice on the soundtrack could just as well have been used instead of Annette Warren's.

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.

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!