Stormy Weather

After watching the film Stormy Weather (1943), it was clear that the Hollywood movie making industry was headed toward a new era. The new era being that colored actors were recognized and not only that, spiced up the industry. This movie shied away from the usual parts actors of color would normally play, parts in which they were slaves or butlers and servants.

This truly showed the breakthrough of African Americans in entertainment and paved the way for how successful many have presently become. Specifically in this movie, it told the story of how a man of color worked his way literally from the bottom up. It began with Bill Williamson who came home from war in France, and was working in a basement restaurant when fate stepped in and reunited him with his love interest. It was because of Selina that he was working in the city hoping to step foot into the dancing business. When she recognized him, she insisted to the show's producer that he be put in the show. This was Bill's break that got him out of a basement restaurant to the "top" of a tree in production. This is where Bill made the most of this opportunity and showed off his abilities but in turn got him fired from the show. But that was all he needed and he was on his way to stardom.

Twentieth Century Fox really broke the mold with this movie in response to FDR's urging. It finally gave actors of color the chance to show off their tremendous talent also allowing them to have more of an equal role in society. Although there still were laws restricting the interaction between whiles and blacks in films, it certainly brought them out of the repetitive demeaning roles of slaves and servants. It was thrilling to be able to see the talents of these actors and all the skills offered through their dancing and singing abilities. All of the dance numbers and costumes really represented the time period. The way the dancers moved were both creative and unique, especially the indisputably impressive Nicholas Brothers.

I remember watching this for the first time when I was a kid. I was blown away by the Nicholas Brothers' dance, especially when they jumped down those stairs . . . and it still blows me away! Slim storyline, and Bill Robinson was way too old to play a romantic interest of the young Lena Horne, but a great look at some of the biggest African-American stars of the day: Katherine Dunham, the great Fats Waller (who died later that same year,) Cab Calloway. I could have done without the blackface makeup of the comedy team, even though their skit was amusing. And look for a young adult Stymie Beard (of the Little Rascals) with two lines as a stagehand who is directed by Bill Robinson to call half hour to showtime for the performers.

Vaguely based on the life of Bill "Bojangles" Robinson himself, STORMY WEATHER offers the story of a WWI vet who falls in love with a singer--and under her influence goes into show business, only to find that their careers draw them in different directions. As a story, it is pretty slim stuff... but as a collection of musical turns by some of the early 1940s best black talent, it simply can't be beat.

Robinson was, of course, one of the truly great dancers of his era. Made late in his career, this film doesn't really manage to capture the scope of his talents, but he remains a constant joy to watch. A very young and remarkably beautiful Lena Horne also offers several enjoyable songs, including one that she would go on to perform with increasing sophistication and ultimately make entirely her own: the title tune "Stormy Weather." In addition to Calloway and Horne, STORMY WEATHER offers great performances by such under-filmed artists as Cab Calloway, Katherine Dunham, Fats Waller (performing his signature tune, "Ain't Misbehaving"), the brilliant Nicholas Brothers, and Ada Brown, as well as the popular comic actor Dooley Wilson. Expect nothing from the story or production values, but you won't be disappointed by this rare glimpse at some truly remarkable talents.

Gary F. Taylor, aka GFT, Amazon Reviewer

A sensational treat for anyone who does NOT love musicals to re wire their brain into why 40s dance musicals are often a major discovery. In Australia in 1944 - and I am sure many other Anglo countries, this awesome musical was NOT released! It was considered 'not for us' by the dim censorship board of the time. It was seen in a major release in Sydney in the late 80s and scored a bullseye with modern audiences immediately. Other commenters here will fill you in on the storyline and some sneer pointlessly, but take the general consensus that this is the major showcase of black talent on film from the time. Seen in a cinema the audience nearly loses their mind (and seats ) during the finale with the Nicholas Brothers. I like the woman listed here who showed it to high school kids who loved it...and that is the real test of a great old' film. I have had the same unforgettable experience in cinemas showing this film. It is absolute dynamite! Teenage boys especially watching this get the shock of their young minds at a genuine 1943 rap scene on board a paddleboat. The 90s rap performer EEK-A-MOUSE definitely got his look from this film!

My summary is advice for what to do if you watch this film today, as if you are not 100% prepared, you might blow a gasket! This is because although the film is a nice retrospective of black American entertainers of the day, it also has a lot of race elements that would offend and embarrass a lot of folks today. So be prepared when you see some of the minstrels, outrageous costumes and the ways that a few of the acts behave...this was the time in which the film was made. I'm not excusing it--just explaining about the times. And, although the film sure has its flaws, compared to the way blacks were treated in many previous films, it's actually a good deal more sensitive than it might have been. In other words, watch the movie and understand it in its context. If you do this it should be a lot easier to appreciate the production.

Speaking of appreciation, the film is an amazing assemblage of talent including Bill 'Bojangles' Robinson, Lena Horne, Cab Calloway and his orchestra, Fats Waller and the Nicholas Brothers--and quite a few other wonderful entertainers from the era. And, if you didn't have films like this and a few shorts, there would be little record of these acts. Are these the very best performances by these folks? In some cases, not--probably because the studio wanted a 'nice' product (in other words, highly sanitized) for widespread consumption by black and white audiences alike. And, there isn't a lot in the way of plot development here. However, if you'd like more representative works of the acts as they would have actually appeared in real life on stage, you might try watching many of the old Vitaphone short subject films--with many of these same folks starring in them.