Magnólia: O Barco das Ilusões

Superb casting, wonderful music, and simple but literate dialogue. Paul Robeson's rendition of Old Man River is captivating, and this film is the only time I've heard the second stanza of the song which I'm sure many people would feel is not politically correct for our day. This really is an elegant production.

Stunning, astounding achievement for 1930s Hollywood cinema. An early talkie musical that boasts excellent sound and breathtaking cinematography that points the way to the modern era of movies, including closeups and all sorts of rolling and perspective shots that were new in their time. This adaptation of the legendary Broadway musical (considered the first modern musical) is shortened somewhat to keep it around two hours, so the plot often seems to race through some pretty dramatic events. Veterans from the stage version appear in key roles, including Charlie Winninger as Captain Andy, Paul Robeson as Joe and Helen Morgan as Julie. While there are several cringe-worthy "Negro" moments, including Irene Dunne performing in black face, at the very least Robeson is handled with respect throughout. I must be honest and admit I am not crazy about Dunne as Magnolia, although Allan Jones makes a fine Gaylord Ravenal. I think Universal might have found someone a bit softer around the edges to play Magnolia, as much as I admire most of Dunne's film work. This is an almost perfect movie, and it is amazing that it was shot on back lots. As with Edna Ferber's stories, on which it is based, SHOW BOAT will transport you to another time and place, at least for two hours.

I was too young to see this version until well after the 1951 one had fixed a certain standard in my brain. It took a TCM rerun to open my eyes. Mind you, I still like the 1951 production very well indeed, but there is a depth of story, song, and character in this one that makes it overall the better of the two (and the "best" of a larger lot).

First, you have Paul Robeson and Helen Morgan. Both are icons who needed no dubbing no matter where or when they sang standards like "Old Man River" and "Just My Bill." Then there is Hattie McDaniel in a role largely skipped in the 1951 movie. And a greater selection of minor songs prevails as well. Indeed, the inclusion of many black people who are missing from the later film give it a unique richness.

Black and white never looked so good.

What an exquisite and enjoyable film! Along with "The Great Garrick"(1937), "The Old Dark House"(1932) and "The Bride of Frankenstein"(1935), "Show Boat" is one of James Whale's loveliest and most enduring classics. By far, the best "Show Boat" ever captured on film. The plush 1951 MGM remake is a cartoon by comparison.

Like Whale's "The Great Garrick," the film is a delicate, self-reflexive study about the entrancing possibilities of the theater, or for that matter acting. Acting as a metaphor for life. One of delights of "Show Boat" is that it does not avoid depicting either the joy of make-belief (the basis of the theater) or its inevitable heartbreak. In this regard, it invites comparison to Jean Renoir's exquisite "French Cancan"(1955), another back stage musical that understands, accepts, and celebrates the difficulties and ultimately the magic of the theater.

In addition to being an honest and frank celebration of miscegenation, "Show Boat" is also a genuinely felt evocation of a stage actress (wonderfully played by Irene Dunne in one of her greatest performances ever), who goes from a stagestruck teen to a mature woman seriously dealing with the consequences of a marriage to a gambler(played by the occasionally bland Allan Jones).

Paul Robeson's extraordinary, melodious rendition of "Ol' Man River" is the highlight of the film, occasioning in great and inventive montage sequence.

A great film.

No question that this is the Show Boat with soul. The '51 version has some lovely chorus numbers, including a beautiful opening sequence, but it is entirely safe and a predictable piece of MGM-dom.

On this 1936 version, I found myself thinking "There isn't a dull moment in this thing".

The pacing is fast and most unsentimental. The editing is so curt as to be almost surreal, and songs are suddenly launched out of nowhere, which is curiously satisfying. To be truthful, the film's strongest cohesive stretch is its first third, after which the story-telling becomes a bit rushed (presumably) to keep the film to a tolerable length. Hattie McDaniel and Paul Robeson are magical. McDaniel's first scene is positively electric and Robeson is given to a pleasant, warm demeanor, and both he and McDaniel seem surprisingly modern during a time in which blacks were seldom portrayed as such, especially in a mixed cast.

Charles Winninger shows his Vaudeville roots here, and he does a most riveting take on the Show Boat stage, portraying a melodrama for two. His timing is perfect, and his energy is inspiring throughout the picture.

Magnolia's blackface peregrinations do ring true to the time (more 1870's, than 1930's), but the wince-worthy scenes are more those of the black river boat hands who must constantly be shown bucking and winging their way to the irresistible music, eyes rolling.

The ending has some satisfaction to it, and is lightened considerably by the fact that Gaylord Ravinal is not completely humiliated by story's end. This last scene must have somehow anticipated "A Star Is Born", with undying love and honor being its undercurrent theme.

George Gershwin once stated on network radio that Kern's [Show Boat] score was the finest light opera in American history. It may still be. Just the bridge to "Only Make Believe" is heart stopping stuff.