Le Chant du Missouri

I think they should bring back movies like this again.

I loved it. It's a GREAT!!!!!!!!! movie for kids today to start watching . It will leave you feeling up and happy.

Not like some of the movies today.

WE NEED MORE OF THESE MOVIES!!! I loved this movie! :-)

The movies years ago made you feel happy. The musicals were better than the trash they put out today. I hope the movie CO. Start looking into these musicals again.

The plot to "Rainbow on the River" is a bit hard to believe. But like all Bobby Breen films, the young man is astounding with his amazing voice! And, the film is likable despite everything.

The story is set just after the Civil War. It's not surprising that the Southerners in the film hate 'Yankees', though it seemed rather weird to have Toinette (Louise Beavers) also hating Northerners since she is a recently freed slave....just the sort of person you'd expect to love those 'gang Yankees'. What is also inexplicable is that after the man and woman that owned her died, in the war, is that Toinette would raise their white son, Philip (Breen). After all, the South was very prejudiced at the time (the same could also be said of much of the North)....and I cannot see local authorities allow this. After all, marriage between the races was illegal at the time...and I sure would have thought raising a white child wouldn't have been realistic. And, less realistic is that folks in the community would accept this. I am NOT trying to be Mr. Politically Correct here. It's just that the American History teacher within me (I used to teach the subject) finds all this a bit unrealistic...especially how idealized everything about the South during Reconstruction is presented in the film.

The local priest (Henry O'Neill) learns that Philip DOES have family...but they all live up north. After writing to them, Mr. Layton (Alan Mowbray) comes to fetch Philip and bring him to be raised by the boy's extended family. Surprisingly, the family doesn't seem happy at all to have the boy with them...and it's especially surprising since Philip is such a nice boy. For some time, the only one who seemed nice to him was the butler (Charles Butterworth, who is always a joy to see in films). What's next? See the movie and find out for yourself.

In many ways, "Rainbow on the River" is exactly like an earlier film, "Bright Eyes" with Shirley Temple...and I don't think the similarity is unintentional. The Temple film was a comedy and this one a musical...but in each, a nice orphan is treated like a second-class kid by the family. And, in both, ultimately the orphan's niceness wins everyone over in the end. The better two clearly is "Bright Eyes" (I think it's Temple's best film) but "Rainbow on the River" is pleasant and sweet. Sure, it's historically flawed but beneath it all, it's still quite enjoyable and worth your time.

So, if the story interests you, by all means see it and the rest. They are all very pleasant and undemanding entertainment...rather sweet and Breen is so likable you wonder why he only starred in a few pictures.

This gorgeous famiy film was a smash success in Australia and I assume everywhere else in first release. My late mother Patricia keenly remembered seeing it at out local 1500 seat Marina Theatre in Rosebery at a session so packed she had to sit on the steps upstairs. I had the 78rpm record for years (still have, actually) and it is astonishing what a great voice Bobby Breen had. His series of Musicals really should be re packaged and dvd released as they are excellent, and I am astonished to find came from Principal Pictures (Chandu, anyone?) who I thought had folded into Republic in 1935. This film like all the others was released by RKO on a world wide plan so I guess all were a kid series to their Astaire Rogers musical series concurrent.

In his second film boy soprano Bobby Breen got the song that would be his signature number for the rest of his short career before puberty kicked in and the lyric soprano was no more. Rainbow On The River was both the film and the song that gave Breen his stardom for the rest of the 30s.

Bobby is a Civil War orphan being raised in New Orleans by Louise Beavers who was a former house slave along with Stymie Beard her real son. Despite living in poverty Breen's a happy go lucky kid.

Father Henry O'Neill does some investigating and finds that Breen has some Yankee relatives in New York, chiefly grandmother May Robson. She's also got relatives like Benita Hume and Alan Mowbray who could lose all or part of their inheritance if Breen is accepted in the family.

This view of the south and the great lost cause makes Gone With The Wind seem like Roots. Even if young Master Breen had not a prejudiced thought in his head I doubt even the Yankee carpetbaggers would allow him such a living arrangement.

Bobby at this stage was doing a male Shirley Temple act. Her films were better because Fox had a lot more money to spend on them than RKO did for Breen. But the young man could sing though.

The finale where Rainbow On The River is reprised with the backing of the former slaves, now sharecroppers singing happy in those cotton fields is way too much.

The film is entertaining with a rather repudiated historical premise as its base.

This is one of the earliest movies that Canadian child singer Bobby Breen made during the last years of the Great Depression. The plot and setting for "Rainbow on the River" is very interesting, especially for that time. Breen's soprano to tenor voice in this film reminds one of the recordings of the great boys choirs. The songs in this film are superb, and the cast is excellent.

With his short-lived acting career, Breen later did the nightclub circuit. He made some guest appearances on TV and hosted a TV show. He eventually moved to Florida where he opened his own talent business.

Even among movie buffs, the name of Bobby Breen is hardly known today. He made only nine films in the late 1930s. But these films give a look at a young singer who, for a time, had a voice that could captivate audiences. And, his acting was quite good as well.