Symphonie magique

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.

Stormy Weather with Lena Horne, Cab Calloway, Katherine Dunham, and the Nicholas brothers is a wonderful "dance vacation" for Vintage, Swing and Tap dancers. It was also a rather rare opportunity to see Katherine Dunham on Video. The video I watched was clear and had excellent sound. It was an uplifting and delighful "Smorgasbord" of music and dance of the highest order. I presented it to a high school group for an historical event. They were amazed and fascinated with the performances. The guys especially were impressed by the Nicholas brothers dancing.

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!

Admirers expected Lena Horne to live forever, and her recent passing shocked those who thought she would always be with us. Thanks to her films, especially "Stormy Weather," she will be there whenever we spin the DVD of that 1943 Fox musical. A loose pastiche of musical numbers hanging from a thin thread of Bill Robinson's reminiscences, "Stormy Weather" is a priceless trove of talent. Director Andrew Stone wisely lets the performances play out without intrusion, and what performances they are. Beyond Lena Horne's unforgettable rendition of the title song, which became her signature, the film showcases Bill Robinson's incomparable dancing, Cab Calloway's song and dance routines, and Fats Waller's "Ain't Misbehavin'." Left breathless after these great musical numbers, viewers will gasp when the incomparable Nicholas Brothers top everyone and stop the show with one of their best performances on film. Only Astaire and Kelly were in the same league with Fayard and Harold Nicholas, arguably the finest sibling dancers ever. Fortunately, DVDs do not wear out and allow countless replays of the brothers' stylish and effortless dancing up, down, and around two flights of stairs.

Lena Horne surmounted the occasionally unflattering hairstyles in vogue during World War II and remained luminescent throughout the film. Her dazzling smile and comforting voice are missed when she is off screen. Although Bill Robinson is not a convincing romantic partner for Horne, small quibbles do not spoil this musical delight, whose only major flaw is its short 72-minute running time. With legendary performers at their peaks, "Stormy Weather" should have been twice as long. If 20th Century Fox could unearth outtakes from this film, the discovery would be the find of the century and a fitting coda to this plethora of now-gone talent that was sadly under-utilized during Hollywood's heyday.

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.