Show Boat

Don't worry about comparisons with the original, supposedly weak story line, etc, etc - just suspend belief and enjoy it as a musical.

The key vocalists are absolutely first rate: Howard Keel, Kathryn Grayson and William Warfield were at the tops of their games here. The superb, effortless vocals from Keel and Grayson are lessons on how to sing - you'll never hear 'Make Believe' sung better than this.

William Warfield's version of 'Old Man River' is just magic. People usually talk about Paul Robson in the same breath as 'Old Man River' but none of Robson's renditions can match this performance. Warfield is a true bass (Robson was a bass-baritone) and delivers this song with magnificent power and resonance. Warfield is The Man.

Sit back and enjoy the music...

This Technicolor remake of the famous Kern-Hammerstein musical has been very successful financially over the years due to the fact that its re-releases, frequent TV showings, digital re-mastering,and soundtrack album kept the excellent Universal 1936 film from being seen for a long time. It has its good points, among the best being the beauty of Ava Gardner (who gives one of her best portrayals,although she makes Julie more obviously sexy than either Edna Ferber or Oscar Hammerstein II intended), the sumptuous color photography, the thrilling voice of William Warfield singing "Ol' Man River", the likewise excellent voice of Howard Keel, and the dancing of Marge and Gower Champion. Then we get to the negative points, beginning with mostly indifferent or awful acting, slow pacing, especially in the first thirty minutes, and an atrociously rewritten script, which keeps the basic plot line,but throws out most of Hammerstein's dialogue to make way for some memorably corny lines ("There's still not enough room on this boat for the two of us!"). By doing this, the film makers ruin one of "Show Boat" 's greatest virtues--a libretto good enough to enable the show to stand the test of time. Many other 1920's shows have not, principally because of the quality of the scripts, although their songs remain famous and popular. Both "Show Boat"'s score and libretto are highly regarded today.

In addition,the script for this 1951 film version either waters down or eliminates several hard-hitting elements in the plot which were rendered extremely faithfully in the '36 version, though it would spoil the story, as well as that 1936 film, if I gave away what those moments are. It also manages to reduce an important supporting role, that of Queenie,the black cook, to just two lines and no singing, as well as to eliminate the black chorus, an important element of all the show's stage productions as well as of the 1936 film version. The all-purpose M-G-M chorus substitutes for the black chorus, and they do so offscreen.

Scenically,everything is just too artificial and prettied up-you can tell MGM was deliberately ignoring any historical authenticity,especially in the too elaborate and inaccurate redesigning of the show boat itself as a luxurious self-propelled paddlewheeler.

When MGM acquired the rights to Show Boat for the Arthur Freed unit, no expense was spared in making this one of the most expensive films the studio had ever produced. A whole riverboat was constructed as well as the Natchez landing was completely built on a location on a lake which served as turn of the last century Mississippi river locale.

No doubt also that Howard Keel and Kathryn Grayson sang beautifully together. Those three Jerome Kern ballads, Make Believe, Why Do I Love You? and You Are Love were just written for their voices.

Ava Gardner is a beautiful and fetching Julia. Annette Warren's dubbing of Julie LaVerne's songs Can't Help Loving That Man and Bill perfectly matched Ava's speaking voice.

The problem I've always felt with this version is that Howard Keel is too strong a character to be playing Gaylord Ravenal who is essentially a weak personality. Allan Jones in the 1937 version perfectly captured Ravenal's frailty.

That 1937 version also had two people from the original Broadway production who made those parts all their own, Helen Morgan as Julie and Charles Winninger as Captain Andy. And it had the incomparable Paul Robeson though William Warfield is a fabulous Joe.

The singing of the Jerome Kern-Oscar Hammerstein II score is in the major leagues. The rest of the film however is in a minor key when compared with the earlier sound version with Allan Jones and Irene Dunne.

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"!

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?