Breakinger A Brilliant Conflict

Paynbob It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

Bob This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

Kimball Exactly the movie you think it is, but not the movie you want it to be.

SimonJack Three hit songs have lived on from "Show Boat," the stage and screen musical adaptation of Edna Ferber's 1926 novel of the same name. "Make Believe," "Ol' Man River," and "Can't Help Lovin' Dat Man" are the very best of more than two dozen superb songs that Jerome Kerns and Oscar Hammerstein wrote for this musical. Not all of them were in this second film of the musical. The first musical version on film was Universal's 1936 "Show Boat" that starred Irene Dunne and Allan Jones. Paul Robeson played Joe and sang four numbers, As if to repeat the actual history of the show boats, when MGM made this 1951 film, it put on the glamour and glitz to outdo the earlier black and white film. By the 1920s, when automobiles, roads and movie theaters began to dim the attraction of the show boats, the boats adjusted and put on the Ritz to survive a while longer. They became more colorful with livelier fare and burlesque. So, here is a typical luxuriant MGM production that even is bodacious in its sets and color. The color verges on gaudy, especially the costumes in the opening scenes. And, to do this, MGM strayed a little further from reality by changing the Cotton Blossom from a bona fide show boat into a grand paddle-wheeler. While this adaptation has the MGM flair of color and fanfare, it can't match the 1936 original. Kathryn Grayson is very good as a singer and equals Irene Dunne on that score. But, her acting doesn't match that of Dunne. It might be due partly to the differences in the two versions, but that is quite clear. And at least a couple of other reviews have noted that Howard Keel doesn't seem right for the part of Gaylord Ravenal. He is tremendous in "Calamity Jane," "Kiss Me Kate," and other musicals, but he's not right for this role. Alan Jones nailed the character perfectly in the 1936 film. Ava Gardner is a fine actress, but her songs were dubbed here; and her role isn't nearly as developed or realistic as that of Helen Morgan in the 1936 film. William Warfield does a tremendous rendition of "Ol Man River," playing the part of Joe. But his part, as with the others noted, isn't nearly as good as that of the 1936 movie with Paul Robeson. And, while he is OK as Cap'n Andy here, Joe E. Brown can't hold a candle to Charles Winninger in his 1936 role. When you combine all of these lesser roles and the greater deviations from the stage musical and the historical sets, this later "Show Boat" would come off a full two notches below the 1936 film. But it winds up just one star less for one very good exception. It has the team of Marge and Gower Champion in the lesser stage roles of Ellie May Shipley and Frank Schultz – to soon be Schultz and Schultz. The Champions do three tremendous dance numbers that the 1936 film lacks. This is a good film with an entertaining story and some good songs that most people should enjoy. Then watch the 1936 film for a much better developed story and some top performances by most of the cast.

clvlkenpo First saw this movie in the 50s and loved it as a boy. Everyone in the cast is perfectly cast. The singing is really wonderful, and all the songs are great. I like the storyline as well. The unconditional love between Julie and Nole is what really stands out. Need some of that today! I have probably seen this movie 50 times, and I still tear up at the last 15 minutes of the film. BTW if you can find the soundtrack album it includes Ava Garners g of the songs that were dubbed for the movie. Both versions are great! I think Frank Sinatra was correct. And speaking of Ava Gardner, she certainly deserved an Oscar for this performance. And she is so beautiful in her closeups, wow!I have now seen other versions of this film, and though they are also very well done, the music and emotional impact of this version really are a triumph. If they could make musicals like this one and Sound of Music again, they might make a comeback!!! See it if you have not!!

wes-connors This lavishly produced MGM update of the old "Show Boat" further whitewashes the original, and sails across the screen in garish and silly fashion. The stars are dependable, pretty Kathryn Grayson (as Magnolia Hawks) and handsome Howard Keel (as Gaylord Ravenal) who take over as headliners when exotic Ava Gardner (as Julie LaVerne) is fired for "ing" as purely white. An effort to be inoffensive pervades. Producers missed an opportunity when they "ed" on casting a truly "mixed" race actress in the part. To add insult to injury, they dubbed Ms. Gardner's perfectly serviceable vocals...Nothing really beats Paul Robeson's rendition of "Ol' Man River" from the 1936 version of this musical, but herein William Warfield (as Joe) comes close. This song retains the same power to cut through the screen and convey everything the rest of the story seems unable to address. Written by Jerome Kern and Oscar Hammerstein II, the classic "Ol' Man River" is a chilling show-stopper. There is also some technical skill to behold on the screen, especially the engaging dance team Marge and Gower Champion, who could have been the next Fred Astaire and Ginger Rogers if circumstances were different...***** Show Boat (7/17/51) George Sidney ~ Kathryn Grayson, Howard Keel, Ava Gardner, Gower Champion

tedg Wow, there is so much in this to get upset about.You know, that it has one memorable song, presented so profoundly well that by itself it could have been the first successful music video. But it stands apart from everything else in this lurid mistake.Even if it had been a good film, viewers would tinge from the handling of race. Its so alien now that its even puzzling as to what the story actually is — so far from that world we've come.Here's the setup: we have four worlds. One is the world of the performer. Its a rich, rewarding happy world, one that you can always retreat to. Its a work of "make-believe" which is truer than true. Because all of the performer's songs are tepid, this is anchored by the dancing Champions. They are terrific, sexy, full.A second is the world of gambling. All people are gamblers to some extent in this movie, but there is a specific, closed gambling space and populace. These people are performers of sorts.The third world is the world of the viewers. They are arrayed up and down Huck Finn's river, and are eager, ive and barely human. We are folded into this class: tepid, lifeless humans.The fourth world is truly unsettling. Its the world of the blacks. They span the other worlds: they are smiling, happy audience, pleased to be in the fields picking cotton and to be distracted by the fun of the boat. They are natural performers, just look at one for a moment and they amuse. In fact, there is a story element strangely shoehorned in that depends on the top, sexy, unstable actress being "secretly" black -- supposedly explaining her ions and talents. This actress falls into sexual slavery in the gambling world.The core of the story follows a young girl as she drifts among these worlds. Its famously bad, except for the "Old Man River" segment. Its truly fine in so many ways. But seeing it in such a context ruins it.I've seen this several times. I believe that the original Technicolor print revealed painfully bad colors in the production design: costumes, hair, environment, everything. Now there does not seem to be a good print in existence, so the colors are even worse. Its horrible.Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.