User reviews

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.

I've been a Showboat fan for a long time. I've seen it live on stage 5 times as well as the 1936 version and the PBS version. After watching the MGM version again on TCM, I decided that it is almost impossible to make a satisfying version of a Showboat movie.

Its strange to say, but I think "opening up" the stage version took away some of the intimacy a live version has. Showboat's greatness does not come from the standard boy meets girl - boy loses girl - boy gets girl storyline. It comes from the music and on stage a number can start with one guy on the docks lamenting the suffering endured along the Mississippi and end with a chorus of voices singing about Ol Man River. The numbers themselves "open up" to fill the stage. But no movie can do that to the same effect.

But my biggest problem with this version is the abbreviation of the story and the musical numbers. The songs Kern and Hammerstein wrote deserve to be fleshed out in all their operatic grandeur. The first act contains what I consider the best back to back to back musical numbers in Broadway history with Make Believe - Ol' Man River - Can't Help Lovin Dat Man and the movie rearranges them out of order and only River is fleshed out. Can't Help should be an 8 minute number with the chorus joining in at the end instead of the barely noticed number in the movie.

Because the music is among the best ever written, it is really hard to make a bad version of Showboat. I'll watch this movie whenever it is on TV but if you really love Showboat, get the EMI 3 CD recording with Frederica Von Stade and Jerry Hadley. And go see it live when you have the chance.

I will admit (with a great amount of shame) that the first time I saw the 1951 version of "Show Boat" I was not that impressed. I was so used to Kathryn Grayson and Howard Keel as Lilli Vanessi and Fred Grahame, thought Ava Gardner was too beautiful for words, and thought Marge & Gower Champion were the coolest people I had ever seen. That was about it. I was a little bored.

But as I have come to watch it recently, I have discovered it is more magnificent the second time around. As a North Carolina native, I must say this movie holds something very special for me -- and that is TWO North Carolina natives from "Grabtown" and Winston-Salem, our ladies Ava and Kathryn respectively.

First of all, the Technicolor is vibrant and lovely and represents the very fiber that those beautiful, glorious MGM musical treasures of the 1950's were made of.

Supporting characters Joe E. Brown and Agnes Moorehead were, as usual, delightfully wonderful. I don't think I've ever seen either of them do anything "bad." William Warfield's delivery of "Ol' Man River" (accompanied with Julie/Ava's last wistful look toward The Cotton Blossom, of course) never fails to put a tear in my eye.

Howard Keel's voice was in fine form, and he did a great job of portraying the slick gambler, Gaylord Ravenal. Kathryn's voice was, as always, up to par and beautiful, and while perhaps her representation of Magnolia wasn't as vibrant as her portrayal of Lilli in "Kiss Me Kate" or Aunt... whoever it was she played in "Anchors Away" (ooh, I can't remember the name... that's BAD... REAL BAD), she was still her lovely, charming self. I found that her progression from innocent child-like creature to a portrait of woman- and motherhood was captured and characterized very well.

But my favorite parts of the movie were simply Ava Gardner, and Marge and Gower Champion.

Ava is, as always, ridiculously and insanely gorgeous. In fact, I would have liked to have seen more of her than I did. It's a stretch for a white woman to play a bi-racial woman, but she did it with what seemed like such ease. She accompanies so much with a look (which is evident as she watches Gay and Nolie sail off together with Kim -- you all know what I'm talking about). And yes, Ava's singing pipes (in my opinion) were far better than Annette Warren's and MGM is stupid for having dubbed her (just like they were stupid for dubbing Debbie Reynolds in "Singin' in the Rain"). Her songs, "Can't Help Lovin' Dat Man of Mine" and "Bill," were extremely effective, but could've been even more so had they used her real voice. Such expression in those eyes. And my gosh... her speech to Gay! I don't think people in Hollywood ever really looked beyond Ava as anything but a "sex goddess" -- but she really had a beautiful talent.

Now for Marge & Gower Champion: who couldn't love them? Gower is this sort of... fluid-like creature with a stature and grace like Fred Astaire, but instead of Astaire's "lanky movements" that defined his style, he somehow executes the more athletic, brisk movements that defined Gene Kelly's style. And Marge has to be just about the cutest little person I have ever seen (great facial expressions!) and one of the most talented dancers (up there with Gwen Verdon, Carol Haney, Ginger Rogers, Chita Rivera, and all those gifted people) I've ever seen grace a screen. They're sheerly magnetic, and they never miss. "I Could Fall Back on You" and "Life Upon the Wicked Stage" are two of the most outstanding moments in the movie. You'll love them.

All in all, "Show Boat" is most definitely worth a look. Or two. Or three. Or... well, as many as you feel like!

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...

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?

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.

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"!

This movie has great color photography. And that's about all it has, frankly, compared to the 1936 bw version with Irene Dunne and Allen Jones.

Irene Dunne could act circles around Kathryn Grayson. (So could your grandmother, I suspect.) She also had a much better singing voice. Grayson is like listening to fingernails on a chalkboard.

Howard Keel was very handsome and a decent actor. But he was very masculine, which made him a poor choice for the weak Gaylord Ravenal. Allen Jones was very good at playing weak.

William Warfield sings "Old Man River" beautifully. But who can hold a candle to Paul Robeson?

As others have remarked, this version of *Showboat* is prettified. It takes out all the social commentary that was very much a part of the original show. I honestly don't see any reason to recommend this movie. If you want to listen to the music, which is great, go on YouTube and find a recording. But why sit through this maudlin excuse of a movie?

Beautifully wrought version of the Edna Ferber novel may not hew as closely as the earlier Irene Dunne take on the story but is a sublime pleasure nonetheless.

The music by Kern and Hammerstein is some of the best either ever composed sung by extremely talented performers Kathryn Grayson and Howard Keel. Both do excellent work both musically and dramatically even if early in the film its a bit of a stretch for Kathryn to be believable as the teenage Magnolia.

Taking full advantage of being shot in Technicolor the film is a feast for the eyes brimming with vibrant purples, reds and greens as well as being loaded with talent. And what talent, Marge & Gower Champion contribute several fine numbers full of bounce and zest, Joe E. Brown is a memorable Cap'n Andy funny and touching in turn, Agnes Moorehead delightful as the vinegary Parthy and William Warfield provides a soaring and haunting Ol' Man River.

The real standout however is Ava Gardner as the tragic, wounded Julie. Originally intended for Judy Garland until her meltdown and firing and while she would have made a memorable Julie full of jittery vulnerability Ava nails the part with a haunted sadness. A shame they felt the need to dub her vocals since they do appear on the cast album and are both very good and have the right feeling for the songs. Her final scene is a star making moment as surely intended by Metro.

Across the board this is a five star winner of a movie musical, one of the best the dream factory ever turned out.

In the end of the Nineteenth Century, the show boat "Cotton Blossom" owned by Captain Andy Hawks (Joe E. Brown) flies along the rivers in the South of North America with the lead stars Julie LaVerne (Ava Gardner) and her husband Stephen Baker (Robert Sterling) and musical entertainment. When Julie and Stephen are accused of miscegenation, they have to leave the boat, and Captain Hawk's daughter Magnolia (Kathryn Grayson) and the gambler Gaylord Ravenal (Howard Keel) take their places. They fall in love for each other, get married and move to Chicago, living in a fancy and expensive hotel. However, the jinx of Gaylord consumes all their money, and later Gaylord completely broken leaves Magnolia without knowing that she is pregnant. She struggles to survive, returns to her father's business in the boat and raises her daughter with her parents. Years later, Julie accidentally meets Gaylord and tells him about his daughter.

"Show Boat" is a disappointing musical with a corny conclusion. The predictable story is supported by dated musical numbers, but the worst is resolution of the drama of Magnolia, with the return of Gaylord and her immediately acceptance. The despicable racism that is the lead of the story, the relationship of a woman with mixed blood with a white man, was probably usual in the end of the Nineteenth Century, therefore it is acceptable in the story, but Ava Gardner never convinces as a half-blood woman. My vote is six.

Title (Brazil): "O Barco das Ilusões" ("The Boat of the Illusions")

Note: On 15 February 2014, I saw this movie again.

Plot isn't everything, as this third and final classical Hollywood adaptation of the popular-novel-turned-Broadway-hit "Show Boat" demonstrates. It removes the comedic detours of the 1936 version, along with downgrading the roles of the black characters Joe and Queenie, as well as those of Magnolia's parents, while expanding that of Julie, for a tighter resolution. Most of the dialogue is blandly rewritten to serve the lurid melodramatic progression of the central narrative of marital strife between Magnolia and her gambler husband, which I think may be the least interesting part of the story. Nearly all of the stuff concerning social stratification, both racial and musical and the parallels between them, found in the 1936 film are gone here. Except for the renditions of "Ol' Man River," African Americans are marginalized to the background and as stereotypes, with musical numbers originally written for them being performed here by white characters. Moreover, the re-placement of some of these (especially "C'mon Folks" and " "Life Upon the Wicked Stage" during the New Year's Eve sequence) are irrelevant and overly elaborate dance routines, and the score is bombastic in its constant attuning of the spectator to the ever-heightened emotional state of the drama. Meanwhile, the Technicolor design ranges from bland browns to garish greens, while the camerawork and editing are trifling compared to either the 1936 film or even the goat-gland mess of the 1929 version.

William Warfield does a terrific rendition of "Ol' Man River"--perhaps even comparable to that of Paul Robeson--and it's the best filmed part here, but the Technicolor and over-working fog machine pale in comparison to dolly and pan movements and montage work of the 1936 scene. That Joe isn't integrated into the narrative here as was Robeson's iteration also reduces the power of the song, which itself is even shortened here, removing some of the more provocative racial language. In the 1936 film, I consider him the most pivotal character. If not for that one song being so good, however, Joe may as well have been taken out of this version entirely. After all, up to the song, the depiction of African Americans are of content cotton pickers adoring the appearance of the show boat with its white performers and are otherwise entirely servile towards white people. There's no Hattie McDaniel's Queenie here quipping, "Ask me no questions, and I'll tell you no lies." In fact, there's barely any Queenie at all. There's barely an acknowledgement of the theme of cultural exchange or appropriation, either, of whites performing traditionally black music. Instead, the film just appropriates it for the white characters, with the one exception, and pushes the African-American characters to the margins. The result is that the film itself endorses the sort of Jim Crow segregation that its storyline of the biracial Julie is meant to oppose.

The reduction of the parts of Magnolia's parents creates some lesser problems, including the drunk father showing up out of nowhere shouting "Happy New Year" as though he has OCD and then leaving it unexplained, later, as to how the mother knows to mimic the way he says the phrase. Additionally, perhaps, the oddest aspect of this adaptation is the focus on the cane of Gaylord, Magnolia's husband. Magnolia's handling of the phallic object takes an awkwardly sexually-suggestive turn as she continually cleans its knob by blowing on and rubbing it, including when she plans to make up with him after an argument, as well as stroking it as she cries over his leaving her at another point. The mind boggles as to why this adaptation was the most successful on the screen, with its focus on that one relationship at the expense of the racial issues and self-reflexive stratification of theatrical performance of other versions.

I strongly disagree with some of the other viewers. 'Showboat' -- the 1951 version -- is not inferior to the earlier, darker Universal version with Irene Dunne and Allan Jones. The talent used for the lavish technicolor remake is in itself superior to the cast of the original--Howard Keel, Kathryn Grayson, Ava Gardner, Joe E. Brown, Agnes Moorehead, Robert Sterling -- and most importantly, Marge and Gower Champion who can do no wrong with dance numbers. By comparison, the dances in the original version appear uninspired--and even the legendary Helen Morgan (not a conventional beauty by any standards) fails to evoke the same magic Ava Gardner does as Julie. True, Morgan did her own singing but Gardner's voice on the soundtrack could just as well have been used instead of Annette Warren's.

Other than that, the MGM film is just fine--everything is staged with much more zest and enthusiasm than is present in the awkward, lumbering James Whale version. And Marge and Gower Champion's version of "Life Upon the Wicked Stage" is a priceless example of this team's artful way with a show tune. Their contribution is a major asset of the newer version.

Likewise, Grayson and Keel blend their rich voices in song the way they were meant to be heard by Kern & Hammerstein. Irene Dunne had a modest soprano voice but she was not as accomplished a singer as Grayson nor did she deliver numbers with Kathryn's uncommon ease. Performance-wise, Grayson is a bit too subdued against Gardner's more colorful character and did not kick up her heels the way she would in 'Kiss Me Kate', one of her best roles.

As for Allan Jones in the earlier version, he was a personable enough singer/actor but he was nowhere close to Keel's adroit handling of both songs and dialogue. Keel went on to become a staple of some of MGM's finest musicals and a fine reputation as a strong singer.

The pacing of the older film was slow, leisurely and downright boring at times. The remake is much easier on the eyes and ears. There's a hint of snobbism in the putdowns this film gets from some of the more discriminating viewers who cannot forgive whatever changes were made to make the plot line and time frame smoother. A deliberate change in story structure does not make a film inferior to the original.

A high point of the film is, of course, William Warfield's full-bodied version of "Old Man River" -- just another of the film's memorable musical moments. An MGM musical in the grand tradition--not to be missed.

While the 1951 George Sidney version of Show Boat looks georgeous in Technicolor, the story seems to lose something in the retelling when compared to the 1936 James Whale adaption of the same material by Edna Ferber. The biggest sin is the excision of the story between Queenie and Joe, truncating their characters from supporting to bit parts. Due to some of the subject matter, this is probably not the easiest material to adapt. MGM tried to change the show to a straight-up love story. Despite it's flaws, it still qualifies as an MGM musical classic.

Ava Gardner, Kathryn Grayson, Howard Keel, Marge & Gower Champion all under the sure and competent direction of George Sidney where are they? In which sky are those stars shining now? Maybe only in our memories. This was the golden era of musicals where other giants such as Stanley Donen and Vincente Minnelli as directors and Fred Asteire, Ginger Rogers (a little before), Gene Kelly and Cyd Charisse as performers distinguished themselves. This movie is a landmark in the history of musical movies by the beauty of its lyrics and music and dance numbers. And the sceneries of course. Just only to watch (and listen to the song) the sequence where that old tune "Old Man River" is sung is this movie worth to be seen. Usually in these musicals the story is the weakest part of the movie but here it has even enough dramatic depth to interest the viewer. A very good movie in conclusion.

I get goose bumps just thinking of the larger than life opening of this film... Kathryn Grayson was one of the favorite stars of screen musicals during their heyday in the late 1940s and early 1950s. Kathryn Grayson was a visually and vocally striking singer and actress who graced some of the most popular films of the postwar era, including "Anchors Aweigh" (1947) and "Kiss Me Kate" (1953). Blessed with a coloratura soprano from an early age, she was discovered by MGM chief Louis B. Mayer while a teenager, and was signed to a contract without the benefit of a screen test or drama lessons. In this version of Show Boat, Ms. Grayson, plays Magnolia Hawks, the captain's innocent daughter, who falls for the handsome gambler Gaylord Ravenal (Howard Keel). Show Boat is widely considered one of the most influential works of the American musical theatre. As the first true American "musical play", it marked a significant departure from operettas, light musical comedies of the 1890s and early 20th century and the "Follies"-type musical revues that had defined Broadway.

According to The Complete Book of Light Opera, "Here we come to a completely new genre – the musical play as distinguished from musical comedy. Now... the play was the thing, and everything else was subservient to that play. Now... came complete integration of song, humor and production numbers into a single and inextricable artistic entity. The third and (to date) last film version of the Edna Ferber/Jerome Kern/Oscar Hammerstein II musical. (1929, 1936, 1951) One of the few titles I can think of where every version is good! I.B. TECHNICOLOR. Almost a novelty when it was introduced to film in the early 1920's, Technicolor reached its zenith in the 1940's and 50's, when classics like WIZARD OF OZ, THE ADVENTURES OF ROBIN HOOD, SHE WORE A YELLOW RIBBON, SNOW WHITE and GONE WITH THE WIND were released using the brilliant, deeply-saturated hues of dye-transfer Technicolor. I.B. (or "imbibition") Technicolor prints are becoming increasingly scarce treasures since Technicolor stopped U.S. production of them in 1974. So tonight's print may be a worn print with some scratches and splices, but the color can not be matched even with today's technology. Finally, Ava Gardner is stunningly beautiful in this film and turns in a tender and heartbreaking performance. Last year on a film run I was able to visit the Ava Gardner Museum in Smithfield, North Carloina, and it was amazing. Well worth the 4 ½ hour drive from Culpeper. And Marge Champion is the only one of the stars from this film that is still alive today at age 90. She plays Ellie May Shipley, the dancer in the red & white striped dress & umbrella. Now sit back and enjoy this old fashioned cruise back in time on MGM's Show Boat!

Show Boat isn't much of a showstopper. Almost all the musical numbers in this movie are sleepy, slow songs. Ava Gardner, Kathryn Grayson, Howard Keel, and William Warfield all have beautiful singing voices, and the dancing is enjoyable to watch, but this movie is lacking in energy. The plot is also fairly bland, with no real character arcs and no big surprises. The story just kind of meanders along, like a paddleboat drifting down the river. Watching Show Boat isn't an unpleasant experience, it's just not as impressive as it could have been. And yet it's the second highest-grossing movie of 1951.

I fell in love with Show Boat when I saw it. Yes the ending is a little corny, but everything else is a joy. The Technicolour is truly lavish, colourful and just a feast for the eyes and the costumes are lovingly designed too. The opening sequence especially is a mini-masterpiece of music, style and colour I feel. The songs are classics and nothing less than that, I don't have a personal favourite but I have always been fond of Ol' Man River and Can't Help Loving Dat Man. The direction is satisfying, the pacing is more secure here, the plot with its themes of compulsive gambling and miscegenation and the dialogue sparkles. And the performances are real jewels in the crown, Kathryn Grayson is wonderful, as is Howard Keel, whose voice and looks I cannot get enough of. However, my favourite performances come from Ava Gardner, who looks stunning and has rarely given a more poignant performance and William Warfield, whose rendition of the difficult Ol' Man River is somewhat richer and warmer than Paul Robeson's timeless rendition. Overall, a wonderful musical. 9/10 Bethany Cox

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 "passing" as purely white. An effort to be inoffensive pervades. Producers missed an opportunity when they "passed" 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