Young and inexperienced Sister Ann has just arrived at her next posting at Samaritan House, a Dominican order located in a disreputable neighborhood of Ghent, Belgium. Sister Ann is ... See full summary »
A reluctantly retired vaudevillian clashes with his producer son who thinks his father's entertainment is passe and audiences need something more sophisticated. Meanwhile the producer's father and sister secretly produce their own show.
Roy Del Ruth
Priscilla Williams, a young girl living with her widowed mother and paternal grandfather at the post he commands in northern India, becomes enamored of military life and embroiled in brewing rebellion against the crown in the early 1900's.
C. Aubrey Smith
Wealthy Edward Morgan becomes charmed with a curly-haired orphan and her pretty older sister Mary and arranges to adopt both under the alias of "Mr. Jones." As he spends more time with them, he soon finds himself falling in love with Mary.
The "Cotton Blossom", owned by the Hawk family, is the show boat where everyone comes for great musical entertainment down south. Julie LaVerne and her husband are the stars of the show. After a snitch on board calls the local police that Julie (who's half- African-American) is married to a white man, they are forced to leave the show boat. The reason being, that down south interracial marriages are forbidden. Magnolia Hawk, Captain Andy Hawks' daughter, becomes the new show boat attraction and her leading man is Gaylord Ravenal, a gambler. The two instantly fall in love, and marry, without Parthy Hawks approval. Magnolia and Gaylord leave the "Cotton Blossom" for a whirl-wind honeymoon and to live in a Pl: fantasy world. Magnolia soon faces reality quickly, that gambling means more to Gaylord than anything else. Magnolia confronts Gaylord and after he gambles away their fortune he leaves her - not knowing she is pregnant. Magnolia is left penniless and pregnant, and is left to fend ...Written by
The Breen Censorship Office tried to raise an objection against the use of the "miscegenation sequence" in this film version of the show, but they were unable to do so because the 1936 film version had already used it and thus set a precedent. See more »
When the townspeople are rushing to see the show boat at the beginning, the camera crew's shadow is visible on the road. See more »
Julie, nothing's changed.
Oh Nollie, Nollie, always true! Stay happy now.
See more »
Because some of the lyrics to the song "Cotton Blossom" have been altered by uncredited staff writers in this version of "Show Boat", Oscar Hammerstein II is never actually mentioned as having written the lyrics to the songs, although P.G. Wodehouse IS listed as having written the lyrics to "Bill". (This is only partially correct; only about half of Wodehouse's 1917 lyric to "Bill" was used. The rest of the lyric is by Hammerstein.) See more »
Early preview showings of this film featured Ava Gardner's own singing voice, before the film was officially released with Ava overdubbed by Annette Warren. See more »
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.
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