musical riverboat movie

Show Boat (1951)

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Show Boat (1951) (DVD)

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One of the greatest Broadway musicals comes to the screen in this tale of music, racial bigotry and enduring love as outsized as the American heartland set aboard a Mississippi River Show Boat. Magnolia Brown has grown up onboard a sailing theater, plying the river from town to town to entertain people, and she has always dreamed of a life on stage. When the star's, Julie LaVerne part African American ancestry is revealed and she is forced to leave, Magnolia steps in to take Julie's place on stage. Magnolia soon falls in love with her leading man, the handsome gambler and rogue, Gaylord Ravenal (Howard Keel--Kiss Me Kate, Seven Brides for Seven Brothers), and the two marry, have a daughter and live happily--for a while. But Ravenal's gambling debts force Magnolia to find a job, and Julie LaVerne again leaves her starring role--this time voluntarily--to give Magnolia the break she needs, an opportunity that leads to stardom.

The show that first defined the Broadway musical has never come to the screen intact, despite three tries. But take this splashy 1951 MGM extravaganza on its own terms, and it boggles the eyes. Not to mention the ears: The Kern-Hammerstein score includes some staples of the American songbook, such as "Make Believe," "After the Ball," and "Can't Help Lovin' That Man." Perhaps a riverboat gambler is almost too-easy casting for Howard Keel, and Kathryn Grayson is overly twittery, which may be why the film's middle sags when they take center stage. But any time the uncannily beautiful Ava Gardner smolders, a lush tragic undertone takes over (even if the most interesting parts of her story seem to take place offscreen). The physical production is extraordinary: the busy riverside setting, the outrageous color design, and best of all an "Old Man River" (sung by William Warfield) staged in the mists of morning. -- Robert Horton

Product details

• Aspect Ratio ‏ : ‎ 1.33:1
• Is Discontinued By Manufacturer ‏ : ‎ No
• MPAA rating ‏ : ‎ NR (Not Rated)
• Product Dimensions ‏ : ‎ 0.7 x 7.5 x 5.4 inches; 0.01 ounces
• Item model number ‏ : ‎ 806878445
• Director ‏ : ‎ George Sidney
• Media Format ‏ : ‎ Multiple Formats, NTSC, Closed-captioned, Color
• Run time ‏ : ‎ 1 hour and 47 minutes
• Release date ‏ : ‎ March 15, 2005
• Actors ‏ : ‎ Kathryn Grayson, Ava Gardner, Howard Keel, Joe E. Brown, Marge Champion
• Subtitles: ‏ : ‎ English, Spanish, French
• Producers ‏ : ‎ Arthur Freed
• Language ‏ : ‎ Unqualified, English (Dolby Digital 2.0 Mono), Spanish (Dolby Digital 2.0 Mono)
• Studio ‏ : ‎ Studio Distribution Services
• ASIN ‏ : ‎ B00004RF9K
• Writers ‏ : ‎ John Lee Mahin
• Country of Origin ‏ : ‎ USA
• Number of discs ‏ : ‎ 1
• #158 in Musicals (Movies & TV)
• #1,073 in Kids & Family DVDs
• #1,961 in Drama DVDs

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THEATER REVIEW: SHOW BOAT

THEATER REVIEW: SHOW BOAT; Classic Musical With a Change in Focus

By David Richards

• Oct. 3, 1994

In the popular consciousness, "Show Boat" is the great American musical about the tumultuousness of love, played out against the majestic Mississippi River and the big-shouldered city of Chicago.

Its characters -- Gaylord Ravenal, the rakish riverboat gambler in the top hat; Magnolia, the sweet innocent he marries, then deserts, and even Julie, the mulatto whose life spirals into the gutter after she is barred from the show boat -- have long passed for the most romantic of figures.

With the exception of "Ol' Man River," the most enduring songs in the score by Jerome Kern and Oscar Hammerstein 2d are those that explore love's first stirrings ("Make Believe"), love's tyranny ("Can't Help Lovin' Dat Man"), love's exquisite bliss ("You Are Love") and, of course, love gone wrong ("Bill").

So it may come as a jolt that Harold Prince's gloriously bold re-examination of the indestructible classic, which opened last night at the Gershwin Theater, is about something else: time and its inexorable ravages. No sooner has the Cotton Blossom docked at Natchez and a curious crowd gathered on the levee than Cap'n Andy (John McMartin) is introducing the members of his floating troupe as "one big happy family." Twenty scenes and three hours later, the full cast is back on that same levee, dancing a frenetic Charleston that seems to embody all the explosive forces that by then have torn the happy family asunder. Anyone looking for pure escapism had better look elsewhere; this "Show Boat" rides a river of deep disillusionment.

The cast members are never less than personable, and the starchy Elaine Stritch is, for all her gruff manner, positively endearing as Cap'n Andy's wife, Parthy. But if the singing is magnificent on nearly every front, it is the crushed-blue-velvet alto of Lonette McKee (Julie) and the volcanic bass of Michel Bell (Joe) that best express the production's brooding concerns.

A king-size budget and a cast of more than 70 have allowed Mr. Prince, still the undisputed master of the Broadway musical, to put together a sweeping panorama that embraces four decades (1887-1927) of American history, fashion and mores. His acute social conscience has prompted him, whenever and wherever possible, to emphasize the racial rift that runs the length of the musical like a fault line in an earthquake zone. But his abiding sense of life's capricious ironies is what really darkens the glittering stage pictures.

In such varied musicals as "Cabaret," "Follies," "Grind" and even "Kiss of the Spider Woman," show business has served as the distorting lens through which Mr. Prince views the world at large. It was probably preordained that he would eventually turn to "Show Boat," which was first wrested from Edna Ferber's sprawling novel in 1927. Since then, like no other American musical of its stature, the work has undergone substantial changes with each successive incarnation. (Hollywood, not to be outdone, has had its way with the piece on three occasions.). Borrowing from here and there, Mr. Prince has built the current version pretty much from the ground up.

From the 1936 film version, for example, he has taken "Mis'ry's Comin' Aroun'," the dour song of presentiment that Queenie (Gretha Boston) voices early in the first act. Scotching the usual second-act opening -- Gaylord and Magnolia drinking in the marvels of the 1893 World's Fair in Chicago as they sing "Why Do I Love You?" -- he replaces it with a scene in which Magnolia gives birth to a daughter, Kim. He then hands the number over to Ms. Stritch, who barks it out with captivating tenderness to the newborn child. And instead of accentuating the reconciliation of Gaylord and Magnolia at the show's end, as does the rapturous 1951 film, Mr. Prince puts the focus instead on Kim (Tammy Amerson), a rising Broadway star by this point, and her madcap dancing friends.

The choppy second act has never been a miracle of plotting. But Mr. Prince and Susan Stroman, his gifted choreographer, fill in a lot of the blanks with two pantomimed montages. The first traces Gaylord and Magnolia's ruinous days together in Chicago. The second, a dazzling 21-year flash forward in the life and customs of the country, is a virtual March of Time newsreel, sumptuously costumed by Florence Klotz. Through it wanders Joe, a far more benign presence than the emcee in "Cabaret," perhaps, but like him, a disconcerting herald of upheavals to come.

The very fluidity of Mr. Prince's staging lends an inevitability to events that don't possess it on their own. By making "Show Boat" less episodic, he invariably makes it a sadder, wiser musical. Three generations of friends and family gather on the Cotton Blossom for the finale, but given the pain they have caused one another over the years and the losses they have suffered, only a committed optimist would consider it a happy reunion. In this production, in fact, the last word belongs to a slightly crazed old lady (Sheila Smith), who still remembers Gaylord and Magnolia's wedding celebration on that very spot and blindly congratulates them on how well the marriage turned out.

Indispensable to Mr. Prince's fatalistic vision is the work of the scenic designer, Eugene Lee, and the lighting designer, Richard Pilbrow. The sets are not just the stuff of the wide screen; they supplant one another cinematically, so that the dramatic action is rarely impeded. Take Mr. Bell's potent rendition of "Ol' Man River," which starts out on the sleepy levee. By the time the chorus joins in, he's standing before a backdrop of cotton fields at harvest time. Then, once the song is over, the field hands rebelliously rip down the backdrop to reveal the kitchen pantry of the Cotton Blossom detaching itself from the show boat and gliding downstage for the next scene. Many of the set changes are effected by the black members of the large chorus, tugging on ropes or putting their shoulders to massive pieces of scenery -- a continuing reminder of who is saddled with the dirty work in this society. At the height of New Year's Eve merriment in the second act, several white couples waltz giddily behind a curtain of multicolored streamers. Suddenly, the streamers flutter to the ground and a crew of black sanitation workers materializes to sweep up what is now refuse. In the wink of a drunken eye, an image of privileged abandon has been replaced by one of morning-after servitude.

Mr. Prince also knows when to do nothing at all. Gaylord and Magnolia (Mark Jacoby and Rebecca Luker) sing the exultant "You Are Love" on the top deck of the Cotton Blossom, with only the full moon and a dusting of stars as their witnesses. While the two performers can't always conceal the cardboard nature of their characters, locked in a tight embrace in the inky night they are the essence of full-bodied passion. (The moment may be reminiscent of "The Phantom of the Opera," but a director is permitted to borrow from himself.)

Likewise, Ms. McKee is at her most bewitching in stillness. Slumped beside an upright piano in the Trocadero nightclub, clutching a silk wrapper about her wasted frame, she pours both her languor and her pain into "Bill." The cleaning staff can't help stopping to watch. Ms. McKee, who played the role in the 1983 Houston Grand Opera production, has since acquired something she didn't have back then: the luster of a genuine star.

It is mainly in its lighter, comic aspects that this production is least successful. "Show Boat" paved the way for the serious Broadway musical, but it still pays allegiance to the old-fashioned high jinks of vaudeville and early musical comedy. When rowdy customers disrupt the melodrama on the Cotton Blossom's stage, Cap'n Andy is obliged to assume all the parts and act out the ending. Mr. McMartin, whose blond wig and flutey voice suggest a distressing kinship with the nightclub comic Rip Taylor, isn't up to the shtick. Joel Blum dances with acrobatic eccentricity, but otherwise the effervescence he and Dorothy Stanley bring to the roles of the secondary lovers, Frank and Ellie, is the most conventional kind. Mr. Prince may even find the characters a little foolish.

After all, in what amounts to a major reappraisal of the work, the fabled glamour of the show boat is merely a trick of makeup and footlights. Life on and off the wicked stage is hard. And time and the river keep rolling along. SHOW BOAT Music by Jerome Kern; book and lyrics by Oscar Hammerstein 2d; based on the novel by Edna Ferber; directed by Harold Prince; assistant to Mr. Prince, Ruth Mitchell; choreography by Susan Stroman; production design by Eugene Lee; costumes by Florence Klotz; lighting by Richard Pilbrow; sound by Martin Levan. Presented by Livent (U.S.) Inc. At the Gershwin Theater, 222 West 51st Street, Manhattan. WITH: John McMartin (Cap'n Andy), Elaine Stritch (Parthy), Rebecca Luker (Magnolia), Lonette McKee (Julie), Mark Jacoby (Gaylord Ravenal), Michel Bell (Joe), Joel Blum (Frank), Dorothy Stanley (Ellie), Gretha Boston (Queenie), Tammy Amerson (Kim) and Sheila Smith (Old Lady on the Levee and Mother Superior).

• The Enduring Relevance of Show Boat
• 1946 Broadway Revival
• 1951 Motion Picture
• 1959 Studio Cast Recording
• 1962 Studio Cast Recording
• 1966 Lincoln Center Revival
• 1988 Studio Cast Recording
• 1994 Broadway Revival
• 1927 Original Broadway Production
• 1928 West End Premiere
• 1932 Broadway Revival
• 1936 Motion Picture
• 1943 West End Revival
• 1971 West End Revival
• 1983 Broadway Revival
• 2016 West End Revival

(Selected songs from the original Broadway production and subsequent revivals of Show Boat )

Cotton Blossom

Captain Andy’s Ballyhoo

Where’s the Mate for Me?

Only Make Believe

Ol’ Man River

Can’t Help Lovin’ Dat Man

Life Upon the Wicked Stage

Till Good Luck Comes My Way

I Have the Room Above Her

I Might Fall Back on You

Queenie’s Ballyhoo

You Are Love

Act I Finale (Wedding Scene)

At the Fair

Why Do I Love You?

Bill (Lyrics by P.G. Wodehouse and Oscar Hammerstein II)

Dance Away the Night

I Still Suits Me

Finale: Ol’ Man River

• ← Rodgers & Hammerstein
• Flower Drum Song
• Me and Juliet
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• A Connecticut Yankee
• Babes in Arms
• I Married an Angel
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• On Your Toes
• The Boys from Syracuse
• The Garrick Gaieties
• ← Other Rodgers Works
• Androcles and the Lion
• Do I Hear A Waltz?
• I Remember Mama
• ← Other Hammerstein Works
• Carmen Jones
• The Desert Song
• The New Moon

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Rings of Power star lands next lead movie role in UK-set biopic

The film tells the story of Tourette's campaigner John Davidson.

The Lord of the Rings: The Rings of Power star Robert Aramayo has landed his next lead movie role in UK-set biopic I Swear .

Marking the first feature film in eight years for director Kirk Jones, I Swear tells the story of Tourette's Syndrome campaigner, John Davidson. Principal photography recently wrapped in Scotland (via Variety ).

Aramayo will play Davidson in the film, which explores the campaigner's journey with Tourette's during his troubled teenage years and early adulthood.

Davidson was diagnosed with the condition at 15 years old in 1980s Britain, a time when Tourette's was misunderstood.

Related: Best movie box sets to buy

"Targeted as insane by his peers, Davidson lives with a condition few have ever witnessed, as he attempts to live a 'normal' life against the odds," reads the official logline for the film.

I Swear also stars Bridget Jones's Diary actor Shirley Henderson, Anne 's Maxine Peake and Ozark 's Peter Mullan, as well as individuals who live with Tourette's.

The film's production team have worked closely with the Tourette's community to effectively represent the condition on screen.

As well as directing, Jones also serves as a producer alongside Georgia Bayliff and Piers Tempest. The trio expressed their gratitude in a statement, saying: "It has been a pleasure and an honour to bring to life the story of John Davidson MBE.

"John lived with Tourette's at a time when it was misunderstood and he has spent his life trying to make sure those diagnosed today do not have to go through what he went through."

Related: Rings of Power star on repeatedly being cast in "creepy" roles

They continued: "Robert Aramayo could not have prepared or committed any more to the role and delivers a breath-taking performance, spending months with John in Galashiels.

"The team were determined to serve the story and deliver a film that captured the humour, emotion and drama of living with Tourette's. This unique project has been a privilege to work on for all crew, cast and production."

Aramayo played Young Elrond in the first season of Rings of Power in 2022. The show's second season premiered on Prime Video on Thursday (August 29).

In our review , Digital Spy praised season two's "clearer character development and generally more concise storytelling".

I Swear doesn't have a release date yet. The Lord of the Rings: The Rings of Power season 2 is streaming on Prime Video , with new episodes premiering on Fridays.

Read more Lord of the Rings news on our dedicated homepage

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Sara is an entertainment journalist who specialises in TV and film. After studying journalism at the University of Roehampton, Sara joined Digital Spy in 2023, writing news (and the occasional feature) on all things entertainment. She has also written for the culture desk at  The Evening Standard . A lover of all things TV and film, Sara can wax lyrical about everything from  Bridgerton  to  The Witcher . She can also recite entire episodes of New Girl ,  Brooklyn Nine-Nine  and  Parks and Recreation . In her spare time, Sara loves to knit, crochet and cross-stitch. Also a musical theatre aficionado, Sara counts Samantha Barks as one of her heroes and is a loyal fan of Jodie Comer.

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