SHOW BOAT [1951 / 2021] [Warner Archive Collection] [Blu-ray] [USA Release]
All Star Technicolor Spectacular Musical!
From novel by Edna Ferber to Broadway smash by Jerome Kern and Oscar Hammerstein, II to three film versions (1929, 1936 and 1951) to stage revivals. Like “Ol Man River” and “Show Boat” just keeps rollin’ along.
Produced by Arthur Freed and directed by George Sidney, this 1951 version of the saga of riverboat lives and loves has glorious stars Kathryn Grayson, Ava Gardner, Howard Keel, Marge and Gower Champion in Technicolor® radiance, a made-from-scratch 170-foot paddle wheeler, timeless songs and an equally timeless outcry against racial bigotry. This was music that would outlast Jerome Kern’s day and mine, Edna Ferber said in recalling her first reaction to hearing “Ol Man River.” She was right as rain.
FILM FACT No.1: Awards and Nominations: 1952 Academy Awards®: Nominated: Best Cinematography in Color for Charles Rosher. Nominated: Best Music, Scoring of a Musical Picture for Adolph Deutsch and Conrad Salinger. 1952 Directors Guild of America: Nominated: DGA Award for Outstanding Directorial Achievement in Motion Pictures for George Sidney. 1952 Laurel Awards: Win: Golden Laurel Awards for Top Male Musical Performance for Howard Keel. Win: Golden Laurel Awards for Top Male Character Performance for Joe E. Brown. Win: Golden Laurel Awards for Top Female Character Performance for Agnes Moorehead. 1952 Photoplay Awards: Win: Gold Medal for ‘SHOW BOAT.’ 1952 Writers Guild of America: Nominated: WGA Award (Screen) for Best Written American Musical for John Lee Mahin.
FILM FACT No.2: The 1951 ‘SHOW BOAT’ was the most financially successful of the film adaptations of the show: one of M-G-M's most popular musicals, it was the second-highest grossing film of that year. Sheila Clark, who played Kim, Frances E. Williams, who played Queenie, Regis Toomey, who played Sheriff Ike Vallon,] Emory Parnell, who played Jake Green, the Trocadero nightclub manager, and Owen McGiveney, who played Windy, were not billed either in the film or in poster advertising for it. The three additional songs that Jerome Kern and Oscar Hammerstein, II wrote especially for the 1936 film version were not used in the 1951 film. According to George Sidney, M-G-M executives wanted Dinah Shore to play Julie. George Sidney tested Dinah Shore but she "wasn't right" according to the director. So George Sidney tested Ava Gardner miming to a Lena Horne track and Ava Gardner was cast. The full-scale stern-wheeler constructed on the Backlot Lake was sold off at the M-G-M property auctions for $15,000 dollars in 1970.
Cast: Kathryn Grayson, Ava Gardner, Howard Keel, Joe E. Brown, Marge Champion, Gower Champion, Robert Sterling, Agnes Moorehead, Leif Erickson, William Warfield, Boyd Ackerman (uncredited), Bette Arlen (uncredited), Mary Bezemes (uncredited), Chet Brandenburg (uncredited), Carol Brewster (uncredited), Peter Camlin (uncredited), Sue Casey (uncredited), Chick Chandler (uncredited), Linda Christian (uncredited), Sheila Clark (uncredited), John Crawford (uncredited), Frank Dae (uncredited), Nova Dale (uncredited), Roy Damron (uncredited), Anne Dore (uncredited), Michael Dugan (uncredited), Marietta Elliott (uncredited), Lisa Ferraday (uncredited), Bess Flowers (uncredited), George Ford (uncredited), Robert Fortier (uncredited), Dan Foster (uncredited), Mary Jane French (uncredited), William Hall (uncredited), Len Hendry (uncredited), Earle Hodgins (uncredited), Shep Houghton (uncredited), Tom Irish (uncredited), Claude Jaeger (uncredited), Joyce Jameson (uncredited), Michael Jeffers (uncredited), Adele Jergens (uncredited), Edward Keane (uncredited), Helen Kimbell (uncredited), Marilyn Kinsley (uncredited), Fuzzy Knight (uncredited), Judy Landon (uncredited), John Phillip Law (uncredited), Norman Leavitt (uncredited), Meredith Leeds (uncredited), George Lynn (uncredited), Ian MacDonald (uncredited), Alice Markham (uncredited), Maurice Marks (uncredited), Alphonse Martell (uncredited), Owen McGiveney (uncredited), Louis Mercier (uncredited), Ida Moore (uncredited), Anna Q. Nilsson (uncredited), Emory Parnell (uncredited), Gil Perkins (uncredited), James Pierce (uncredited), Tao Porchon (uncredited), Allan Ray (uncredited), Charles Regan (uncredited), Al Rhein (uncredited), Mitchell Rhein (uncredited), Suzanne Ridgway (uncredited), Bert Roach (uncredited), Joseph Roach (uncredited), Robert Robinson (uncredited), Jean Romaine (uncredited), Harry Seymour (uncredited), George Sherwood (uncredited), Carl Sklover (uncredited), Bob Stebbins (uncredited), William Tannen (uncredited), Regis Toomey (uncredited), Dee Turnell (uncredited), Dorothy Tuttle (uncredited), Mitzie Uehlien (uncredited), Annette Warren [Julie LaVerne singing voice] (uncredited), Frank Wilcox (uncredited), Lyn Wilde (uncredited), Frances E. Williams (uncredited) and Marjorie Wood (uncredited)
Director: George Sidney
Producers: Arthur Freed, Ben Feiner Jr. and Roger Edens (uncredited)
Screenplay: John Lee Mahin (screenplay), Jerome Kern (based on the immortal musical play "Show Boat"), Oscar Hammerstein II (based on the immortal musical play "Show Boat") and Edna Ferber (novel)
Composers: Adolph Deutsch (uncredited) and Conrad Salinger (uncredited)
Choreographer: Robert Alton
Costumes: Walter Plunkett
Cinematography: Charles Rosher, A.S.C. (Director of Photography)
Image Resolution: 1080p (Technicolor)
Aspect Ratio: 1.37:1
Audio: English: 2.0 DTS-HD Master Audio
English: 1.0 DTS-HD Master Mono Audio
Subtitles: English
Running Time: 107 minutes
Region: All Regions
Number of discs: 1
Studio: Metro-Goldwyn-Mayer / Warner Archive Collection
Andrew’s Blu-ray Review: ‘SHOW BOAT’ [1951] opens with the arrival of Captain Andy Hawks [Joe E. Brown] menagerie in a small Mississippi backwater. The Captain’s wife, Parthy Hawks [Agnes Moorehead] is a stern manager, overseeing the troop while keeping a watchful eye on her husband who has a penchant for drink and flirtations with girls. The show boat’s arrival is greeted with excitement by the locals who race down to the docks to catch a glimpse of the spectacle unfolding along the water’s edge. However, when a fistfight between handsome leading man, Steven Baker [Robert Sterling] and the boat’s engineer, Pete [Leif Erickson] breaks out during Frank Schultz [Gower Champion] and Ellie May Shipley [Marge Champion] buck n’ wing, Captain Andy Hawks dismisses Pete without question, putting into play a series of events to destroy two lives. For Steven Baker is very much in love with Julie LaVerne [Ava Gardner], the sultry dramatic star who, it is later discovered, is from mixed parentage – miscegenation (a mixing of the races) illegal in the state. Forced to choose, Steven Baker takes Julie LaVerne away, the pair, skulking off in the middle of the night, leaving Captain Andy Hawks show without a viable couple to perform the pivotal dramatic skit in his travelling show.
Enter the utterly charming, Gaylord Ravenal [Howard Keel] who offers up his services while flirting with the captain’s juvenile daughter, Magnolia Hawks [Kathryn Grayson]. Parthy Hawks is dead set against employing Gaylord Ravenal or allowing Magnolia Hawks to assume Julie LaVerne’s dramatic role as it includes the sensation of an on-stage kiss between its two principles. Captain Andy Hawks quells Parthy Hawks concerns by altering the scene so the kiss will be administered cordially on the hand rather than on the lips. However, as the show boat steams on through its series of engagements, the sketch featuring Gaylord Ravenal and Magnolia Hawks becomes its centrepiece; Gaylord Ravenal frequently inserts chaste kisses on the cheek, before securing a delay in Parthy Hawks arrival to the theatre one night, and thus using the opportunity to ravage Magnolia Hawks rather intensely on the lips. The crowd loves it, and indeed, so does Magnolia Hawks who begins a romance with Gaylord Ravenal under Captain Andy Hawks’s watchful eye. When Parthy Hawks discovers the lover’s embraced on the Cotton Blossom’s moonlit deck after hours, Captain Andy Hawks orders Gaylord Ravenal off for good. In reply, Gaylord Ravenal proposes to Magnolia Hawks who accepts him and the couple leaves the show boat together.
Gaylord Ravenal’s past profession is as a gambler. Now, he reverts to his old ways, winning enough to spend quite lavishly and furnish his new bride with a very good time. This tide of luck, however, is extremely fickle and not to last. The streak seemingly broken for good, the couple pares down their lifestyle. Magnolia Hawks encourages Gaylord Ravenal to remain true to himself. Magnolia Hawks stands beside him, even as he falters and lands them both into extreme debt. Ashamed of the financial ruin brought upon them both, Gaylord Ravenal elects to abandon Magnolia Hawks in Chicago. There, a tearful Magnolia Hawks is discovered by Ellie and Frank who are in town to entertain at the Trocadero. Recognizing how badly Magnolia Hawks needs a job, Frank Schultz [Gower Champion] and Ellie May Shipley [Marge Champion] take her with them to the open auditions. The Trocadero’s Stage Assistant [Chick Chandler] is having a rough time keeping his star attraction, Julie Laverne sober. Indeed, Julie LaVerne’s bittersweet rendition of “Bill” brings down the house. But when she spies Magnolia Hawks from the wings, Julie LaVerne nobly withdraws, allowing Magnolia Hawks to replace her. On New Year’s Eve, Magnolia Hawks suffers an acute attack of stage fright. The inebriated crowds are unkind. But Magnolia Hawks confidence is bolstered by the sight of her tipsy father who has come to the Trocadero with a gaggle of friends to ring in the New Year, quite unaware his daughter is part of their floor show. Afterward, Magnolia Hawks confides in her father, she is with child – her secret never revealed to Gaylord Ravenal for fear it would have upset him.
Returning to the Cotton Blossom, Magnolia Hawks gives birth to Kim Ravenal [Sheila Clark]. From here, director George Sidney’s narrative devolves into a montage spanning five-years in a matter of moments. Kim Ravenal, now a little girl aged 4, and Gaylord Ravenal, slowly to reclaim his fortunes as a gambler, aboard various floating river palaces. A chance meeting with Julie LaVerne – who has hit the skids and is being abused by her latest lover – alerts Gaylord Ravenal to the fact he has a daughter. The news is humbling and Gaylord makes his journey back to the Cotton Blossom where he discovers young Kim Ravenal playing with her dolls on the docks. Moved to engage the child in polite conversation without divulging his paternity to her, Gaylord Ravenal learns Kim Ravenal has been named ‘geographically’ – for being born somewhere in the middle of Kentucky, Illinois and Missouri. From the Cotton Blossom’s balcony, Magnolia Hawks spies “father and daughter” together and makes her presence known to Gaylord Ravenal. Given the circumstances of their separation, Magnolia Hawks harbours no ill will, and, in fact, reveals how much Magnolia Hawks still is in love with him. On board the Cotton Blossom, Captain Andy Hawks looks on approvingly, miraculously, Parthy Hawks too – who playfully chides her husband for his predilection for strong drink before encouraging him to cast off for their next port. As Gaylord Ravenal and Magnolia Hawks embrace on the decks of the Cotton Blossom – presumably to resume their relationship – a darkened figure emerges from the shadows on the docks; Julie – aged well beyond her years, with tears of satisfaction majestically caught in the glint of evening sunset as the Cotton Blossom pulls away from port, tragically, with no happy ending in store for her.
‘SHOW BOAT’ has some very dramatic tale of racism and toxic relationships works well as a narrative story, but the real reason to come to this film is for the musical numbers and an area where this film really delivers. From the opening “Cotton Blossom” number to big showstoppers like “Make Believe” and “I Might Fall Back On You,” this film really soars. This was a production made by people that know how to properly execute a musical, and the kinetic sequences filled with a plethora of dancers wash over you in waves. Not every moment needs to be “the most” to get to the heart of the matter. Perhaps the pinnacle of the film comes fairly early on when William Warfield’s Joe makes the most of his diminished role with his stirring rendition of “Old Man River” that will have you floating. This moment is so minimal, but so very effective. This production makes good use of its talented ensemble cast including Joe E. Brown and Agnes Moorehead as Magnolia’s parents. The story may be a bit sanitized and sculpted to fit with the morality of the 1950’s, but the narrative is just as stirring and engrossing as ever. ‘SHOW BOAT’ is one heck of a musical.
What really makes M-G-M's ‘SHOW BOAT’ a winner for me is the way the cast is utilized as part of the overall staging, as directed by George Sidney, with costumes by Walter Plunkett, gorgeous orchestrations by Conrad Salinger, and the lush Technicolor photography of Charles Rosher.
There are three key sequences which are so perfectly staged and orchestrated that they never fail to bring tears to my eyes: The opening appearance of the Cotton Blossom, with the chorus performing as the boat pulls into the dock; William Warfield singing "Ol' Man River" on a foggy morning as Ava Gardner and Robert Sterling leave the “Show Boat;” and the finale, with Kathryn Grayson and Howard Keel reunited on the “Show Boat” as William Warfield as Joe reprises "Ol' Man River" and Ava Gardner blows them a kiss to wish them bon voyage and good luck for the future.
SHOW BOAT MUSIC TRACK LIST
COTTON BLOSSOM (1927) (uncredited) (Music by Jerome Kern) (Lyrics by Oscar Hammerstein, II) [Played during the opening credits and sung in first scene] [Sung by Cotton Blossom chorus]
WHERE’S THE MATE FOR ME? (1927) (uncredited) (Music by Jerome Kern) (Lyrics by Oscar Hammerstein, II) [Sung by Howard Keel]
MAKE BELIEVE (1927) (uncredited) (Music by Jerome Kern) (Lyrics by Oscar Hammerstein, II) [Sung by Howard Keel and Kathryn Grayson]
CAN’T HELP LOVIN’ DAT MAN (1927) (uncredited) (Music by Jerome Kern) (Lyrics by Oscar Hammerstein, II) [Sung by Ava Gardner (dubbed by Annette Warren) and reprised by Annette Warren and Kathryn Grayson] [Banjo played onscreen by William Warfield; guitar and harmonica played onscreen by unknown musicians]
I MIGHT FALL BACK ON YOU (1927) (uncredited) (Music by Jerome Kern) (Lyrics by Oscar Hammerstein, II) [Sung and Danced by Marge Champion and Gower Champion]
CAKEWALK (1927) (uncredited) (from the "Act I Finale") (Music by Jerome Kern) [Played by Cotton Blossom pit orchestra] [Danced by Marge Champion and Gower Champion in background during miscegenation sequence]
MIS’RY’S COMIN’ ROUND (1927) (partial) (uncredited) (Music by Jerome Kern) [Hummed by off-screen chorus]
OL’ MAN RIVER (1927) (uncredited) (Music by Jerome Kern) (Lyrics by Oscar Hammerstein, II) [Sung by William Warfield and off-screen chorus and reprised by William Warfield]
MONTAGE: MAKE BELIEVE (reprise) (Music by Jerome Kern) (Lyrics by Oscar Hammerstein, II) [Sung by M-G-M chorus during first montage sequence]
YOU ARE LOVE (1927) (uncredited) (Music by Jerome Kern) (Lyrics by Oscar Hammerstein, II) [Sung by Kathryn Grayson and Howard Keel]
WHY DO I LOVE YOU? (1927) (uncredited) (Music by Jerome Kern) (Lyrics by Oscar Hammerstein, II) [Sung by Kathryn Grayson and Howard Keel]
BILL (1927) (uncredited) (Music by Jerome Kern) (Lyrics by Oscar Hammerstein, II and P.G. Wodehouse) Sung by Ava Gardner and dubbed by Annette Warren]
CAN’T HELP LOVIN’ DAT MAN (1927) (uncredited) (Music by Jerome Kern) (Lyrics by Oscar Hammerstein, II) [Sung by Kathryn Grayson and reprised by Kathryn Grayson]
C’MON FOLKS (1927) (uncredited) (Music by Jerome Kern) [Played as background music for acrobats during New Year's Eve sequence]
LIFE UPON THE WICKED STAGE (1927) (uncredited) (Music by Jerome Kern) (Lyrics by Oscar Hammerstein, II) [Sung by Marge Champion and Danced by Marge Champion and Gower Champion]
AFTER THE BALL (1892) (uncredited) (Written by Charles Harris) [Sung by Kathryn Grayson and Trocadero audience
AULD LANG SYNE (1788) (uncredited) Traditional Scottish 17th century music (Lyrics by Robert Burns) [Sung by the New Year's Eve crowd]
CAKEWALK (reprise) (1927) (uncredited) (from the "Act I Finale") (Music by Jerome Kern) [Played by Cotton Blossom pit orchestra] [Danced by Marge Champion and Gower Champion in background during miscegenation sequence]
MIS’RY’S COMIN’ ROUND (1927) (partial) (uncredited) (Music by Jerome Kern) [Hummed by off-screen chorus]
OL’ MAN RIVER (1927) (uncredited) (Music by Jerome Kern) (Lyrics by Oscar Hammerstein, II) [Sung by William Warfield and off-screen chorus]
MONTAGE: MAKE BELIEVE (reprise) (Music by Jerome Kern) (Lyrics by Oscar Hammerstein, II) [Sung by M-G-M chorus during first montage sequence]
YOU ARE LOVE (1927) (uncredited) (Music by Jerome Kern) (Lyrics by Oscar Hammerstein, II) [Sung by Kathryn Grayson and Howard Keel]
WHY DO I LOVE YOU? (1927) (uncredited) (Music by Jerome Kern) (Lyrics by Oscar Hammerstein, II) [Sung by Kathryn Grayson and Howard Keel]
BILL (1927) (uncredited) (Music by Jerome Kern) (Lyrics by Oscar Hammerstein II and P.G. Wodehouse) Sung by Ava Gardner (dubbed by Annette Warren)]
CAN’T HELP LOVIN’ DAT MAN (1927) (uncredited) (Music by Jerome Kern) (Lyrics by Oscar Hammerstein, II) [Sung by Kathryn Grayson]
C’MON FOLKS (1927) (uncredited) (Music by Jerome Kern) [Played as background music for acrobats during New Year's Eve sequence]
LIFE UPON THE WICKED STAGE (1927) (uncredited) (Music by Jerome Kern) (Lyrics by Oscar Hammerstein, II) [Sung and Danced by Marge Champion and Gower Champion]
AFTER THE BALL (1892) (uncredited) (Written by Charles Harris) [Sung by Kathryn Grayson and Trocadero audience
AULD LANG SYNE (1788) (uncredited) Traditional Scottish 17th century music (Lyrics by Robert Burns) [Sung by the New Year's Eve crowd]
MAKE BELIEVE (1927) (second reprise) (uncredited) (Music by Jerome Kern) (Lyrics by Oscar Hammerstein, II) [Sung by Howard Keel]
OL’ MAN RIVER [Finale Ultimo] (1927) (uncredited) (Music by Jerome Kern) (Lyrics by Oscar Hammerstein, II) [Sung by William Warfield and off-screen chorus]
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Blu-ray Image Quality – Warner Archive Collection presents us the film ‘SHOW BOAT’ and be prepared to be dazzled, as this Technicolor production sparkles with some of the most stunningly handsome 3-strip Technicolor photography known to man. The 1080p image is crisp throughout, and is enhanced with the standard cinema 1.37:1 aspect ratio. What we also get is some revealing a startling amount of richly saturated clarity, exquisite contrast, and, light smattering of film grain looking extremely indigenous to its source. On television monitors, the image is gorgeous. In projection, it gives the uncanny illusion of viewing a 35mm original negative, immaculately curated for our viewing pleasure. Charles Rosher's Oscar-nominated cinematography and gives new meaning to the overused term "eye candy." Every frame of this 70-year-old musical bursts with beauteous hues that run the gamut from bold, rich primaries to delicate pastels. Reds, pinks, purples, yellows, and pale greens all pop, but never look oversaturated, while the verdant greens of the Midwest landscape and a consistent crystal blue sky provide a lush backdrop for the lavishly costumed performers. Flesh tones occasionally look a tad rosy, but the makeup of the era tends to err in that direction. Close-ups are, in a word, breath-taking. The ones of Ava Gardner, even those when Julie looks haggard and downtrodden, are suitable for framing, and Kathryn Grayson looks stunning as well. Show Boat is proof-positive that no other studio photographed its leading ladies as lovingly as MGM, and here are a few noteworthy examples. So, kudos is in order here and thank you Warner Archive Collection. A million times and again – thank you!!!
Blu-ray Audio Quality – Warner Archive Collection brings us the film ‘SHOW BOAT’ with a restored and remastered 2.0 DTS-HD Master Audio, indicative of the original presentation which, after all, was presented in theatres in 1950 in mono. The two front channels make the orchestrations, dialogue, and effects feel more immersive and enveloping. A wide dynamic scale embraces all the highs and lows and handles all of Kathryn Grayson's trills and high C’s without a hint of distortion, and strong bass frequencies lend a lovely resonance to the robust tones of Howard Keel and Warfield. Atmospherics are slightly lacking, but sonic accents like fisticuffs and shattering glass are crisp, and all the dialogue is clear and easy to comprehend. The 1.0 DTS-HD Mono Audio track is equally good, but the centre-based sound somewhat dulls the aural experience...at least when compared head-to-head with the stereo track. Excellent fidelity and tonal depth bring the songs to life, and all the dialogue and effects are well rendered. Purists may prefer this presentation, which is just a bit more intimate and less grand than its stereo counterpart. Both are free of any age-related hiss, pops, or crackle, so you can't go wrong with either option. Which one you choose just might depend on your particular mood at the time of viewing.
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Blu-ray Special Features and Extras:
Audio Commentary with Director George Sidney: Director George Sidney tells some very interesting and fascinating anecdotes about the making of the film ‘SHOW BOAT,’ as well as what it was like to make films during the era of the Hollywood studio system and elaborates that at the start of the film that in 1927 when he was 10 year old his father took him to the opening night of “Show Boat” at the Ziegfeld Theatre that was a Broadway theatre located at 1341 Sixth Avenue, corner of 54th Street in Manhattan, New York City, and of course very ironic that George Sidney points out that never did he thought that 30 years later he would be directing the film ‘SHOW BOAT,’ and also a great fortune to direct this film with the classic Jerome Kern, Oscar Hammerstein, II and Edna Ferber film. ‘SHOW BOAT’ has had a long history with all kinds of stories, true and untrue that has been said. George Sidney points out that you are actually viewing the Mississippi River and it is the real thing, as it is the second-longest river in North America, where you get to view the M-G-M magic and not a green screen and in 1951 there were no paddle Steamboats left, and George Sidney wanted one built for the film and was told by Louis B. Mayer you can have anything you want and when you see the Cotton Blossom for the first time it was actually on the M-G-M backlot and when you see all the black people picking cotton, they were actual local people who wanted to be extras in the film. ‘SHOW BOAT’ has had a chequered career and has been made twice before an they were a total failure, the first ‘SHOW BOAT’ was a silent fil in 1927, then in 1936 they felt they wanted a much more extravagant film and was made by Universal Pictures, but because of legal problems of them owning the rights, they had to do a long drawn out legal battle so M-G-M could make their ultimate ‘SHOW BOAT’ film. Director George Sidney and producer Arthur Freed thought of the idea of remaking ‘SHOW BOAT’ and eventually went to the M-G-M studio head Louis B. Mayer, and asked then how much did they think the film would cost to make and George Sidney quoted $80,000 and then asked George Sidney how much would it cost to build the brand new Cotton Blossom and quoted the figure $100,000, but secretly had no idea how much it would actually cost to build the Cotton Blossom, but despite this, Louis B. Mayer gave the green-light towards the project. On top of all that informs us that it only took 28 days to film ‘SHOW BOAT,’ which George Sidney points out if the film was made today it would be totally impossible to make. The film cost $800,000 to make, a sizable amount in 1951. George Sidney went to Natchez, Mississippi to film scenes of townspeople rushing down to the levee to greet the show boat Cotton Blossom arrival and local residents were used as extras. On the M-G-M’s Lot 3, the lake was used for the Johnny Weissmuller Tarzan films, but doubled for the Mississippi river and of course be able to accommodate the Cotton Blossom. The Steamboat cost $100,000 to build and to save money, the production department wanted to build only half the boat but George Sidney demanded the entire Steamboat be built, but it turned out to be too small to accommodate the huge Technicolor camera, so a thirty-foot addition was tacked on. During production, two fires broke out on the Cotton Blossom vessel so the Cotton Blossom was moved into place by underwater cables and operated by two Sherman tank engines. When the film was finally finished, George Sidney was asked if he wanted to buy the Cotton Blossom, but informed that it would not fit in his swimming pool, and it was sold in the famous 1973 M-G-M auction to the owner of the Worlds of Fun amusement park in Kansas City, Missouri and relocated there for permanent display. George Sidney feels very sad in what has happened to the M-G-M backlot with all that green grass, but now it has all gone and been turned into a housing estate, where you can see men in their underpants drinking their six pack beer. George Sidney discusses Ava Gardner’s growing career at M-G-M and especially with her thick Southern accent, but with elocution over a very long training period, Ava Gardner was given a contract and became one of the M-G-M studio’s top stars and in the film, Annette Warren dubbed for Ava Gardner, but on the soundtrack recording, Ava Gardner herself sings. George Sidney dispels the rumour that Lena Horne was up for the role and George Sidney says Lena Horne was never considered. Other actresses, including Ginny Sims, Nanette Fabray, and Dinah Shore, were screen tested. Gower Champion contributed his ideas to the choreography for the two numbers he and wife Marge Champion performed. Gower Champion had an interest in directing and George Sidney sponsored him to become a member of the Directors Guild. Gower Champion went on to direct TV programs and later on, Broadway shows, including “Hello, Dolly!” George Sidney has been asked many times why they do not make any more Hollywood musicals, and says to these people, how long have you got, and points out that there are no more Jerome Kern’s, Oscar Hammerstein’s, George Gershwin’s, Cole Porter’s, Rogers and Hart’s, Rogers and Hammerstein’s, Johnny Mercer’s, and Harry Warren’s, because they all wrote great great music and George Sidney feels he was born at the right time to be able to work and be involved with all these creative and talented people. George Sidney is frequently asked was there one film he would have loved to have directed, and replies that he would of loved to direct the film ‘Tale of Two Cities,’ but not as a musical, but with a composed film track, especially by Rogers and Hammerstein, who George Sidney rumoured to them that he might be directing this film and wanted them on-board, and of course when they heard this Rogers and Hammerstein were very keen to get involved, but as always, due to circumstances the project had to be abandoned. George Sidney speaks about the long creative process of moviemaking and the collaborative efforts of a talented team. A director lives with the film for months, not knowing how an audience will react until the first screening. George Sidney “gets a glow when it works” and hoped the audience would react as hoped. George Sidney hopes now with modern technology in bringing films out with pristine prints that they can bring more classic Hollywood films out and is hoping in 100 years people will still want to see these films or will they look at the clothes the actors wear and think the costumes look totally ridiculous and with really silly styles. One thing that George Sidney really hates and irritates him with the general public, the obsession with their mobile phone and wanting to take ridiculous amount of pointless photographs, which I totally agree with George Sidney 100%. When George Sidney was 14 years of age, he would stand in front of the M-G-M steel gates and for 35 years actually worked for M-G-M and made many happy films plus lots of short subject films, and directing ‘SHOW BOAT’ was the happiest experience of his working career. We find out Joe E. Brown was previously an acrobat artist and worked with another acrobat who use to throw each other around, but sadly his partner started to experience very bad eye sight and eventually kept dropping Joe E. Brown, so in the end felt becoming an actor was the much safer career option. George Sidney talks about the actress Kathryn Grayson and at the time of the audio commentary says this actress is very big in Australia and that Howard Keel also at the same time was a massive big favourite in England. George Sidney talks about the dangers of gambling excessively, especially getting into debt and says it is a disease, and also the situation of drinking too much alcohol and becoming an alcoholic or if you smoke too much to the point of damaging your lungs, and so in life the mantra is everything in moderation is the best option. George Sidney loved the 35 years at M-G-M directing films, as the people in charge of the M-G-M studio gave him loads of encouragement to direct films and not to worry too much about costs in making the films and that is how things were like in Hollywood at the time, which of course today it is now totally the opposite where budgets and other stuff is strictly controlled. George Sidney talks about how he feels about directing a film and says a film is like an affair, you take it in, you fall in love, you put the pieces together, you print it, you put the music together, you get the right combination, and at last you think you have the right combination, and especially with the actors, you get the script and you work on the script and make it sound the way the characters would talk, and would react in a certain situation, and that is the way you shoot a picture. Small minded critics at the LA Times said that they had slapped black make-up on Ava Gardner, and George Sidney is very angry about this false accusation and says you can see Ava Gardner is totally natural and those negative critics had never watched the film, and feels the American press is very frivolous and do not report accurately, especially with anything to do with show business, and it is very sad that the truth is the last thing they want to report. When you see the drunk Ava Gardner goes up to the bar and asks for a straight Bourbon, well sales of that drink really shot up and was very successful with the general public after seeing the film. As we get near to the end of the film, George Sidney gives his lasting comments about the film, in saying it is all make believe, in saying it is all make believe, and isn’t make believe wonderful, and Oscar Hammerstein said, “With the song “Ol’ Man River,” if you haven’t got a dream, how can a dream come true.” George Sidney says that is it with the end of the film and we did not have to end the picture with lots of chorus of boys and girls, or the camera running up and down, and in and out, but there is a story of heartbreak, bitter sweet if you like, love story, and we just hope it will go on forever and there it foes down the river the old Cotton Blossom and it is not the end, but the start of a new life, a new era. And there ends the amazing audio commentary by director George Sidney and it is totally fascinating and totally full of wonderful anecdotes that holds your attention throughout the whole film and definitely gets a top five star rating from me.
Special Feature: ‘Till The Clouds Roll By’ – Stage performance of “Show Boat” Excerpt [1946] [1080p] [1.37:1] [15:29] On the 27th December, 1927 the curtain went up on the most exciting night of Jerome Kern’s life – the opening of his immortal ‘SHOW BOAT’ and there we join Jerome Kern and the film is about the fictionalized biopic of composer Jerome Kern, who was portrayed by Robert Walker. ‘Till the Clouds Roll By’ is an American Technicolor musical film produced by Metro-Goldwyn-Mayer. Jerome Kern was originally involved with the production, but died before it was completed. It has a large cast of well-known musical stars of the day who appear performing Jerome Kern's songs. Six songs from the show are sung by the likes of Tony Martin, Kathryn Grayson, Judy Garland, Virginia O’Brien, Lena Horne, and Frank Sinatra and Esther Williams makes a cameo appearance. This is a really lovely addition and let’s hope Warner Archive Collection will add the film ‘Till the Clouds Roll By’ to a future Blu-ray release.
Special Feature: "Can't Help Lovin' Dat Man" Ava Gardner's Vocals [Audio only] [1951] [1080p] [1.78:1] [5:00] Here we actually get to hear Ava Gardner perform the song "Can't Help Lovin' Dat Man" and to think Ava Gardner was not trained as a singer, and I feel her vocals were good enough to be actually used in the film ‘SHOW BOAT.’ Ava Gardner was lip-synced to the audio tracks during shooting and was dubbed by Annette Warren. If you are keen to see Ava Gardner singing "Can't Help Lovin' Dat Man" to her own vocal track, check out ‘That's Entertainment III’ Blu-ray disc, which combined the video and audio for the first time.
Special Feature: “Bill” Ava Gardner's Vocals [Audio only] [1951] [1080p] [1.78:1] [3:25] Here once again we actually get to hear Ava Gardner perform the song "Bill" that brims with emotion and is laced with a world-weary smokiness that suits the character of Julie. On top of all that, it is a total treat to hear these two rare audio tracks. All in all, it is joy to be able to hear these two rare audio recordings of Ava Gardner.
Special Feature: ‘SHOW BOAT’ Lux Radio Theater Broadcast [Audio only] [1952] [1080p [1.78:1] [50:50] The Hollywood Radio Theater broadcast this adaptation of ‘SHOW BOAT’ that was broadcast on the 11th February, 1952 and here to celebrate the author Edna Ferber's best-selling novel “Show Boat.” This classic story is about love on the Mississippi River and features a celebration of the classic Hollywood American musical and features a star studded cast from the film ‘SHOW BOAT’ and they are Kathryn Grayson, Ava Gardner, Howard Keel, Marge Champion, Gower Champion, William Warfield and Jay C. Flippen who recreate their film roles, and though both the story and songs have to of course be are truncated, but despite this, there is emotional power and entertainment value the comes through, but the biggest attraction of this radio broadcast is hearing Ava Gardner sing both "Can't Help Lovin' Dat Man" and "Bill" for herself. Producer Arthur Freed and director George Sidney join host William Keighley for some scripted chatter at the end of the broadcast. Sadly you have to crank up the sound as it is not a very good recording.
Theatrical Trailer [1952] [1080i] [1.37:1] [4:00] This is the Original Theatrical Trailer for the film ‘SHOW BOAT.’ The trailer plays up the grand scope of the film and that it is a big Technicolor spectacle filled with classic songs. They announce that it is The Biggest Musical Metro-Goldwyn-Mayer EVER Made! And That means . . . The Biggest Show YOU’VE Ever Seen! ‘SHOW BOAT.’
Finally, ‘SHOW BOAT’ is precisely the sort of Hollywood musical extravaganza M-G-M could only produce for the mass market to the public as the epitome of chic good taste during its heyday. It teems with pageantry, spectacle and that ultra-sheen of spellbinding perfectionism for which Metro-Goldwyn-Mayer’s fantastic empire remains justly famous for. We get to view such lavish flamboyance of the grittier aspects of the ‘SHOW BOAT’ sordid tale. Indeed, and visually, the film tends to looks just looks absolutely amazing for a film released in 1951. ‘SHOW BOAT’ is equal parts flashy and emotional with really impressive musical numbers that dazzle in that special way that the best of old Hollywood can produce. There have been numerous versions of this production, but this one stands apart not only because of the vibrant Technicolor, but due to the shaping of the story to its bare essentials. Warner Archive Collection has provided this Blu-ray with a magnificent A/V presentation and a really great assortment of special features. This Blu-ray disc is a must-own for anyone who is even a passing fan of this film. ‘SHOW BOAT’ has total exuberance that really transforms this moment into nothing less than a total show-stopper. Very Highly Recommended!
Andrew C. Miller – Your Ultimate No.1 Film Aficionado
Le Cinema Paradiso
United Kingdom
