Actuakers One of my all time favorites.

PodBill Just what I expected

Robert Joyner The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Raymond Sierra The film may be flawed, but its message is not.

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.

HotToastyRag While I've admittedly never seen the 1936 version, I love the remake of Show Boat. I probably won't give the original a chance, since I don't like Irene Dunne, and because I absolutely love the cast of the 1951 version. I can't imagine anyone else singing the beautiful and memorable songs.Joe E. Brown and Agnes Moorehead run a riverboat that produces musical shows during the stops, but they take care to keep their beautiful and talented daughter Kathryn Grayson away from the stage. Acting isn't a respectable profession, and heaven forbid their little girl get romantically involved with an actor! Ava Gardner and her husband Robert Sterling are the stars of the "Show Boat", but when the all-American theme of racism rears its ugly head, they find themselves in trouble. While docked in the South, the police arrest the married team for miscegenation, since Ava secretly has an African-American ancestor. Her husband stands by her, and all of a sudden, the boat is in need of two new leads. Joe and Agnes weaken and let their daughter sing. They also hire Howard Keel, a drifter and a gambler.And that's just the beginning! The story is as wonderful and haunting as Jerome Kern's songs; every time "Old Man River" plays during the opening credits, I get goosebumps and buckle up for a tear-filled evening. I absolutely love this movie; the only parts of it I dislike—and actually fast-forward—are the needless dance numbers with Marge and Gower Champion. If you cut those scenes out, it's a nearly perfect musical.In musicals, it's easy to focus on the songs and let the acting fall by the wayside, but in Show Boat, everyone pours their hearts into their performances, spoken or sung. Howard Keel and Kathryn Grayson are absolutely darling together, and when they sing "Make Believe" and "Why Do I Love You" together, it's hard to believe they didn't fall in love in real life. William Warfield sings the iconic "Old Man River", and Annette Warren's vocal dub of "Cain't Help Lovin' Dat Man of Mine" is such a perfect match to Ava Gardner's speaking voice, it's hard to believe she's been dubbed. Everyone who knows me knows I really don't like Ava Gardner, but she is absolutely fantastic in Show Boat. Even though she doesn't sing her own songs, her facial expressions and spoken scenes deliver so much realistic emotion; more than any other movie, she truly becomes the role. Hands down, it's the best performance of her career, so if you're a fan, don't miss this one!

Michael Scarlotti And my all-time favorite.First off: I have seen the 1936 version three times. It's great ... but it doesn't begin to match the magical 1951 remake. The '51 version is simply perfect in every way: visually, musically, acting, directing, editing ... you name it.In many ways, it plays like the greatest of the silent films, in that the drama is conveyed almost entirely through the facial expressions of the actors (especially during the many musical numbers). There are few dramatic speeches in this film, and it it packs a far greater emotional wallop because of it. This also serves to enhance the power of the dramatic dialogs when they do occur (Julie's confrontation with Gaylord). It's cinema distilled to its purest and most visceral form.I've enjoyed reading how several scenes were cut to pick up the pacing (the old woman's speech that serves as a catalyst to Nolie & Gay's reconciliation). When they suddenly rush together and embrace *without any explanations or apologies* the effect is emotionally overwhelming. It's got all the grand, sweeping passion that one could wish for in an ideal love affair, which theirs (in spite of their troubles) is. No further words are passed between them. Captain Andy & Parthy comment on it ("It's Saturday night again!"), as they board The Cotton Blossom in one another's arms. Julie's silent appearance in the final shot is both uplifting and heartbreaking. It's got to be one of most memorable images in motion picture history. I've seen this film at least a dozen times over the past 40 years, and have never been able to make it through the finale with dry eyes.By contrast, the ending of the 1936 version is far less emotionally satisfying. In that version, Julie is long gone from the story, and Nolie and Gay have grown old in the 20 years or so they've been apart. Even their "reconciliation" feels iffy (Gay has joined Nolie in her theater box to watch Kim perform, but after so many years apart, one doubts that things will progress any further).

froberts73 First of all, Kelly, who wrote the movie summary referred to the race issue noting something about 'whiteman'. Didn't know Paul Whiteman was in the movie.Another contributor, gent from the Tarheel State,as am I, noted that both Grayson and Gardner were from North Carolina. My wife met Ava's brother who ran a service station in the family home town.The two G's from our state helped make the movie a wonderful experience. Gardner, who is drop-dead gorgeous and Grayson who is drop-dead cute with a voice that puts many of today's vocalists to shame.The singing highlight, of course, was William Warfield's "Old Man River," but all of the music, and dancing were home runs.Howard Keel, with his perfectly coiffed hair, looks and acts like a man's man, and sells a song with gusto. (No relation to Gus Gusto).Credit also to Joe E. Brown, who was usually seen in 'B' movies exercising his tonsils in much the manner of Jerry Colonna. In this movie he showed a range of emotions few moviegoers knew he had. Did he actually play that bugle? Marge and Gower Champion were, as usual, a delightful dancin' duo. Eventually, they went to Splitsville a not pleasant affair.Oh, the boat itself was a show, an impressive craft.All in all, this MGM extravaganza was most enjoyable. Some of the critics are occupied with nit-picking, comparisons, and other who-shot-John stuff.As for me, I just sit back, watch, listen, enjoy. Let the other guy dissect.