Good start, but then it gets ruined

I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

The film never slows down or bores, plunging from one harrowing sequence to the next.

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).

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

It is the 1880s, and Captain Andy's paddle wheel boat, the Cotton Blossom, travels the Mississippi putting on shows. When the headliners, Julie (Ava Gardner) and Steve are forced to leave, the Captain's young daughter (Kathryn Grayson) and a handsome gambler (Howard Keel) take over the spotlight. When they, too, leave the show, they live on his winnings, but then his luck runs out.This wonderful Jerome Kern show has a dream cast and classic, unforgettable songs. The plot is more serious than most musicals, consisting of two tragedies; the first deals with racial discrimination and the second with love gone wrong. Grayson has a lovely operatic voice and is exquisite as the innocent girl who becomes sadder and wiser. Keel is dashing as her husband and Ava Gardner steals the show with her heartbreaking performance as the unfortunate Julie.The songs include "Make-Believe, "Can't Help Lovin' Dat Man," and the wonderful "Ol' Man River." The movie is filmed in dazzling Technicolor with lively dance numbers. Even though it's a tear-jerker, it's one of the best musicals MGM ever made.

I really liked this version of Show Boat. Some people negatively compare Ava Gardner with Helen Morgan, who played Julie in the 1936 film version as well as on Broadway, but I think Miss Gardner was fantastic. Her scene in the dressing room when she realizes Magnolia is on stage singing "Can't Help Lovin' Dat Man" was truly heartbreaking, especially when she starts drinking. Her "Bill" was also really quite moving (although dubbed by Annette Warren,) especially when she acknowledges that her ring finger no longer has a wedding ring on it. The 1936 version of the film is a real gem and should not be missed for Show Boat fans, but this version should not be dismissed either!