Show Boat

Dir. James Whale

113 Minutes

USA

1936

Starring: Irene Dunne, Allan Jones, Charles Winninger, Paul Robeson, Helen Morgan, Helen Westley

***/*****

A favorite film for director James Whale (and perhaps an odd one for those who only associate him with classic horror), the second of three film versions of Show Boat (the first a part-silent/part-talkie spectacle in 1929 (which is successful on what it technically attempts to be but little else) and the third in the early 50s) is an odd piece of work on the whole with many elements that make it worth checking out within parameters. 

The film spans about forty years, charting the life of Magnola (Irene Dunne, possibly miscast) from early days with her parents who operate a show boat (of which her mother refuses to let her act in the show), to her courtship and marriage with the roguish actor Gaylord Ravenal (a pretty bland Allan Jones),  her fall, her rise, and then the rise of her adult daughter Kim. The film mixes in music, both within the narrative and “acts-within-the-film” (one with Dunne in blackface), but most of it is fairly forgettable aside from the early, but show-stopping, rendition of “Ok’ Man River” by Paul Robeson. Robeson is here in a small role (with a song apparently acted to the picture to give him more to do), but his supporting work alongside Hattie McDaniel is a real highlight, especially in contrast with the rather dull foundational love story (of which never feels quite real, a complaint I had after seeing the earlier version). 

Dunne is a little miscast, mainly in the earlier scenes where she is supposed to be fairly young. And some of the her work during the first hour is a bit awkward to watch (not just the blackface sequence which is naturally always a little uncomfortable with the distance that we have today, but even some of her other musical moments—her shuffle during one number is quite odd). She gives her best work in the film during the middle section where one gets the sense she is able to be a bit more of herself (as opposed to under the old-age makeup in the final stretch). Supporting work by Charles Winninger is a real highlight, namely an extended sequence where he acts out the remaining bits in a play after the actors bail. He also brings some of the more emotionally satisfying moments as an initial champion of Magnolia and Gay.

Whale paces the first hour quite nicely, exploring the space of the show boat, the various communities,  cliques, and relationships (there is a sequence early on involving a mixed race marriage that works as a bit of a dramatic centerpiece at the start, though one wonders why these characters somewhat slip off after the scene), and he kind of luxuriates in the stage shows in what is oddly a kind of hang-on mode. The picture is almost more enjoyable before the mechanics of plots and narrative kick in, and in the second, more tiring hour one could long for the pleasures of simply being around these people. But alas. 

Whale’s visuals are really what to come for, and his unusual angles, camera movements, and attention to small detail are fully on display here to often amazing effects (the editing during the “Ol’ Man River’” sequence is also a highlight). It is a strange film on the whole, but pushes itself above its predecessor with far more memorable moments and a terrific style. Would not rank alongside my personal favorite of Whale (of whom I gladly keep ticking off items  in his filmography when I can), but it is a work that certainly makes me admire him even more as a film maker.

August 25th, 2019