Joe E. Brown | Scott's Film Reviews-1,425 + Reviews posted so far!!!

Show Boat-1951

Director George Sidney

Starring Ava Gardner, Howard Keel, Kathryn Grayson

Scott’s Review #1,177

Reviewed September 14, 2021

Grade: A-

Show Boat (1951) is a liberal-slanted musical centering around racism. It mixes comedy and drama well while remembering it is meant to entertain audiences. But it never loses sight of the important message it’s portraying.

Ava Gardner, who stars, never looked more beautiful.

The picture is based on the 1927 stage musical of the same name by Jerome Kern and Oscar Hammerstein II, and the 1926 novel by Edna Ferber.

The vibrant colors, sentimental songs, and a very Southern flair make it a winner.

Kern and Hammerstein provide the score for this adaptation of their Broadway hit which adds authenticity.

My favorite song is the devastatingly poignant and haunting tune, “Old Man River” which is reprised at the end of Show Boat.

Julie LaVerne (Gardner) and Steve Baker (Sterling) are successfully married entertainers forced to leave the showboat Cotton Blossom when it becomes known that Julie is of mixed race.

Meanwhile, the captain’s daughter Magnolia (Kathryn Grayson) and gambler Gaylord Ravenal (Howard Keel) take over the act, fall in love, marry, and leave the boat for Chicago. There, they live off his gambling earnings, which dry up fast.

The ending of the film is not happy.

I love the tone of the film. It is a very big-budget production and it shows. Each number is belted out with gusto at the risk of feeling too uptight or stagey but regardless I fell for it hook, line, and sinker.

The grandness of the numbers was what got me and never more than with Julie’s big number “Bill”, a very emotional song.

Her other famous number, “Can’t Help Lovin’ Dat Man” isn’t so bad either.

They would have cast a black actress in a perfect world for authenticity’s sake. Someone like Dorothy Dandridge comes to mind and as wonderful as Gardner is this point gnawed at me throughout. The actress is caucasian though it could almost be the belief that she is of mixed race.

Nonetheless, Gardner also doesn’t sing her songs. Instead, they are sung by Annette Warren. I’m betting this is why she didn’t receive an Oscar nomination.

But, Show Boat isn’t all about Gardner. Showcasing a spectacular cast of black and white actors leads like Grayson and Keel are fabulous. I cared about their character’s trials and tribulations and wondered how much I found Grayson to resemble the legendary Judy Garland.

Supporting players like William Warfield as Joe must be mentioned. His rendition of “Old Man River” moved me. A bass-baritone singer and actor he makes the number quite simply and by far the best moment, musically and pictorially, in the film.

I could watch this scene on replay.

And Agnes Moorehead as Parthy Hawks or the resident bitch provides delicious comedy, intended or unintended.

Some are critical that the 1936 film version is superior and provides a grittier feel and I am conscious of that. I’ve never seen it but the 1951 version does have that Technicolor grandness.

Maybe I’ll check it out for a one-day comparison.

For a slice of southern-flavored showboatin’ check out Show Boat (1951). With a summery flavor, dancing, and superior photography, it is a good old time.

Oscar Nominations: Best Cinematography, Color, Best Music, Scoring of a Musical Picture

Some Like It Hot-1959

Director Billy Wilder

Starring Marilyn Monroe, Jack Lemmon, Tony Curtis

Scott’s Review #388

Reviewed March 26, 2016

Grade: A

Considered to be one of the best comedies ever made, Some Like It Hot is a funny, outlandish, yet controlled film, that never teeters too over the top or dives into outrageous camp, but rather is well written, well-acted, and contains great chemistry between the stars.

In a nutshell, it is a film where all elements come together just right. In film comedy, this is an infrequent event to happen. Rather, typically we are treated to formulas or retreads of past successes.

Some Like It Hot feels refreshing and brilliant.

The film was also monumental in paving the way to the eventual elimination of the hated Hays Code, which imposed many restrictions on American cinema from 1930 to 1968.

Some Like It Hot pushed the envelope in important ways, leading to a spike in creativity and art within the film industry that lasted mainly throughout the 1960s and 1970s.

For that, it is a masterpiece.

Down on their luck, broke, and needing work, Jerry and Joe (Jack Lemmon and Tony Curtis) are struggling jazz musicians seeking a meager existence in snowy Chicago. Having witnessed the St. Valentine’s Day massacre, they go on the run from the assailants, who have seen them, and pose as Josephine and Daphne, dressed in drag.

This leads to one humorous situation after another as they take the bus from Chicago to Miami with an all-girl musical band, a slumber party of sorts, led by boozy starlet Sugar Kane (played by Marilyn Monroe), who serves as the band’s vocalist and ukulele player.

Once arriving in sunny Miami “the girls” both find romantic entanglements, with Sugar and rich millionaire, Osgood Fielding III, with obvious comic antics ensuing. Josephine poses as a male Shell Oil Junior attempting to woo Sugar with his assumed riches in the oil business.

What makes Some Like It Hot work so well is that it does not go too far over the edge to make it seem campy, nor does it play it too straight. The balance is perfect, making the film rich with natural, fresh comedy.

Director Billy Wilder chose to film in black and white, avoiding Lemmon and Curtis looking ridiculous with colorful, bright makeup. This was toned down and muted so that it allowed for more believability.

Additionally, the subtle edginess of the film impresses me with each passing watch. Some Like It Hot got away with a lot in 1959, keeping in mind the restrictions, and that knowledge gives it a groundbreaking quality.

There is an air of homosexuality throughout and the final line is my favorite allowing for a thought-provoking interpretation.

When Daphne reaches her breaking point with Osgood’s romancing and yanks off his wig professing in a state of exasperation, “I am a man!!” only to hear Osgood’s startling reply of “Well, nobody’s perfect”, is clever dialogue.

Did Osgood know all along that Daphne was male? Will he marry ‘her’ anyway?

Who wouldn’t have blushed gazing at Monroe’s skin-colored and quite revealing outfit? It gave the impression that she was nude, and how funny is the physical comic timing of Lemmon and Curtis together.

Bumbling around in stockings, heels, and dresses, attempting to be feminine, but never really succeeding, making all the other characters think they truly were women is great.

Curtis was reportedly quite uncomfortable in drag and it shows on camera, but this works out well as it gives Josephine a natural awkwardness.

Lemmon went all out in his costumes and his energy comes across.

In my opinion not looking her best, slightly plump and tired looking, Marilyn Monroe still gives the film added life and charm, and who is not mesmerized viewing her on stage singing “I Wanna Be Loved By You”?

To think that Monroe died only three short years later is sad and an appreciation of her career in the final stages.

A risqué, laugh-out-loud, funny treat, Some Like It Hot resonates with me and did so with audiences upon release in 1959.

Comical, smart, and highly influential, the film is a must-see for fans of film comedy done honestly and free of standard cliché.

A blueprint for all smart comedies to follow.

Oscar Nominations: 1 win-Best Director-Billy Wilder, Best Actor-Jack Lemmon, Best Screenplay Based on Material from Another Medium, Best Art Direction, Black-and-White, Best Cinematography, Black-and-White, Best Costume Design, Black-and-White (won)