Show Boat

Irene as Magnolia 

Release date 05.14.1936



“Fish got to swim and birds got to fly, I got to love one man till I die,
 can't help lovin' dat man of mine…”

Great turmoil in town: the showboat “Cotton Blossom” is going to land! The variegated troupe of artists pouring from the boat is headed by captain Andy Hawks (Charles Winninger) and his bossy wife Parthy (Helen Westely). The third member of this family is teenage daughter Magnolia (Irene) who meets gambler Gaylord Ravenal (Allan Jones), and instantly falls for him.

meeting Gaylord (Allan Jones) - and singing a duet with him

Magnolia's closest friend on the boat is leading lady Julie LaVerne (Helen Morgan) who gets in great trouble when an ex-friend out of jealousy denounces to the sheriff that she as a mulatto is married to a white man, which is against the state's law. Julie and her husband flee, and as things go Magnolia and Gaylord -looking for a ride on the boat to keep out of jail - take over the leads. No wonder this pair is a success because as lovers they play a couple in love,and soon the wedding bells are ringing and drowning out Parthy's strident protest.

ding-dong

Though he is deeply in love with his wife, Gaylord isn't reformed, and while Magnolia is giving birth to their first child, he is gambling. On a lucky streak he leaves the showboat with Magnolia and their little daughter Kim, and takes them to Chicago. But as we know lucky streaks are not for a lifetime, and after a couple of years Gaylord leaves his family hoping that they are better off without him.If he hoped that Magnolia would simply turn to her family again, he is all wrong. Instead she is determined to make a living for her daughter and herself singing… a lot more to tell, but that would be all spoilers and so I just won't!

Irene surrounded by three members of this wonderful cast:

 Paul Robeson, Hattie McDaniel and Helen Morgan

Sentiment, beauty, laughs, atmosphere, an absorbing plot and an “evergreen-heavy” score - all of this achieved by a wonderful cast under the firm direction of James Whale - who could ask for anything more? With the exception of the end, this 1936 filming of the musical by Jerome Kern and Oscar Hammerstein II based on Edna Ferber's novel, follows the stage production closely, no wonder considering the fact that the screenplay was written by Oscar Hammerstein II. Ten numbers from the original score were actually sung, four were especially written for the film. The cast is mainly consisting of actors and actresses who had on stage experience with “Show Boat” and they obviously knew their vehicle. In particular worthwhile watching is the first half of the film, the part which actually plays on the showboat. From Paul Robeson's pivotal interpretation of “Ol' Man River” to Charles Winninger's tour de force acting out all parts of the hilarious showboat play on his own, numbers like “Can´t Help Lovin' Dat Man” with Irene breaking into a shuffling and trucking step, or Magnolia's and Gaylord's first encounter ending in “Make Believe” - it's all there.

and the great Charles Winninger, here rehearsing a love scene

with our two leads

In the end the film gets a little bit hasty – director James Whale had to cut some scenes - and this shows. Regrettably, one scene which ended on the cutting floor was Gaylord and Magnolia singing “Why Do I Love You?” on a trip with an automobile. Of course Irene, already in the second half of her thirties, didn't look like a teenage girl anymore, but she emanates the air of youthfulness, something she accomplishes mainly through her way of moving. Magnolia is an interesting role with a wide range of emotions – no problem for Miss Dunne who knew this part back and forth. As you know by now, I have quite a weakness for Miss Dunne's singing voice, and once again she doesn't disappoint me, neither does the rest of the cast – Helen Morgan's touching version of “My Bill” certainly deserves an extra mentioning.

and that´s our lost chance of hearing "Why Do I Love You?"

Meritedly, this second screen adaptation of Show Boat – first filmed in 1929 as semi-talkie production, remade in 1951 by MGM as a Technicolor musical – made it to the list for preservation in the United States National Film Registry by the Library of Congress, but we are still waiting for an official DVD release, at least rather good TCM rips are around. Though the film is on YouTube, I highly recommend watching it on the biggest screen you have at hand – this film simply cries for a big screen.

Well, have a wonderful time visiting the “Cotton Blossom”!

The Age Of Innocence

Irene as Ellen Olenska

Release date 09.14.1934

“I'm not like these dear, kind people who want to help me. I want my freedom, Newland. I can't pretend…"
“Pretend?”
“Yes, that I'm like the other women over here. They never seem to feel any…need.
 …I'm one of those women who must have love…who must be loved.”
(Ellen - in the best scene of the whole film)

In a flashback Newland Archer (John Boles) tells his grandson about his love for Ellen Olenska (Irene) for whom he considered changing everything a long, long time ago…

Newland is engaged to May Welland (Julie Haydon) like him a member of New York's fin de siècle high society. This tradition centered community is entered by May's cousin Ellen who after living for a long time in Europe fled from her husband, and returned to her family seeks for a divorce now.

Ellen surrounded by her family

In the position of her legal adviser Newland gets the chance to talk her out of this, reminding her of the upcoming scandal and what this would mean for the rest of the family -there are more things to think about than Ellen's freedom and happiness. Nonetheless, Newland is touched by Ellen's honest directness and being different from all the other women in his surroundings, and slowly falls for her. Mixed up by these feelings he urges May to change her and her parents' plans and to marry as quickly as possible, which May interprets as a sign that he isn't sure about his love for her and offers to set him free. Something Newland declines thus dissipating May's hunch that he is interested in another woman.

For once alone...

For once alone, Ellen and Newland admit each other their love but only to be disturbed by a family uproar announcing the news that May persuaded her parents to hasten up the marriage.

Newland and May get married and embark for a long honeymoon in Europe. As soon as they are back they visit Granny Mingott (Helen Westley) who is kept company by Ellen. From the very first moment when they meet again it's obvious that nothing has changed between the two lovers. At one of their secret meetings at the Metropolitan Museum they decide to go to Washington together, but they make their plans without May and the relatives who started to get suspicious…

at the Metropolitan Museum...

Maybe if I wouldn't love Edith Wharton's novel of the same title on which this film is based, and wouldn't have watched the Scorsese filming of the “Age Of Innocence” a long time ago, I'd like this film better. But as things are, it's simply a bad filmization of that novel. The script deprives the story of all its delicately spun irony, its elegance and even its tragic moments, because the New York society Wharton portrays is one of unspoken dialogues, of undiscussed values and rules and certainly not as outspoken and direct as this film implies. This brings the story at the brink of not working at all because it's hardly understandable why these lovers can't be together. In the book this is all a lot more complicated and embroiled, which makes it understandable and not only an outlived, old-fashioned behavior. The utilization of a frame story in which the grandson in a similar situation decides just the opposite isn't helpful either. Bereft from all its subtlety the “Age Of Innocence” is simply an unhappy, weepy love story.

the last glimpse at Miss Dunne in this film...

Maybe even this could work - I can't say that I don't like a weepie now and then - if we would have a more competent leading man at hand. I complained about the handsome Mr. Boles in “Back Street”, but this time he really gets on my nerves in his one-dimensionality . Every time the miserable lovers meet, Mr. Boles looks at Irene like a wounded puppy, which obviously was meant to be tragic; added to this are corny violins in the background, which certainly is not Mr. Boles' fault, but that's just what I don't need having to face Mr. Boles in one of his emotional moments. Quite helpful once again are the supporting players who are around, especially Helen Westley as Granny Mingott - a real scene stealer - and Laura Hope Crews as May Welland's mother. Watching Irene's films the last couple of months I developed quite a liking for these two ladies.

Irene and the great Helen Westley - sharing an onscreen chuckle

This brings me to the lady for whom I'm around - Miss Dunne. Irene mainly gets me in this film - I have to admit this - with her looks. She radiates a warm, melancholy-trimmed, touching beauty, which is a real asset of this film and at last offers some depth and second layers to the goings-on. Her entrance - we have to wait ten minutes before she enters the screen - dressed up for a ball is glamorous and worthwhile waiting for. And there is Irene's lively, expressive face which once again made selecting the screenshots a real pleasure - certainly not my favorite film but good for wonderful photos. However, of course, Irene like the rest of the cast including Mr. Boles has to handle a weak, superficial script and they are not helped by the stiff and uninspired direction of Philip Moeller.

Irene as Ellen Olenska making an entrance and leaving an impression...

Well, it seems I don't like that film very much and what could I say about it?

Read the novel? That certainly would be an idea. And if you want merely to watch a good filming of it, turn to the Scorsese film from 1993 that by the way was nominated for an Academy Award for Best Adapted Screenplay.But if you are intrigued by Irene by now - and I kind of hope for that - switch “The Age Of Innocence” on - just to look at her.