The 1936 film version is considered the classic version. Director James Whale (of Frankenstein and Gods & Monsters fame) directed this version with three of its original cast members: the legendary Helen Morgan as Julie LaVerne; Charles Winninger as Capt'n Andy and Paul Robeson (actually in the original London cast) as Joe. Film star Irene Dunne had toured in the road company of "Showboat" and brought her strong film presence to bear as Magnolia. Newcomer Allan Jones played the gambler, Gaylord Ravenal along with a scene-stealing Hattie McDaniel (Mammy from Gone with the Wind) as the irrepressible Queenie, Joe's wife. Film veteran Helen Westley is Parthy in a deliciously, sour performance.

Director Whale lovingly recreated 1880's Americana of the Mississippi and captures an almost gothic feel to it. Favorite sequences to watch for: Old Man River sung by Robeson (never better!) with some nice cinematic tricks to capture the tragedy of slavery; Can't Help Lovin' That Man sung by Helen Morgan with a delightful reprise by McDaniel and Robeson although Dunne's eye-rolling shuffle dance is a bit much for today's politically correct sensibilities (as is a later unfortunate musical number Gallivantin' Around she does on the showboat in blackface); an utterly charming Ah Still Suits Me duet sung by McDaniel and Robeson and finally Allan Jones' love ballad I Have The Room Above Her written just for the film and his poignant reprise of Make Believe as a lullaby as he abandons his daughter, Kim at the convent.

Morgan and Winninger's performances are spot on and you are watching historic performances at that. Morgan is a little too dispassionate in her acting for me but her frail, weak soprano when singing Bill is sublime. Tragically, her own alcoholic life mirrored that of the mulatto Julie and it is hard to watch her for this reason.

The script follows the stage version fairly closely with a few concessions made to adapt for smooth cinematic editing. The opening credits are charming with paper doll cutouts. The ending reuniting Magnolia and Ravenal is not a satisfactory one in this version but indeed purists always says that Edna Ferber's book does not allow for Ravenel to return so any happy ending is unrealistic. They meet by chance when Ravenal appears as a doorman at the theatre where their adult daughter Kim is performing. Also unsatisfactory is the extensive editing that cuts the adult Kim's role (both screen and singing time) to a cameo. One wonders why the public has proclaimed her a star.

The Showboat script received a substantial overhaul in the MGM version. In order for the lovers to remain youthful for their tearful reunion, only about nine years pass during the narrative rather than the original storyline covering over 25 years culminating in the 1920s. Kim is only a seven-year-old child in the MGM version when the story ends around 1890. Queenie, Joe's wife is relegated to the background as a cameo but again this is due to the subjugation of the black storyline in racist America of 1951. Several musical numbers are also moved around to fit the new narrative: Old Man River now follows Julie's departure from the showboat rather than right after Make Believe. Gone are I Have The Room Above Her and Ah Still Suits Me from the 1936 version. Can't Help Lovin' That Man is now a torch ballad for Julie to sing about her white lover, Steve. Life Upon The Wicked Stage (from the original stage version but missing from the 1936 version) becomes a bizarre specialty duet for the Champions and the MGM editing department to exhibit their slick camerawork. Also added from the original script by deleted from the 1936 version was the Frank-Ellie I Might Fall Back On You which serves as background as Julie and Steve are warned that the sheriff plans to arrest them for miscegenation. The 1951 version also restores the original stage version's Where's The Mate For Me? for Ravenal sung commandingly by Howard Keel.

Joe E. Brown is a true clown but cannot touch the charm and roguishness of Winninger as Andy. Besides, Gardner the two other truly satisfying performances in the film are given by the robust, baritone Howard Keel as Ravenal and the New York City opera bass, William Warfield as Joe. Although Joe's character is reduced to brief cameos, his powerful voice and careworn face makes Old Man River work beautifully. While Agnes Morehead (Endora of Bewitched fame) is right for the sour Parthy she is given an eleventh hour sunshine disposition for the finale which is puzzling and out of character. Kathryn Grayson is simply too light an actress to play Magnolia and suffers from too much cuteness in vocal trills and coy mannerisms in her acting for my tastes. Magnolia's return to the showboat and the bosom of her family after Ravenal's desertion in this version lessens the strength of her character, which Irene Dunne displayed so courageously in the 1936 version. Frankly miscast but stunning in their dance executions are Marge and Gower Champion as Frankie and Ellie, the showboat's villain and comedy ingénue in the original stage and 1936 scripts. The characters have been changed from rowdy comic relief to fresh-faced dancing juveniles that again lessen the period flavor of the showboat characters.

Although the revision of the storyline in this MGM version ruins Magnolia's growth of character as in the original stage and subsequent 1936 film version, it allows Julie's character to become more poignant and makes her the true heroine of the story. She becomes the catalyst bringing Ravenal back to Magnolia and their young daughter, Kim in a wholly new scene when they perchance meet on another riverboat. She is now an alcoholic at the mercy of whatever man will have her. As the showboat pulls from the Natchez dock, Ava Gardner as Julie steps from the shadows to blow a farewell kiss to the lovers. Gardner looks like hell and it works. Her life is spent but she has brought Ravenal back to her beloved "Nolie" and the daughter he never knew existed (in this version). Melodramatic? Yes...making it one of the most enduring images in MGM musical history for many people. Certainly in my mind it is the finest moment of MGM musical drama!

For purists and true theatre folks: the 1936 version with the original cast members and Hattie McDaniel reigns supreme. For my money: the slick, but flawed 1951 MGM version featuring the gorgeous, troubled Ava Gardner as the half-caste Julie is a personal favorite.