Das Komödiantenschiff

Originaltitel: Show Boat

1929
Passed
2 Std. 27 Min.

IMDb-BEWERTUNG

IHRE BEWERTUNG

Laura La Plante and Joseph Schildkraut in Das Komödiantenschiff (1929)

Füge eine Handlung in deiner Sprache hinzuA mostly silent version of Edna Ferber's original novel, with some songs from the musical as a last-minute additionA mostly silent version of Edna Ferber's original novel, with some songs from the musical as a last-minute additionA mostly silent version of Edna Ferber's original novel, with some songs from the musical as a last-minute addition

Siehe Produktionsinformationen bei IMDbPro

IMDb-BEWERTUNG

6,2/10

321

IHRE BEWERTUNG

Siehe Produktionsinformationen bei IMDbPro

Auszeichnungen
- 1 wins total

Fotos15

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Wissenswertes
Update: some of the "lost" footage of the prologue has been found, both sound and picture, and this includes footage apparently not included in the Turner Classic Movies (TCM) edition of the film. Some of this once-lost footage is included in A&E's The Great Ziegfeld (1996) and a few scenes from this footage are now included in the three-part PBS documentary Broadway: The American Musical (2004). The discovered footage includes Jules Bledsoe singing "Ol' Man River" with the Dixie Jubilee Singers in full costume. Also featured on this "Biography" episode were scenes of Tess Gardella singing "C'mon Folks" and Helen Morgan singing "Bill." All of these scenes survive in only faintly tolerable sound and picture quality, but at least they survive.

Patzer
When Nola is given the letter Gaylord has left for her telling her he is leaving her, she is shown holding and reading the letter with her right hand holding the letter near the top and her left hand near the bottom. In the next shot, her hands have changed positions.

Zitate
Capt. Andy Hawks: [intertitles]
[immediately after Kim is born, to the townspeople leaving the boat]
Capt. Andy Hawks: Another leading lady!

Crazy Credits
All performers in the prologue are identified verbally.

Alternative Versionen
This movie is currently in the Turner library, since MGM bought the rights for the 1951 remake. The Turner Classic Movies Channel broadcast a 118-minute version, which included an Overture (i.e., the sound portion of the Prologue, and only part of it, at that) and Exit music. The Overture contained 2 of the 5 songs of the prologue ("Hey, Feller!" and "Bill") so you do get to hear Tess Gardella and Helen Morgan. Otis Harlan introduces those songs and then introduces "Ol' Man River," but that song is not heard. For some sections with lost sound dialog, subtitles are provided. Although we do hear a brief rendition of "Coon, Coon, Coon" sung by Laura La Plante as she rehearses, her scenes singing that song and 4 others on stage are totally silent. The only other songs sung were "The Lonesome Road", presumably by Jules Bledsoe dubbing Stepin Fetchit, and "Why Do I Love You" by an unidentified singer as part of the Exit music. None of the other vocals are included in the TCM print of the film.

Verbindungen
Featured in Show Boat (1936)

Soundtracks
Gwine to Rune All Night (De Camptown Races)
(1850) (uncredited)
Written by Stephen Foster
In the score during the overture

Benutzerrezensionen14

Ausgewählte Rezension

8/10

Surprisingly good

I had thought this little gem completely lost and was delighted to spot it on TCM. The restoration is quite good considering the missing soundtrack for a long sequence toward the end. The plots of all three movies differ. This one may be more faithful to the book. The acting is especially good and the drama plays out much less superficially than the later versions.

For future restoration work, it seems to me an awful lot more of the spoken dialog can be recreated with very modest lip reading. I was delighted to realize that the retiring Magnolia, singing unknowingly to a tear-stained Ravenal in the audience, is in fact singing a slow Lena Horne-ish "Can't Help Lovin' Dat Man of Mine". If they can't find that soundtrack, I say, what the heck, see what Marni Nixon's doing these days and give her the job! The haunting Kern-themed orchestral score works just right.

While I agree with the critics here who question the absence of the racial subplots, the scenario holds up very well on its own.