BootDigest Such a frustrating disappointment

Konterr Brilliant and touching

Aiden Melton The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

Blake Rivera If you like to be scared, if you like to laugh, and if you like to learn a thing or two at the movies, this absolutely cannot be missed.

Cristi_Ciopron A musical biopic with an all-star cast, and if Johnson looked a bit goofy, there are scenes with Cyd Charisse and Esther Williams; Heflin plays the 2nd lead, doing what he can with his role as the arranger and repentant procrastinator. He has been well chosen to make scenes watchable, as his style had brio, and the script also allowed for some depth, if the word isn't too grand, or at least plausibility, to his character. The movie signifies also the dawn or the spring of a few careers, of players who were then in their blessed prime. People like A. Lansbury and Sinatra went on to great careers. The Sally Hessler's selfishness subplot stank of hypocrisy and paternalist judgmental meanness (also, Kern's submissiveness when depriving Sally of her tune, and acknowledging the absolute authority of the producer to cut as he likes). The storyline has the cautiousness of such biopics, with few anecdotes (the Hessler family, Frohman's demise, Herbert the dean, the courtship in the British countryside, Sally's subplot). If the sentiment was phony, it also defines this genre of tributes to Broadway, with their MGM insipidity. There is though a moment, when Jerry, after he had just visited the prodigal Sally, feels the grandeur of the river …. The tunes that I liked very much were those not sugary: 'Life Upon the Wicked Stage', 'Till the Clouds Roll By', 'She Didn't Say Yes' (Lyn and Lee Wilde), 'Ol' Man River' sung by Sinatra; 'Show Boat' seemed indeed the nicest of Kern's works.Mainly, enjoy the music. That's why this movie has been made for. 'Ol' Man River', from the legendary 'Show Boat', thrilled Whale, 10 yrs before this movie has been made. A musical movie isn't always an ambitious experiment in narration, often it's a musical show, which may require a narrative convention, and this, in its turn, however conventional, asks for craft, in order to be achieved. I find it puzzling how many reviewers, when dismissing the musicals for their pretended lack of a plot, seemed to ignore that these were mainly musical shows and that it was as unfair to complain about story as in the situation of an operetta, a revue or a variety. In our age, objecting seems a sign of cleverness.Who would care much if an operetta hasn't a plot, and who would care about the contemporary reviews, other than for historical research? Perhaps some deplored that the songs haven't been matched by plot, etc., that a better movie could of been made, yet this thought remains sour and unfair. Quibbles, indeed. As for Crowther, he used to dismiss many things, and I don't find him a dependable reviewer. Many of his disparaging takes are too whimsical.

earlytalkie This was MGM's slogan throughout most of it's heyday, and it's never more apparent than in this lavish Technicolor film, which was the studio's big Christmas 1946 release. This may have been released somewhat earlier, if not for a strike at Technicolor which held up sufficient release prints for a general release. If some criticize the story for taking liberties with Jerome Kern's less-than-thrilling real life story, this is more than made up for by showcasing MGM's finest talent in a Niagara Falls cascade of terrific musical numbers. The first section of the film is devoted to a capsule digest version of "Show Boat", and that whets the appetite for the many now-classic numbers which follow. This film exemplifies why the MGM musical is held in such high regard. Beautiful orchestrations, top-talent, and an overall lavishness that would have made Ziegfeld himself proud. Back in 1973, this film made headlines with the fact that the MGM lawyers failed to renew the copyright on this picture, so it, along with Royal Wedding and several others, have made it, over the years, to the public-domain VHS and DVD releases. This is one of many classic all-star films which MGM released over the years. While this film is rather long, it goes by quickly due to the constant stream of great musical numbers contained within. If you love "classic" talent, the kind our parents and grandparents grew up with, you will enjoy "Till The Clouds Roll By".

museumofdave During the period of the late 1940's and 50's, Hollywood decide to treat the public to musical biopics, and because of censorship difficulties, demands from living relatives and ethnic considerations, most of them--whether dealing with Larry Hart, George Gershwin, Cole Porter or in this case, Jerome Kern, were whitewashed and innocuous life stories, skirting life episodes that might have given the films some genuine punch.While there are enough well-staged MGM candy-colored musical treats to keep this biopic afloat, this odd and frequently dull postwar musical features a dreadfully miscast (but popular in 1946) Robert Walker as the tunesmith Kern (Walker was also stuck in another film as Johannes Brahms);the fine actor Van Heflin acts as Kern's mentor (a person who never existed in real life) and there is far too much repetitive dialogue between the two men used to pad out the 137 minute running time.Definitely worth watching are Judy Garland (in brilliant joyous numbers staged by her husband at the time, Vincent Minnelli), June Allyson, Lucille Bremer, and other major singing stars in tiny cameos--a word of warning about the film print quality: years ago, someone at MGM forgot to renew the copyright, and this film drifted into public domain; many mediocre copies were produced with bad sound and poor color, usually included in bargain collections or close-out stores for a buck. There is now an official studio copy available, and because the Technicolor is such an important part of the film's impact, it is recommended you avoid the cheapies and get the real thing--and gape in wonder as a very young Frank Sinatra, clad in white tuxedo, standing alone on a giant white mountain of a column, sings "Old Man River." The mind boggles!

j-lacerra Till the Clouds Roll By is a collection of Jerome Kern tunes strung together by a plot that is supposed to be Kern's bio. We get no struggle or conflict from the bio; apparently Kern was immediately successful. Robert Walker, an actor of high potential, is miscast as Kern and asea in this role. But, IMHO, the real letdown in this picture is the lackluster music. Either the performances are second-rate or I just don't like Kern's stuff. I never have liked Show Boat (except for 'Old Man River'), and this did nothing to change that opinion.Van Heflin seems as out of place as Walker, here in a role as Kern's fictional buddy Hessler. And many of the dance numbers seem as if the dancers were just plodding through. Not the usual high MGM musical standard.Revelations: Angela Lansbury can actually sing and dance! Dinah Shore had an incredible slim-waisted shape! Jerome Kern was an incredibly boring individual! A last resort watch (I got mine from the $1 rack).