musical riverboat movie

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1936, Musical, 1h 53m

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Show boat   photos.

Based on Jerome Kern and Oscar Hammerstein II's Broadway hit, this musical spans four decades in the lives of performers on a Mississippi river boat. Sheltered beauty Magnolia Hawks (Irene Dunne) takes over as the show's leading lady when mulatto Julie (Helen Morgan) and her white husband are forced out of town by a narrow-minded sheriff. Charismatic opportunist Gaylord Ravenal (Allan Jones) wins Magnolia's heart, but his gambling losses threaten to ruin their chances for a happy marriage.

Genre: Musical

Original Language: English

Director: James Whale

Producer: Carl Laemmle Jr.

Writer: Oscar Hammerstein II

Release Date (Theaters): May 17, 1936  original

Release Date (DVD): Apr 29, 2014

Runtime: 1h 53m

Distributor: Universal Pictures

Production Co: Universal Pictures

Cast & Crew

Irene Dunne

Magnolia Hawks

Allan Jones

Gaylord Ravenal

Charles Winninger

Cap'n Andy Hawks

Helen Westley

Parthy Hawks

Paul Robeson

Helen Morgan

Donald Cook

Sammy White

Frank Schultz

Queenie Smith

Ellie May Chipley

J. Farrell MacDonald

Arthur Hohl

Charles Middleton

Sheriff Ike Vallon

Hattie McDaniel

Sunnie O'Dea

Patricia Barry

Baby Kim Ravenal

Clarence Muse

Stanley Fields

Backwoodsman with Gun (uncredited)

Mrs. O' Brien (uncredited)

London Producer (uncredited)

James Whale

Carl Laemmle Jr.

Oscar Hammerstein II

Screenwriter

John J. Mescall

Cinematographer

Bernard W. Burton

Film Editing

Ted J. Kent

Charles D. Hall

Art Director

Doris Zinkeisen

Costume Design

Critic Reviews for Show Boat

Audience reviews for show boat.

this is the show boat to watch, and in spite of irene dunn's blackface number, one of the most racially sensitive films i've seen from the 1930's. just watch the scene where helen morgan sings 'can't help lovin that man of mine' or paul robeson's 'old man river'. if this doesn't move u then you're made of stone

So much better than the 1951 version.

Somewhat more faithful to the book and it does record Helen Morgan's legendary stage performance but the later Ava Gardner version is still the superior film and the one to watch.

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Product Description

One of the greatest Broadway musicals comes to the screen in this tale of music, racial bigotry and enduring love as outsized as the American heartland set aboard a Mississippi River Show Boat. Magnolia Brown has grown up onboard a sailing theater, plying the river from town to town to entertain people, and she has always dreamed of a life on stage. When the star's, Julie LaVerne part African American ancestry is revealed and she is forced to leave, Magnolia steps in to take Julie's place on stage. Magnolia soon falls in love with her leading man, the handsome gambler and rogue, Gaylord Ravenal (Howard Keel--Kiss Me Kate, Seven Brides for Seven Brothers), and the two marry, have a daughter and live happily--for a while. But Ravenal's gambling debts force Magnolia to find a job, and Julie LaVerne again leaves her starring role--this time voluntarily--to give Magnolia the break she needs, an opportunity that leads to stardom.

The show that first defined the Broadway musical has never come to the screen intact, despite three tries. But take this splashy 1951 MGM extravaganza on its own terms, and it boggles the eyes. Not to mention the ears: The Kern-Hammerstein score includes some staples of the American songbook, such as "Make Believe," "After the Ball," and "Can't Help Lovin' That Man." Perhaps a riverboat gambler is almost too-easy casting for Howard Keel, and Kathryn Grayson is overly twittery, which may be why the film's middle sags when they take center stage. But any time the uncannily beautiful Ava Gardner smolders, a lush tragic undertone takes over (even if the most interesting parts of her story seem to take place offscreen). The physical production is extraordinary: the busy riverside setting, the outrageous color design, and best of all an "Old Man River" (sung by William Warfield) staged in the mists of morning. -- Robert Horton

Product details

• Aspect Ratio ‏ : ‎ 1.33:1
• Is Discontinued By Manufacturer ‏ : ‎ No
• MPAA rating ‏ : ‎ NR (Not Rated)
• Product Dimensions ‏ : ‎ 0.7 x 7.5 x 5.4 inches; 0.01 ounces
• Item model number ‏ : ‎ 806878445
• Director ‏ : ‎ George Sidney
• Media Format ‏ : ‎ Color, NTSC, Multiple Formats, Closed-captioned
• Run time ‏ : ‎ 1 hour and 47 minutes
• Release date ‏ : ‎ March 15, 2005
• Actors ‏ : ‎ Kathryn Grayson, Ava Gardner, Howard Keel, Joe E. Brown, Marge Champion
• Subtitles: ‏ : ‎ Spanish, English, French
• Producers ‏ : ‎ Arthur Freed
• Language ‏ : ‎ Unqualified, English (Dolby Digital 2.0 Mono), Spanish (Dolby Digital 2.0 Mono)
• Studio ‏ : ‎ Studio Distribution Services
• ASIN ‏ : ‎ B00004RF9K
• Writers ‏ : ‎ John Lee Mahin
• Number of discs ‏ : ‎ 1
• #543 in Musicals (Movies & TV)
• #3,451 in Kids & Family DVDs
• #7,427 in Drama DVDs

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• The Enduring Relevance of Show Boat
• 1946 Broadway Revival
• 1951 Motion Picture
• 1959 Studio Cast Recording
• 1962 Studio Cast Recording
• 1966 Lincoln Center Revival
• 1988 Studio Cast Recording
• 1994 Broadway Revival
• 1927 Original Broadway Production
• 1928 West End Premiere
• 1932 Broadway Revival
• 1936 Motion Picture
• 1943 West End Revival
• 1971 West End Revival
• 1983 Broadway Revival
• 2016 West End Revival

Rodgers & Hammerstein October 25, 2021 Show Boat

Based on Edna Ferber’s classic American novel, 1927’s lyrically masterful Show Boat, by Jerome Kern and Oscar Hammerstein II, is the most-recorded musical of all time. The first show of its kind, Show Boat presented complex characters grappling with timely, realistic themes woven into a substantial plot. Spanning the years from 1880 to 1927, the epic narrative concerns the lives, loves and heartbreaks of three generations of show folk and their lifelong friends on the Mississippi, in Chicago and on Broadway.

“The history of the American Musical Theatre, quite simply, is divided into two eras: everything before Show Boat , and everything after Show Boat .” – Miles Kreuger

PHOTO ARCHIVE

• ← Rodgers & Hammerstein
• Flower Drum Song
• Me and Juliet
• South Pacific
• The King and I
• The Sound of Music
• ← Rodgers & Hart
• A Connecticut Yankee
• Babes in Arms
• I Married an Angel
• I’d Rather Be Right
• On Your Toes
• The Boys from Syracuse
• The Garrick Gaieties
• ← Other Rodgers Works
• Androcles and the Lion
• Do I Hear A Waltz?
• I Remember Mama
• ← Other Hammerstein Works
• Carmen Jones
• The Desert Song
• The New Moon

List of all shows

Show Boat (1951) starring Kathryn Grayson and Howard Keel

Ah gits weary An’ sick of tryin’ Ah’m tired of livin’ An’ skeered of dyin’, But ol’ man river, He jes’ keeps rollin’ along! —— lyrics by Oscar Hammerstein II

A study of the similarities and differences among the stage play, the musical and the three films which sprang from Edna Ferber’s novel  Show Boat  is both interesting and disheartening—interesting for the number of technical improvements made over the years, especially regarding the films, and disheartening for the critical messages that, at times, receive varying degrees of emphasis.

Aside from the evils of racial discrimination—the novel takes place in 1887—a key element in the plot is miscegenation, a mid-nineteenth-century term created to denote intermarriage between different races, which involves two of the main characters.  The mention of miscegenation had been banned from the 1929 film version, and even fifteen years later M-G-M had to tread cautiously with the subject, though it finally received approval from the dreaded watchdogs at the Hays Office.

Against this, there are others who prefer the later account with Kathryn Grayson and Howard Keel.  From the master studio of musicals, especially during the zenith of the genre in the 1950s, M-G-M delivers a more sophisticated and polished production than Whale’s small Universal Pictures.  Robeson’s own vocal prowess now has its strongest competitor in the resonant bass-baritone of William Warfield, who has his own champions as  the  Joe.  Here, too, is Technicolor, which if it favors no one or anything else, it favors the beautiful Ava Gardner, one half of the miscegenation marriage.

Ferber was initially shocked that her story was to be made into a musical.  Operettas at the time had little or no plots, light, romantic tunes strung together with scant unity, comedy sketches, shallow character development, if any, and, sometimes, scantily clad young ladies.  Although the  Show Boat  story dealt with serious subjects, not only miscegenation but alcoholism and two wife desertions, lyricist Oscar Hammerstein II saw in it a radical change for a musical, and wrote a libretto.

Florenz Ziegfeld was the king of Broadway at the time, known for such revues as his “Ziegfeld Follies,” famous for the beautifully costumed girls.  He liked what Hammerstein had done, and now with the added music of composer Jerome Kern, he decided to stage it.  The composer and lyricist had previously collaborated on several musicals.  After tryouts in Washington and other cities,  Show Boat  made its Broadway début December 27, 1927.

The  Cotton Blossom , a paddle-wheel Mississippi riverboat, has docked at a river town in the Deep South.  Operated by Captain Andy Hawks (Joe E. Brown), he and his wife Parthy (Agnes Moorehead) run a vaudeville show which features as star attractions Julie LaVerne (Gardner) and her husband Steve (Robert Sterling).

Beginning during the opening credits, the troupe introduces themselves with a chorus of “Cotton Blossom” and extols all the wonderful entertainment now coming to the town.  But a fistfight erupts between Steve and the boat’s engineer, Pete (Leif Erickson), who has been making advances toward Julie.  Captain Andy announces the ruckus as part of the show, and Pete runs off, saying he’ll get even.

On an upper deck of the riverboat, in a beautiful green dress, Julie sings “Can’t Help Lovin’ Dat Man” (Gardner’s voice dubbed by Annette Warren) and shares a little dance with Magnolia, her best friend.  Gardner is lusciously photographed by Charles Rosher (nominated for color cinematography)—some critics have said  too  lusciously, with too many close-ups and some awkward choreography.

By now, Pete has returned with the sheriff (Regis Toomey), who announces there is a case of miscegenation on the boat.  Julie admits that she is half African-American and Steve says that so is he, only because earlier he had pricked Julie’s finger with a straight pin and sucked her blood.  Both are exiled from the  Cotton Blossom , and leave together in a buckboard.

Without his two leading stars, Captain Andy now hires Ravenal, and as the  Cotton Blossom   journeys down the river, from town to town, he and Magnolia become sensations.  Not only that, they fall in love, much to the annoyance of Parthy, and marry.  Having lived on Ravenal’s gambling wins, when he begins to lose, Magnolia rebukes him for his gaming habit (a plot departure from the stage and 1936 film version).  Feeling guilty, he leaves.

In his wanderings, Ravenal comes across the exiled Julie, now a singer on another riverboat, but Steve has left her and she has become an alcoholic.  Julie discovers Ravenal’s identity and heatedly condemns him for leaving Magnolia when she was pregnant.  Knowing nothing of the pregnancy, he feels another kind of guilt and returns to the  Cotton Blossom .  There on the dock he happens upon his four-year-old daughter Kim (Sheila Clark) and sings to her a whispery version of “Make Believe.”

Magnolia and Ravenal are reconciled and walk the dock back to the riverboat.  As Joe sings a reprise of “Ol’ Man River,” Julie, on the dock, blows a kiss to Magnolia.  The boat   pulls away, the great rear paddle-wheel churning the waters of the Mississippi, the screen framed by the trees and foliage of the riverbank.

It’s become a cliché, a thought attributed to just about everybody: the American Musical Theatre is easily divided into two eras, everything before  Show Boat , and everything after  Show Boat .

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Rudy Mancuso brings Brazilian beat by way of Jersey to new Amazon Prime film ‘Música’

Rudy Mancuso has a neurological condition called synesthesia . Certain stimuli can trigger a response by more than one of his senses. There are at least 60 different forms of the disorder. In Mancuso's case, the North Jersey entertainer experiences everyday noises as a series of complex rhythms.

To Mancuso, 32, it's anything but a burden. Instead, it serves as the creative muse for his debut film, "Música," which will start screening on Amazon Prime on Thursday.

The romantic, and at times surreal, comedy is set in the Ironbound section of Newark , where Mancuso grew up. It revolves around a street performer of Brazilian descent who also happens to be named Rudy, who has a condition (not referred to as synesthesia in the film) that causes him to experience mundane sounds as complex rhythms.

The rhythms serve as a soundtrack that distract from the reality Rudy tries to avoid, but he finds it difficult to explain to those around him. That's evident in the film's opening scene, when Rudy's longtime girlfriend tries to talk to him about their future, but he's focused instead on the sounds of a broom sweep, food chopped on a grill and a cash register, which meld into a vibrant symphony in his mind.

The fictional Rudy falls in love with Isabella, played by Camila Mendes (of "Riverdale" TV show fame), a young Brazilian woman working in a local fish market who understands him when his mother (played by Maria Mancuso, the actor's real-life mom) and his longtime girlfriend, Haley (Francesca Reale of "Stranger Things") do not. Along the way, he gets advice from his best friends: street vendor Anwar (comedian J.B. Smoove of "Curb Your Enthusiasm") and his puppet Diego, when he can't choose between Camila and Haley.

The movie is a deeply personal project for Mancuso, known for his YouTube channel Awkward Puppets and his Vine videos. Besides a plot inspired by synesthesia and his mother's featured role, Mancuso is also the lead actor, director, co-writer, composer, choreographer and co-executive director on "Música." The movie's romance storyline became an example of life imitating art as Mancuso and Mendes are now a couple.

Mancuso said in an interview with The Record and NorthJersey.com that the production was a “blast” as it allowed him to bring his vision to life.

"The beauty of doing something like this is that no one knows the story better than I do because it's my story," he said. "So, I really got to command the set and be as authentic to my actual self as possible."

Fiction as true as possible

The first thing the viewer sees at the opening of "Música" is the irreverent disclaimer: "Based on a true story. Unfortunately."

Yet, Mancuso acknowledges his good fortune in being able to make his film, which was shot over five weeks during the summer of 2022.

"I got to cast my own mom to play my mom; I got to play myself. I got to revisit some of the actual places where I grew up, including my mom's home," Mancuso said. "Those are things that not a lot of first-time filmmakers get to experience. I felt very lucky that I was able to actualize these ideas as authentically as possible."

The family home in many scenes is in Glen Ridge, where Mancuso also went to high school. But he said about 80% of the film was made in the Ironbound section of Newark, the city’s Portuguese enclave where he spent much of his childhood.

Sharp-eyed viewers will see familiar sights in the 91-minute movie: The aptly named Popular Fish Market on Ferry Street, where early on he is knocked out by a flying fish that starts his relationship with his new love Isabella. And the Brasilia Grill off Ferry Street is the backdrop for a pivotal scene where the courting of his two loves comes to an embarrassing halt.

The Brazilian influence in the film was not only in the locales. Much of his mother's dialogue was in Portuguese. Music in some scenes is performed with authentic Brazilian instruments such as samba drums and the cuica , and the score incorporates various forms of Brazilian music. His co-star, Mendes, is Brazilian American like himself.

"This movie came from being inspired by certain experiences I had in my life. And most importantly, a very specific perspective I have had, which is a unique kind of relationship with music and also a unique relationship with culture," Mancuso said. "In this film, I got to depict both."

Ricardo Kaulessar covers race, immigration, and culture for NorthJersey.com. For unlimited access to the most important news from your local community, please subscribe or activate your digital account today.

Email: [email protected]

Olivia Colman and Ed Sinclair’s South of the River Pictures Signs First-Look Deal With Searchlight Pictures (EXCLUSIVE)

By Brent Lang

Executive Editor

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Searchlight Pictures  has signed a first-look deal with  Olivia Colman and  Ed Sinclair ’s South of the River Pictures. Under the new pact, the specialty studio, which has worked with Colman on “The Favourite” and “Empire of Light,” will develop and produce feature-length motion pictures with the production company.

South of the River Pictures was founded by Colman, Sinclair and their long-time partner in crime, Tom Carver, to develop and produce original scripted comedies and dramas with “an authored sensibility.” Colman and Sinclair have been married since 2001.

“Olivia and Ed have been longtime friends of Searchlight, and we have always aspired to continue partnering with them,” said Matthew Greenfield, president of Searchlight Pictures. “This first look deal is only an obvious and affirmed manifestation of our enduring collaborations.”

Colman and Sinclair added, “After a long affair we’re delighted to be putting a ring on it with Searchlight, and are excited about the increased focus and resource this will allow us to bring to our evolving film slate”.

The first look deal was negotiated by Ben Wilkinson, vice president of business affairs for Searchlight Pictures, with Carver representing South of the River Pictures.

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Lorde Covers “Take Me to the River” for Talking Heads Tribute Album: Listen

By Matthew Strauss

Lorde has released a new cover of “ Take Me to the River ” for the new album Everyone’s Getting Involved: A Tribute to Talking Heads’ Stop Making Sense . Check out the New Zealand artist’s take on the song, produced with Jim-E Stack, below.

Al Green co-wrote and recorded “ Take Me to the River ” for 1974’s Al Green Explores Your Mind . Talking Heads covered the song for 1978’s More Songs About Buildings and Food and played it live for 1984’s Stop Making Sense .

Last year, A24 re-released Stop Making Sense ahead of its 40th anniversary. The new and forthcoming tribute album features covers by Paramore, Teezo Touchdown , Miley Cyrus, and others.

Check out “ Talking Heads’ Original Lineup on Stop Making Sense , Their Early Days, and the Future .”

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Stream These 12 Movies Before They Leave Netflix in April

A Ryan Gosling detective comedy, a Formula One racing drama and the romantic musical “Mamma Mia!” are among the movies exiting the streaming service.

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By Jason Bailey

Fast cars, jazz drummers, time travelers, bounty hunters — you’ll find everything but the kitchen sink in this month’s roundup of noteworthy titles leaving Netflix in the United States. (Dates indicate the final day a title is available.)

‘The Nice Guys’ (April 8)

Stream it here .

Ryan Gosling is having a bit of a moment — he may not have won the Oscar for best supporting actor, but he won the Oscars telecast for his performance of “I’m Just Ken” — and those who prefer the intense actor in his loosey-goosey comic mode would be wise to check out this 2016 comedy-mystery. Gosling stars as a bumbling private detective who teams up with a bone-breaker-for-hire (an uproariously gregarious Russell Crowe) to solve a convoluted missing person case. The co-writer and director is Shane Black, who helped popularize the buddy-action comedy with his “Lethal Weapon” screenplay, and subsequently perfected it here and in “Kiss Kiss Bang Bang.” Keep an eye out for the up-and-comers Angourie Rice (“Mean Girls”) and Margaret Qualley (“Drive Away Dolls”) in supporting roles.

‘Rush’ (April 15)

Ron Howard spent a fair amount of his youth appearing in vroom-vroom car movies like “American Graffiti,” “Eat My Dust” and “Grand Theft Auto” — the latter marking his feature directorial debut — so it’s not surprising that he was drawn to this thrilling dramatization of the mid-70s glory days of Formula One racing. He tells the story of a rivalry between two of the sport’s stars: James Hunt (Chris Hemsworth) and Niki Lauda (Daniel Brühl), a study in contrasts, the matinee idol and the ugly duckling, the party boy and the teetotaler. The nuanced screenplay by Peter Morgan (who penned Howard’s earlier “Frost/Nixon,” and would go on to create “The Crown”) mines the complexities of their relationship, while the thrilling race sequences effectively place us in the driver’s seat through the hairiest moments of trading paint.

‘Synchronic’ (April 15)

Justin Benson and Aaron Moorhead make brainy sci-fi pictures, small-scale indie movies like “The Endless” and “Something in the Dirt” that traffic in ideas over special effects. This 2019 effort was the closest they’ve come to a play for the cinematic mainstream, casting Marvel mainstay Anthony Mackie and “Fifty Shades” star Jamie Dornan in the leading roles. But their signature style and thematic occupations remain thankfully intact in this tale of two New Orleans paramedics who discover the mind-bending effects of a new designer drug. The central conceit is ingenious, but the filmmakers don’t just rely on its cleverness; there are genuine, human stakes, and the payoff is refreshingly poignant.

‘The Hateful Eight’ (April 24)

Quentin Tarantino followed “Django Unchained” by again riffing on the venerable Western genre, this time by crossing it with the Agatha Christie-style “locked room” mystery. He populates his story, of a poisoning in a tucked-away haberdashery during a deadly blizzard in the post-Civil War West, with faces familiar from his previous films, including Samuel L. Jackson, Kurt Russell, Tim Roth and Michael Madsen; they’re joined by an Oscar-nominated Jennifer Jason Leigh, in a particularly foul-mouthed and ill-tempered mood. Tempers flare, blood is shed and vulgarities fly in typical Tarantino fashion, but in its unflinching portraiture of the racial hostilities of a splintered country, the work is by no means exclusive to its period setting. (Also leaving on April 24: the Netflix-exclusive “ The Hateful Eight Extended Version ,” which adds footage and breaks the film up into four one-hour episodes.)

‘Malignant’ (April 26)

James Wan started out directing bone-crunching horror pictures like “Saw,” “Insidious” and “The Conjuring” before going mainstream with “Furious 7,” “Aquaman” and its sequel. Between those two superhero flicks, he directed this gloriously unhinged, go-for-broke horror thriller, in which a young woman (Annabelle Wallis) is haunted by visions of grisly murders — visions that prove to be true, and suggest some sort of a psychic link to the brutal killer. If that sounds slightly peculiar, boy, just you wait . The screenplay by “M3GAN” writer Akela Cooper (with story assists from Wan and Ingrid Bisu) is an admirably unrestrained trip into the genre’s wilder corners, full of inventive kills, bananas story turns and cuckoo supporting characters, all rendered in a baroque, hurdy-gurdy visual style.

‘13 Going on 30’ (April 30)

Just in time for its 20th anniversary on April 23, this likably goofy and endlessly charming romantic comedy is, essentially, a gender-swapped remake of the beloved “Big,” this time with Jennifer Garner as a 13-year-old whose birthday wish to be “30 and flirty and thriving” unexpectedly comes true. Garner is warm and endearing, a loose-limbed wonder at capturing the awkward gawkiness of a teen trapped in an ill-fitting body, while recent Oscar nominee Mark Ruffalo finds just the right mixture of confusion and sweetness as her childhood friend who’s become quite the babe.

‘Fried Green Tomatoes’ (April 30)

Fannie Flagg’s best-selling book “Fried Green Tomatoes at the Whistle Stop Cafe” got the big-screen treatment in 1991, via director Jon Avnet (“Up Close and Personal”). It tells two stories: Kathy Bates is a housewife who finds escape from her unsatisfying life in the stories a nursing home resident (Jessica Tandy) tells her about her hometown; Mary Stuart Masterson, Mary-Louise Parker and Cicely Tyson are among the residents whose yarns she spins. Some of the edges of Flagg’s book have been sanded down to make this cozy sweater of an adaptation, which is regrettable — but as it stands, it’s a lovely film, capably crafted and poignantly played.

‘Twins’ / ‘Kindergarten Cop’ (April 30)

Stream ‘Twins’ here and ‘Kindergarten Cop’ here .

Arnold Schwarzenegger may have put on a stone-faced persona for his breakthrough role in “The Terminator,” but there was always a sly sense of humor to his performances in even his most serious action movies. So it wasn’t a huge stretch when he teamed with “Ghostbusters” director Ivan Reitman to make his first starring comedy, 1988’s “Twins,” alongside Danny DeVito — a broad and sometimes obvious high-concept giggle-fest that is carried considerably by the charisma and chemistry of its leads. It was such a big hit that Schwarzenegger and Reitman re-teamed two years later for “Kindergarten Cop,” which found the star pointedly sending up his own tough-guy image as a bruiser of a big-city cop who goes undercover in a suburban grade school.

‘Mamma Mia!’ / ‘Mamma Mia! Here We Go Again’ (April 30)

Stream ‘Mamma Mia!’ here and ‘Here We Go Again’ here .

The long-running Broadway jukebox musical , featuring the zippy music of the ’70s pop group Abba, was something of a punchline for New Yorkers, a go-to example of how far the Great White Way had gone in its relentless pursuit of tourist dollars. But the 2008 film adaptation (directed, as the stage production was, by Phyllida Lloyd) is altogether irresistible, offering up the peculiar but undeniable pleasure of heavyweight thespians like Meryl Streep, Stellan Skarsgard and Amanda Seyfried indulging in their inner theater kid. It was such a hit that most of the major players returned a decade later for “Here We Go Again” — and while it doesn’t quite match the frothy pleasures of the original, it does add Cher, and that’s not nothing.

‘Whiplash’ (April 30)

The “La La Land” director Damien Chazelle’s breakthrough feature was this 2014 hybrid of sports movie and musical melodrama, in which a young jazz drummer (Miles Teller) at a Juilliard-inspired music school comes under the tutelage — or, perhaps, the thumb — of a tough-as-nails professor and conductor (J.K. Simmons). It’s a complicated tale, working within an established milieu while simultaneously interrogating it, and grappling with the implications of time-told tales of the sacrifices one must make in pursuit of excellence. Teller is an ideal anchor for such a story, projecting a mixture of both arrogance and uncertainty, and Simmons deservedly won an Oscar for his nightmare-fuel performance as the merciless mentor.

ALSO LEAVING: ‘ Marshall ’ (April 7); ‘ The Zookeeper’s Wife ’ (April 15); ‘ Train to Busan ’ (April 22); ‘ Apollo 13 ,’ ‘ Elvis ,’ ‘ Erin Brockovich ,’ ‘ Joker ,’ ‘ Jurassic Park ,’ ‘ Silver Linings Playbook ,’ ‘ Step Brothers ’ (April 30).

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• Cast & crew

Unsung Hero

The movie also follows the family's mother, Helen Smallbone, as she uses her faith to hold the family of nine together by turning struggles into an adventure for her children. The movie also follows the family's mother, Helen Smallbone, as she uses her faith to hold the family of nine together by turning struggles into an adventure for her children. The movie also follows the family's mother, Helen Smallbone, as she uses her faith to hold the family of nine together by turning struggles into an adventure for her children.

• Richard L. Ramsey
• Joel Smallbone
• Daisy Betts
• Kirrilee Berger

• Helen Smallbone

• David Smallbone

• Rebecca Smallbone

• Eddie Degarmo

• Jed Albright

• Kay Albright

• Daniel Smallbone

• Luke Smallbone

• Ben Smallbone

• Josh Smallbone

• Luanne Meece

• Art Meriweather

• Nana Smallbone

• Grandpa James

• All cast & crew
• Production, box office & more at IMDbPro

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• Trivia Joel Smallbone 's screenwriting and directorial debut.
• How long will Unsung Hero be? Powered by Alexa
• April 26, 2024 (United States)
• United States
• Candy Rock Entertainment
• Kingdom Story Company
• See more company credits at IMDbPro

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• Runtime 1 hour 52 minutes

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iHeartRadio Music Awards 2024: BTS Jungkook, V and More K-Pop Winners

By Arpita Adhya

iHeartRadio Music Awards 2024 took place on April 1, 2024, at the Dolby Theater of Los Angeles. From BTS V to Jungkook , several globally famous K-pop artists snagged significant wins at the ceremony.

BTS V , Jungkook, and J-Hope are taking a break from their pop fame as they serve two years in Korean military training. Before taking a short hiatus for the mandatory training, all members of BTS have released their debut projects.

The official beginning of their solo career is being recognized by fans and critics alike. Three of the seven act members have won big in different categories at the iHeartRadio Music Awards 2024.

BTS V, Jungkook, and J-hope snag major wins in iHeartMusic Radio Awards

BTS dominates the K-pop music scene even while away from the limelight. Three globally popular group members won multiple categories in the iHeartRadio Music Awards . The K-pop winners of the 2024 iHeartRadio Music Awards include:

• Best Music Video: “Seven” – Jungkook ft Latto
• Best Debut Album: Layover by BTS V
• Best K-pop album: 5 Star by Stray Kids
• Best K-pop artist: Jungkook
• Best new K-pop artist: NewJeans
• Best K-pop song of the year: “Cupid” by FIFTY FIFTY
• Favorite On Screen: J-Hope in The Box
• Favorite Fan Army: BTS ARMY

V becomes the FIRST ACT to win "Favorite Debut Album" in the iHeartRadio Music Awards. pic.twitter.com/WljFKGVLW1 — ⁷ (@Pk_bts_land) April 2, 2024

Other significant iHeartRadio Music Awards wins include Taylor Swift ‘s Artist Of The Year , Beyoncé’s Innovator Award , and Cher’s Icon Award .

Since its beginning, the iHeartRadio Music Awards have highlighted the impact of Western pop artists, but the 2024 edition tells a different story. From introducing different categories to accommodate K-pop’s global reach to recognizing the talent of Korean superstars, the award ceremony depicts that K-pop is an inextricable part of the worldwide pop scene.

Huge congratulations to #JUNGKOOK who won K-POP Artist of the Year and Best Music Video! ? #iHeartAwards2024 pic.twitter.com/HiI6WFQuZ6 — iHeartRadio (@iHeartRadio) April 2, 2024

Meanwhile, BTS fans celebrated J-Hope’s new album release days before the IheartRadio Music Awards aired. The 30-year-old rapper released Hope On The Street Vol. 1 with six tracks. Jungkook, Benny Blanco, Nile Rodgers, Le Sserafim’s Yunjin, SuperFreak’s JINBO, Gaeko, and Yoon Mirae were some artists featured in the album.

Arpita covers K-pop, K-drama and Asian Entertainment scoops for ComingSoon.Net. From in-depth coverage of Asian Entertainment gems to the latest fan obsession, she is dedicated to bring out the best of Asian pop culture to the world one story at a time.

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