Stormy Weather (1943) watch online HD

A sensational treat for anyone who does NOT love musicals to re wire their brain into why 40s dance musicals are often a major discovery. In Australia in 1944 - and I am sure many other Anglo countries, this awesome musical was NOT released! It was considered 'not for us' by the dim censorship board of the time. It was seen in a major release in Sydney in the late 80s and scored a bullseye with modern audiences immediately. Other commenters here will fill you in on the storyline and some sneer pointlessly, but take the general consensus that this is the major showcase of black talent on film from the time. Seen in a cinema the audience nearly loses their mind (and seats ) during the finale with the Nicholas Brothers. I like the woman listed here who showed it to high school kids who loved it...and that is the real test of a great old' film. I have had the same unforgettable experience in cinemas showing this film. It is absolute dynamite! Teenage boys especially watching this get the shock of their young minds at a genuine 1943 rap scene on board a paddleboat. The 90s rap performer EEK-A-MOUSE definitely got his look from this film!

After watching the film Stormy Weather (1943), it was clear that the Hollywood movie making industry was headed toward a new era. The new era being that colored actors were recognized and not only that, spiced up the industry. This movie shied away from the usual parts actors of color would normally play, parts in which they were slaves or butlers and servants.

This truly showed the breakthrough of African Americans in entertainment and paved the way for how successful many have presently become. Specifically in this movie, it told the story of how a man of color worked his way literally from the bottom up. It began with Bill Williamson who came home from war in France, and was working in a basement restaurant when fate stepped in and reunited him with his love interest. It was because of Selina that he was working in the city hoping to step foot into the dancing business. When she recognized him, she insisted to the show's producer that he be put in the show. This was Bill's break that got him out of a basement restaurant to the "top" of a tree in production. This is where Bill made the most of this opportunity and showed off his abilities but in turn got him fired from the show. But that was all he needed and he was on his way to stardom.

Twentieth Century Fox really broke the mold with this movie in response to FDR's urging. It finally gave actors of color the chance to show off their tremendous talent also allowing them to have more of an equal role in society. Although there still were laws restricting the interaction between whiles and blacks in films, it certainly brought them out of the repetitive demeaning roles of slaves and servants. It was thrilling to be able to see the talents of these actors and all the skills offered through their dancing and singing abilities. All of the dance numbers and costumes really represented the time period. The way the dancers moved were both creative and unique, especially the indisputably impressive Nicholas Brothers.

To criticize this picture for its lack of plot, strained dialogue and (some) stiff performances is, I think, to miss the point. Here are a number of legendary performers captured for the ages on film. As great as they were, none appeared in more than a handful of movies - and performed "specialty" numbers in virtually all of those.

Their greatest work was doubtless performed in stage shows and night clubs, but at least we have "Stormy Weather" - a variety show with its acts strung together by the thinnest of plots (typical, by the way, of many musicals of its time) and featuring the most talented black entertainers of generations.

Vaguely based on the life of Bill "Bojangles" Robinson himself, STORMY WEATHER offers the story of a WWI vet who falls in love with a singer--and under her influence goes into show business, only to find that their careers draw them in different directions. As a story, it is pretty slim stuff... but as a collection of musical turns by some of the early 1940s best black talent, it simply can't be beat.

Robinson was, of course, one of the truly great dancers of his era. Made late in his career, this film doesn't really manage to capture the scope of his talents, but he remains a constant joy to watch. A very young and remarkably beautiful Lena Horne also offers several enjoyable songs, including one that she would go on to perform with increasing sophistication and ultimately make entirely her own: the title tune "Stormy Weather." In addition to Calloway and Horne, STORMY WEATHER offers great performances by such under-filmed artists as Cab Calloway, Katherine Dunham, Fats Waller (performing his signature tune, "Ain't Misbehaving"), the brilliant Nicholas Brothers, and Ada Brown, as well as the popular comic actor Dooley Wilson. Expect nothing from the story or production values, but you won't be disappointed by this rare glimpse at some truly remarkable talents.

Gary F. Taylor, aka GFT, Amazon Reviewer

Stormy Weather with Lena Horne, Cab Calloway, Katherine Dunham, and the Nicholas brothers is a wonderful "dance vacation" for Vintage, Swing and Tap dancers. It was also a rather rare opportunity to see Katherine Dunham on Video. The video I watched was clear and had excellent sound. It was an uplifting and delighful "Smorgasbord" of music and dance of the highest order. I presented it to a high school group for an historical event. They were amazed and fascinated with the performances. The guys especially were impressed by the Nicholas brothers dancing.

Admirers expected Lena Horne to live forever, and her recent passing shocked those who thought she would always be with us. Thanks to her films, especially "Stormy Weather," she will be there whenever we spin the DVD of that 1943 Fox musical. A loose pastiche of musical numbers hanging from a thin thread of Bill Robinson's reminiscences, "Stormy Weather" is a priceless trove of talent. Director Andrew Stone wisely lets the performances play out without intrusion, and what performances they are. Beyond Lena Horne's unforgettable rendition of the title song, which became her signature, the film showcases Bill Robinson's incomparable dancing, Cab Calloway's song and dance routines, and Fats Waller's "Ain't Misbehavin'." Left breathless after these great musical numbers, viewers will gasp when the incomparable Nicholas Brothers top everyone and stop the show with one of their best performances on film. Only Astaire and Kelly were in the same league with Fayard and Harold Nicholas, arguably the finest sibling dancers ever. Fortunately, DVDs do not wear out and allow countless replays of the brothers' stylish and effortless dancing up, down, and around two flights of stairs.

Lena Horne surmounted the occasionally unflattering hairstyles in vogue during World War II and remained luminescent throughout the film. Her dazzling smile and comforting voice are missed when she is off screen. Although Bill Robinson is not a convincing romantic partner for Horne, small quibbles do not spoil this musical delight, whose only major flaw is its short 72-minute running time. With legendary performers at their peaks, "Stormy Weather" should have been twice as long. If 20th Century Fox could unearth outtakes from this film, the discovery would be the find of the century and a fitting coda to this plethora of now-gone talent that was sadly under-utilized during Hollywood's heyday.

Stormy Weather is a must see, if for no other reason than to view our past. The music is tops - the story line corny - the dancing is fantastic. Lena Horne's costumes are truly amazing - it would be nice if the movie has been in color to see this beautiful lady.

I remember watching this for the first time when I was a kid. I was blown away by the Nicholas Brothers' dance, especially when they jumped down those stairs . . . and it still blows me away! Slim storyline, and Bill Robinson was way too old to play a romantic interest of the young Lena Horne, but a great look at some of the biggest African-American stars of the day: Katherine Dunham, the great Fats Waller (who died later that same year,) Cab Calloway. I could have done without the blackface makeup of the comedy team, even though their skit was amusing. And look for a young adult Stymie Beard (of the Little Rascals) with two lines as a stagehand who is directed by Bill Robinson to call half hour to showtime for the performers.

The film is one of two major Hollywood musicals produced in 1943 with primarily African-American casts, the other being MGM's Cabin in the Sky, and is considered a time capsule showcasing some of the top African-American performers of the time, during an era when black actors and singers rarely appeared in lead roles in mainstream Hollywood productions, particularly of the musical genre. This movie is timeless.Fats Waller,Lena Horne,Bill Robison and Cab Calloway - stunning stars.Lena Horne(Celina)was a cute and beautiful in this,it is sad it's not a color movie because in color she is probably more beautiful.Songs "Stormy Weather" By Celina(Lena Horne)"Ain't Misbehavin" & "That ain't right" By Fats Waller are classics and the funny Bill Robison.I personally don't like Cab Calloway but he was talented too i guess.Lena Horne was same hot as Marilyn Monroe when was so young.Waller is my favorite.

If there's one thing on IMDb that gets tiresome,is people who call films "dated". As if it is some sort of crime that a film was made in the era that it came from.

Yes,Stormy Weather has some racial stereotypes like putting on "black-face",saying things like "I's and "we is",and the "Dixie" number where not only is there black face,the female dancers have black-faces painted on the back of their flower hats.

We wish these things were not there at all but,being set first in the 19 teens,most or all of these things were very much a part of society. 100 years ago things were just very different and African-American's were still very much under the thumb of prejudice.

The factual past cannot be revised to make everyone happy and it shouldn't be because past mistakes are how we learn to grow away from them later.

On with the review: In the opening scene we see Bill Robinson outside his Hollywood home (an in studio facimile) telling tales to the neighborhood kids about how he got to be famous. This scene is great because it shows a successful African-American male standing on his own and being very literate. He's also setting a great example for the kids in the film and any kids who saw the film.

Lena Horne,Cab Calloway and his band,The Nicholas Brothedrs and Bill Robinson all deliver when it comes to the song and dance and Lena as Selina (as if she needed to be a separate character)is electric in her delivery of the title song and other songs as well.

Calloway and band are as fun as fun and funky (Jivin' for that era)as ever. Bill Robinson was always great to watch and never disappoints.

Speaking of storms and lightning. The super-tap dancing Nicholas Brothers are double-electric in their well crafted dance numbers. Especially when they leap over one-another in a descending stair-case style (literally!) that has to be seen to be believed! Dancing and joining in on Cab Calloway's classic,"Jumpin' Jive" (I own a copy of that song) and couples with Robinson & Horne's duet,the movie comes to an exciting climactic finish

Given the era in which this film debuted,it's a wonder it could have been made,released and even seen at all. The talent of the cast is how the movie was able to push it's way beyond the usual racial blockades of the time and how it's still a wonder to behold (nearly) 65 years later.

I'm about to watch the film again and I know like last time,it's going to be as cool as summer rain itself! (END)

Well, here's another review of a Lena Horne picture after I just commented on Cabin in the Sky. She's quite luminous throughout the movie especially during the "Digga Digga Doo" number. The man she's falling for, however, is a bit old for her. He's Bill 'Bogangles' Robinson, basically playing himself as the famous tap-dancer who made it to the movies. Despite that, they looked good dancing together. Dooley Wilson, who was just gaining fame as Sam in Casablanca, has some funny scenes as Bill's old Army buddy, Gabe. Also appearing are Cab Calloway, Fats Waller (in his last film appearance before his untimely death), singer Ada Brown, dancer Katherine Dunham, and The Nicholas Brothers who are way awesome jumping on those steps. In fact, they're all good. I didn't like that comedy team that had to black up their faces but other than that, Stormy Weather was musically excellent from beginning to end. P.S. It wasn't until I looked at the cast list here that I found out Matthew 'Stymie' Beard had a part as a stage hand. Thanks for one of the commentators for identifying him as the one who says "Half-hour" to distract the chorus girls. And that the guy who played Chick Bailey was Emmett 'Babe' Wallace who I last saw with Nina Mae McKinney in The Black Network (which also had The Nicholas Brothers when they were much younger).

Music, not story, is the name of the game here. The film provides an avenue for black singers, dancers and musicians of the mid-1940s to show off their talents. Too bad it was that way but at least putting these acts on screen in a movie format wasn't just black folks "preaching to the choir." This film gave a lot of white folks a chance to see some great talent they might never have seen and, hopefully, helped some of these entertainers in their careers.

Bill Robinson and Lena Horne are the stars of the film, or should I say the main entertainers. Robinson is wonderful to watch throughout. He's not just a great dancer but an extremely likable guy. He comes across that way, anyway, and has in every film I've seen him. Horne has a good voice and a pretty face that became famous for almost never aging, but her songs are too slow and boring for my tastes, frankly.

Since I prefer a little more up-tempo, Fats Waller, Cab Calloway and The Nicholas Brothers filled the bill nicely. They were awesome. What little story there is centers around Robinson's character trying to break into show business. En route are also some funny lines and characters.

I'm glad to hear this is being put out on DVD in a few months. I'll pick up a copy.

OK, I admit it. I have no cultural class. I don't recognize any of the performers in this movie except for Dooley Wilson (who played/sang the role of "Sam" in Casablanca) and Lena Horne whom I had the rare treat of seeing in Philadelphia when I was a tot. So I can't give you an educated critical review of this film.

But I can tell you there's some GREAT talent showcased. There are some tap dancing scenes that would make Fred Astaire hang up his hardshoes in shame. And for those of you sticklers who always stare at the musicians' fingers to see if they actually know how to play, THEY DO.

Sure, the plot is weak and cursory. But since when are musicals supposed to have a plot? The story was just enough to chain these performances together while not distracting from the show. And that's what this movie is all about; consider it an early American version of "American Idol" except with talent.

Most of all, it's just a fun ride. Lotta smiles throughout. It's a highly nostalgic trip through a sadly-overlooked corner of early American music (blues, ragtime, jazz). And from a cinematic standpoint, the presentation is very nice. The scene of trombonists with their long shadows cast against the stage walls is very memorable to me, as is the rousing title performance of "Stormy Weather" which, in Picasso-like cubist fashion, passes through 3 different planes of existence: the stage, the backstage, and the backstage dream. Very artistic.

If you weren't totally confused when you began reading my review, I hope you are now. Go watch the film already, you dork.

Ladies..... this is a must see !!!! This movie is way ahead of its time. Young fellas .... You thought you were jam-min .... eyes have not seen and ears have heard entertainment until you see this!! (See where it all came from) The women are beautiful and the men are fabulous,and I'm not just saying that because of my great-grand mother Ada Brown (although she is awesome) This movie is jammed packed with stars and once you see it, it's the type of movie that makes you want to see it over and over. Sit back, relax, and be prepared to be en-ter-tained! But don't step away to get a drink or popcorn, because while it is humorous there are some serious moments you won't want to miss. You will want to stay focused so that you will know "what's really going on". Don't miss out on what this movie is really all about.

I watched both the straight and commentator versions on my DVD. One of my least favorite commentators. If I had a dollar for every "ahm" "ah" and "you know" interjected, I could pay off the national debt! Also, although this was an all African American cast, the ratio of very light skinned mulattoes vs. dark-skinned performers was much higher than what I have observed in the general population. This was especially noticeable for the nameless female dancers, who I thought were very good as well as beautiful and gorgeously costumed, despite the B&W filming.

With all the gorgeous costumes and elaborate dance and song numbers, this was truly a musical feast, interjected by a rather random series of introductions and personal interactions. This style of film may bother some people, but not me in this case. With all the talent assembled, it would have been counterproductive to try to develop a complex plot in this rather short film. After all, it was supposed to be a tribute to the career of Bill Robinson, who starred with Lena Horna. But, as expected, Cab Calloway, along with the Nicholas Brothers, made a bid to steal the show, in the latter part of the film. Actually, I enjoyed the more traditional song and dance numbers just as much, as well as Fats Waller. Lena Horne, although elegant in dress and style, as usual, unfortunately comes across as comparatively stiff and bland. Look for some insinuations of higher status of lighter skinned members of the cast vs. greater talent of certain darker skinned members. I was surprised by the comic Amos and Andy-like scene, where the actors put on black face, their natural faces apparently not dark enough to signify the stereotypical traits of full blooded African Americans(gullibility, laziness, easy humor, poverty, Negro music). Fats Waller died soon after doing his part for this film, on the train from LA back to NYC.

A slight story, sure, about the fictionalized life of Bill `Mr. Bojangles' Robinson, and his on again/off again romantic relationship with a woman (played by Lena Horne, who strangely hasn't aged a minute by the time WWII begins at the end of the film), but I found it to be one of the single most entertaining and exhilarating films I've ever seen. This all black film may not be a masterpiece in terms of its cinematic technique, but it captures more than a dozen performances, each of which can itself be termed a masterpiece. Horne is one of the most beautiful singers who ever lived, not to mention that she herself was a stunning beauty. Her rendition of Stormy Weather is singularly, powerfully erotic. Robinson is great and has several fantastic numbers (he's obviously getting old, but he still has a ton of energy). Many other great black performers grace the screen, among them Fats Waller Katherine Dunham, Ada Brown, and the Nicholas Brothers, who deliver a dance that equals anything either Astaire or Kelly accomplished. Dooley Wilson does not sing, but he has a very funny supporting role (the film delivers big time in laughs, including a very amusing blackface scene). As many hugely entertaining performances there are in the first three-quarters, the film shifts into high gear when Cab Calloway shows up. I absolutely love this guy, one of the weirdest and most original stylists that ever existed in America. But it's not just his appearance that ups the ante. The film has an amazing sense of pace, and it builds steadily to a musical finale which can only be described as orgasmic. Stormy Weather is a testament to black art of the first half of the 20th Century, and the achievements must not be forgotten. This may very well be the best place to go if you want to discover them.

This movie is a great treasure chest of fantastic music and jazz legends. Is the plot a bit static? Well.. yes, but this is a film that is watched for the musical numbers. Fats Waller is on hand to sing "Aint Misbeahavin'", Lena sings the title tune, (and NOBODY sings it better) Cab Callaway is here to talkin' jive, and the Nicholas Brothers are on hand with the most impressive dance number I have ever seen that will leave you breathless. The only demerit is that some of the dialouge is racist. But the majority of the movie is just great fun.

My summary is advice for what to do if you watch this film today, as if you are not 100% prepared, you might blow a gasket! This is because although the film is a nice retrospective of black American entertainers of the day, it also has a lot of race elements that would offend and embarrass a lot of folks today. So be prepared when you see some of the minstrels, outrageous costumes and the ways that a few of the acts behave...this was the time in which the film was made. I'm not excusing it--just explaining about the times. And, although the film sure has its flaws, compared to the way blacks were treated in many previous films, it's actually a good deal more sensitive than it might have been. In other words, watch the movie and understand it in its context. If you do this it should be a lot easier to appreciate the production.

Speaking of appreciation, the film is an amazing assemblage of talent including Bill 'Bojangles' Robinson, Lena Horne, Cab Calloway and his orchestra, Fats Waller and the Nicholas Brothers--and quite a few other wonderful entertainers from the era. And, if you didn't have films like this and a few shorts, there would be little record of these acts. Are these the very best performances by these folks? In some cases, not--probably because the studio wanted a 'nice' product (in other words, highly sanitized) for widespread consumption by black and white audiences alike. And, there isn't a lot in the way of plot development here. However, if you'd like more representative works of the acts as they would have actually appeared in real life on stage, you might try watching many of the old Vitaphone short subject films--with many of these same folks starring in them.

Stormy Weather (1943)

Don't watch this movie for its plot--it doesn't really have one. But in the style of more narrative musicals of the day, the many song numbers (20 of them) are strung together with a hint of a plot.

DO watch this movie, however. It has really amazing music, a lot of it adapted numbers by some of the best African American musicians from the time (Lena Horne and Cab Calloway star). You'll also see dancer Bojangles, and move lovers will recognize Dooley Wilson (from "Casablanca"). Jazz lovers might appreciate the Fats Waller presence for its history most of all.

And Horne, who sings and dances through much of the film, including a fabulous long arrangement of Stormy Weather that is somewhere between the great Arthur Freed/Gene Kelly choreographies and good old Busby Berkeley. In black and white.

You might think it's a shame the movie isn't more of a movie, holistically, but once you get over it and just realize its about some astonishing music, you're glad there isn't more stupid plot. The music sweeps everything else away.

This all-black movie was produced in 1943, and it marks the changing of the guard in how blacks were portrayed in Hollywood movies. The movie is a hallmark of black performers: Bill "Bojangles" Robinson, Lena Horne, Fats Waller, Cab Calloway, the Nicholas Brothers, and the lesser remembered Dooley Wilson, Katherine Dunham, Miller and Lyles, and Ada Brown.

The movie is important to me because it shows the watershed of American racism: Bojangles represents the old "Negro" view from Hollywood before World War II. Blacks were shown in genteel poverty, costumed in artful rags with prominently displayed holes in the soles of their shoes. The actors may have been costumed in rags, but they showed no signs of starvation. The black characters shuffled and smiled, danced and sang, and were respectful to their betters. Bill Robinson, in fact, sang and danced with America's favorite child, Shirley Temple, in "The Little Colonel," when he played the family retainer.

In "Stormy Weather," we start out with Bill Robinson's character leaving for home after World War I service in Europe. He works on a steamboat on the river and dances with a band of poor black entertainers, then works as a waiter in a dive featuring Fats Waller's group. (Mr. Waller died a few months after making the movie.) Mr. Robinson's character, Bill Williamson, faces all disasters with a smile and the knowledge of something better coming in the future. Eventually, Williamson gets his chance to make it big, and he does, moving to New York where he produces a musical revue.

It's here that the scene shifts from the southern, rural, genteel poverty of black America to the northern, urban, wealth of black America: Cab Calloway performs in white tie and tails, as do the Nicholas Brothers. Instead of shuffling and smiling, the new urban black is a competent adult who makes money from his talent. Messrs. Robinson, Wilson, Miller and Lyles represent the old school racist view of blacks. Lena Horne, Katherine Dunham, and Messrs. Calloway and Nicholas show us the new Hollywood racist view of blacks in the Forties and later: accomplished performers with polish and wealth. Urbane and well-mannered, these blacks still don't threaten overtly, but their obvious wealth exceeds that of most white Americans of the Forties, and their zoot suits started white riots.

All the performances in the movie are top-notch. For those too young to remember Miller and Lyles, their minstrel routine shows their classic banter of unfinished sentences and completed thoughts in blackface. If you search for Miller and Lyle on YouTube you'll get some hits on this classic bit. Later, there's also a "cakewalk" minstrel dance routine by the chorus. All of the pre- war material is cringe-worthy today, and the performances by Cab Calloway and the Nicholas Brothers stands in contrast to the race-tinged earlier material. By the Forties, the performances of black artist didn't revolve around racial stereotypes, but showed professional, competent performers every bit as good as the whites in the movie.

1943 was a good year for all-black movies. MGM produced "Cabin in the Sky," with Ethel Waters, Lena Horne, Eddie "Rochester" Anderson, Louis Armstrong, Mantan Moreland, and more. Ethel Waters is superb, and her "Taking a Chance on Love" is marvelous.

Stormy Weather (1943)

*** (out of 4)

All-black Musical has an aspiring dancer (Bill Robinson) and a singer (Lena Horne) putting on a show. That's pretty much the entire story here and that "story" takes place in about three minutes worth of a scene and then the rest is all music, dancing and singing. That's certainly not a bad thing when the talent on display is so high and entertaining. Of course, it goes without saying that one of the big keys here is that we've got an entire black cast doing everything and this here wasn't the normal thing for the day. I'm not sure if this was made due to CABIN IN THE SKY, which was released earlier in the year but either way it's good to see something different. Robinson really comes off as a likable guy as he dances his way to the top. I thought he was extremely charming in the role and manages to make you really like him. He's good in the comedy bits, although I'd say he's a little too old to play the love interest of Horne. As for Horne, she's terrific here as well. Fans will really be happy to know that she gets several musical numbers here including the terrific title song, which, naturally, she sings with a stormy backdrop. There's No Two Ways About Love, Diga Diga Doo and I Can't Give You Anything But Love are the other songs done by Horne. She's certainly got a lot of fire that she brings to the numbers and her beauty isn't anything to look away from either. Some of the other acts include Cab Calloway, The Nicholas Brothers, Mae E. Johnson, Emmett 'Babe' Wallace, and Fats Waller doing Ain't Misbehavin and That Ain't Right. There's no question the music acts are the main reason to watch this film. Again, the actual story is very weak and in all honesty there's really no story at all. If this film hadn't been made then it's doubtful many of these songs or acts would have been featured or seen anywhere. We might have gotten a short but even those were rather rare for black musicians. With that in mind, it's hard not to recommend this thing. At just 77-minutes the film flies by and makes for some solid entertainment.

zetes wrote about Lena Horne: "a woman (played by Lena Horne, who strangely hasn't aged a minute by the time WWII begins at the end of the film"

Well, is it just me, or did Lena Horne never age, ever? She has been consistently gorgeous from the moment she stepped on screen until about...ever. They need to distill her blood into some sort of age-proof serum. Gosh, she's a beautiful lady. She appeared on an episode of "Sanford and Son" in the 1970s, and that's the first place I ever saw her. When my mother told me how old she was, I was positively transfixed. I've been a fan ever since. Either she's charmed, or the old, nasty saying, "Black don't crack," is a truisim.

I've loved everything she's done, and this film is absolutely no exception.

This is Black History month here in the US, usually prompting all sorts of controversial behavior. What I've been doing is watching films that feature blacks, old films from a time when heavy oppression was on the land, but a strong black middle class existed.

"Amos and Andy," "Our Gang," some of the Mantan Moreland stuff. All of it noble comedy. My voyage is capped off with this, probably the best all-black cast of artists ever assembled. Fats Waller and Cab Calloway, Lena Horne and Ada brown, Bill Robinson and the amazing Nicholas Brothers.

If you haven't seen those brothers dance, you really must. And it has one of the funniest comedy skits in all filmdom. Yes, that skit has men in blackface, black men.

As with all shows planted in a film, the wrapping story is thin stuff, easily tolerated.

Quite apart from some wonderful dancing, and good music, there's a staging in the "Stormy Weather" production that is important.

We are watching a movie of a stage show. In the movie, Bill has been waiting for Lena to return to him, which she does in the show. The show starts with her singing the title song in front of a stage window with rain effects outside. At some point she pauses and the camera goes through that window to a world somewhere between stage and movie reality.

Lena is here too, in the rain on the curb with a few men and women in odd, fragmented costumes. Now she sings another chapter. As this chapter closes, we zoom in on her head and go into dream-like vision she has. This time the set is highly abstract, the dancing is a ballet and the music more formal. The film stock is quite different, with the contrast pushed. The effect is quite abstract and wouldn't be matched until "Red Shoes." This sequence, of course, also features Lena.

We spend some time in this world, then zoom back to the fragmented street, then back through the window to the ordinary stage, encountering Lena at each stage. Then of course out into the club with Bill watching.

Then later the stage show continues in the ordinary way with just one mix, the onstage finale of the courtship with the lovers united in front of the stage house. (A similar stage house figures in the wrapping story.)

Ted's Evaluation -- 3 of 3: Worth watching.

If somebody wants to learn how to make a movie, this one gives more than enough lessons. The closing scene with the Nicholas Brothers dancing provides an up-tempo conclusion--the audience leaves happy. And that's the definition of a successful movie--the audience leaves with raised spirits either with a song and dance or because there has been a successful denouement to the storyline. Each talent is displayed to the maximum and the audience is pleased with each performance.

Cab Calloway performs in THE BLUES BROTHERS and in THE APOLLO CLUB; those performances alone make those movies worth seeing. The Nicholas Brothers show up in at least 12 movies and every dance performance is stellar. To watch the talents of Bill 'Bojangles' Robinson and Lena Horne is truly a gift. The movie provides a showcase for their talents and is greatly appreciated.

The 2005 commentary by Dr. Todd Boyd provides an important and crucial corrective to the modern era--2012--of Black life in America--1943 and the implications of that Black life and how Hollywood and actors dealt with that. And considering that Bill Robinson had been born in 1878--well that's a whole 'nother world in American History.

The Film Stormy Weather (1943) makes it clear that the Hollywood movie making industry was headed toward a new era. During that era colored people were more recognized in the industry than white people. The roles of the white people was to play parts of the colored people such as; slaves, butlers and servants. In this film it shows how people acted back in the days, and how they made the industry successful.

In this Film it truly showed the breakthrough of African Americans in entertainment and paved the way for how successful many have presently become. Specifically in this movie, it told the story of how a man of color worked his way literally from the bottom up. It began with Bill Williamson who came home from war in France, and was working in a basement restaurant when fate stepped in and reunited him with his love interest. It was because of Selina that he was working in the city hoping to step foot into the dancing business. When she recognized him, she insisted to the show's producer that he be pit in the show. This was Bill's break that got him out of a basement restaurant to the "top" of a tree in production. This is where Bill made the most of this opportunity and showed off his abilities but in turn got him fired from the show. However, that was all he needed and he was on his way to stardom. In the scene when Bill was going up the stairs and going down the stairs symbolizes how he moved in the rhythms and the drums.

Twentieth Century Fox really broke the mold with this movie in response to FDR's urging. It finally gave actors of color the chance to show off their tremendous talent also allowing them to have more of an equal role in society. Although there still were laws restricting the interaction between whites and blacks in films, it certainly brought them out the repetitive demeaning roles of slaves and servants. It was thrilling to be able to see the talent actors and all the skills offered through their dancing and singing abilities. All of the dance numbers and costumes really represented the time period. The way the dancers moved were both creative and unique, especially indisputably impressive Nicholas Brothers.