bkoganbing Jack Carson's performance of an alcoholic vaudevillian who gets a few bad breaks highlights April Showers. Roles like this made Carson's studio Warner Brothers and others start taking him seriously as an actor as opposed to a funny man who specialized in blowhards.Carson and Ann Sothern are a vaudeville team during the first score of years in the 20th century. They're doing all right, but when they add their kid Robert Ellis to the act they start getting better bookings and even dream of the Palace in New York.But that dream gets shattered when the blue noses start insisting on child labor laws being enforced. They no longer get the billings and Carson turns to drink. And another performer Robert Alda starts throwing his intentions Ann's way.Including the title song the score is interpolated from a variety of sources of music from the period. Young Mr. Ellis proves to be quite the terpsichorean, no wonder he made the act for them.Sothern lends good support and a good singing voice. But April Showers is really Jack Carson's picture.

Neil Doyle Jack Carson and Ann Sothern are such capable professionals that even when they are cast in something like APRIL SHOWERS they are worth watching. Carson rarely got leading roles, except in the "B" film or programmer such as this one and Ann Sotheran was just winding up all of her "Maisie" roles at MGM to do this unpretentious little musical at Warner Bros.Together they're fun to watch as a married couple, a pair of show biz hoofers who give out with a song and dance patter when they're not having domestic troubles over the legitimacy of using an underage boy (their son) in their vaudeville act.It's all done in a formula way with no big surprises, no characters that are more than conventional and without the kind of production numbers that studios like Fox and MGM gave their musicals. And yet, with a nice balance between some serious drama and mostly lightweight singing and dancing, it's the kind of musical that's easy to take.The usual supporting players under contract at Warner Bros. are used to fill out the supporting roles, including Robert Alda and S.Z. Sakall.Carson and Sothern are both capable enough to make us believe this sort of thing could easily have happened and both of them have a nice way with a song and dance. Little Robert Ellis is very adept as their talented youngster.Summing up: A nice, unpretentious little film to watch on a rainy day.

F Gwynplaine MacIntyre The 1957 film 'The Buster Keaton Story' was ostensibly a biopic of silent-film comedian Keaton, but went far out of its way to tell Keaton's life story inaccurately ... and came up with a fiction that wasn't even very entertaining. A vastly better film, 'The Comic' (1969), depicted the life and career of an allegedly fictional silent-film comedian but actually gave a largely accurate account of Keaton's adult life and career. The 1948 Warner Bros musical 'April Showers', conversely, would seem to have been inspired by Buster Keaton's adolescent years as a star performer in vaudeville. As Keaton's major work in the Hollywood studio system was done for MGM, I'm intrigued that someone at Warner Brothers knew enough about Keaton's early life to create this film ... especially in 1948, when Keaton's career was at a low ebb.The official stars of this film are Jack Carson (excellent!) and Ann Sothern as married vaudevillains Joe and June Tyme. (Keaton's vaudevillain parents were named Joe and Myra.) The act isn't doing well, and the Tymes can barely afford to pay the tuition for their son Buster who's in military school. Eventually, Buster Tyme is reunited with his parents in a theatrical boarding-house. Young Buster is played by Robert Ellis, a teenaged actor previously unknown to me. What a dynamic talent! (Why didn't this movie make Ellis a star?) In the boarding-house, Buster goes into a rousing rendition of 'Are You from Dixie?'. He sings, he dances, he turns cartwheels. Ellis gives a good acting performance as well; he shows real chemistry in his scenes with Carson, as they affectionately address each other as 'Big Tyme' and 'Small Tyme'.Naturally, Joe and June put Buster into their small-time vaude act ... and they swiftly become a big-time hit. (In real life, Buster Keaton was part of his parents' stage act almost from birth ... and he quickly became the act's star.) But just when times are changing for the Tymes, along come a bunch of do-gooders who want to keep children off the stage. There's an implausible and unfunny scene here in which Buster tries to defuse the do-gooders by pretending to be a midget, smoking a cigar and talking in a deep voice. It doesn't help that the 'midget' voice is badly post-dubbed, and is clearly supplied by Mel Blanc doing his usual Barney Rubble turn. At the edge of these proceedings, a real midget (actor Billy Curtis) only emphasises the tastelessness of this scene.With Buster out of the act, Joe and June are back in the small time again. Joe's drinking starts to jeopardise the act and the family (as was the case with Joe Keaton's alcoholism). June Tyme encounters suave stranger Billy Shay (Robert Alda, in an unsympathetic role), who seems to have designs on June. The ending is predictable and unconvincing.Modern audiences might have trouble believing this film's central plot device: namely, that a talented and eager performer would be kept off the stage merely because he's not an adult. Actually, 'April Showers' gets this right. In America's vaudeville era, there was a powerful organisation called the Gerry Society, dedicated to preventing children from performing before age 16. At one point, Buster Keaton's parents actually considered passing him off as a midget to escape the Gerries' scrutiny. The Gerry Society's power extended beyond vaudeville: in the 1940 Broadway musical 'Panama Hattie', Ethel Merman was supposed to sing and dance a duet with child performer Joan Carroll, but the Gerries prevented Carroll from singing or dancing ... so she had to march in tempo with the music while chanting the lyric.'April Showers' is weakly directed by James V Kern, a former musical comedian (one of the Yacht Club Boys) who lacks a sure touch. This movie should have been helmed by Warners contract director David Butler, who is woefully underrated. I'll rate 'April Showers' just 5 points out of 10, despite Robert Ellis's dynamic performance.

jaykay-10 .....and seen this story before, with very little variation. Regardless of how this picture was promoted or exhibited, it is a "B" musical in all respects - and consequently offers a cast that does not include memorable singers, or skilled dancers, a cast populated by "stars" who were normally supporting players in musicals that had more original stories and far better production values. The characters? Ann Sothern's smiles sweetly and carries on bravely through circumstances that hardly seem to affect her; Jack Carson's chronic drunkenness is prompted by a law that necessitates the removal of his underage son from the family act. Such problems! Everything ends happily, of course, as it always did in the dozens of other pictures of this type. Jack Carson as a song-and-dance man? And a leading man besides? Where was Gene Nelson when you needed him? Dan Dailey?