Stormy Weather

20th Century Fox, 1943
Starring Bill "Bojangles" Robinson, Lena Horne, Dooley Wilson, and Fats Waller
Directed by Andrew Stone
Music and Lyrics by various

By the early 40's, Horne had become a bona-fide star at MGM and on records and tours...but only through quick musical numbers that could be easily snipped out of a movie in deference to southern audiences. This and Cabin In the Sky at MGM would be Horne's only leads in films during the 40's and 50's. It's also one of the rare times popular dancer Bill "Bojangles" Robinson got a lead role. The movie is supposedly a fictionalized version of his life, but it really plays more like a revue showcasing many of the black stars in Hollywood at that point. Let's start at Bill's "home" in Hollywood with his nieces and nephews and to learn how he supposedly got his start...

The Story: Bill relates his life story to his nieces and nephews after a magazine arrives in the mail with an article praising his contribution to black entertainment. He started after World War I at a nightclub with his enterprising, if constantly broke, best friend Gabe Tucker (Wilson) where he got to first show off his dancing feet. It's also where he first met Selina (Horne), a beautiful singing star with popular performer Chick Bailey (Emmett "Babe" Wallace). Bill and Gabe head down to Memphis to find work, but Bill ends up as a waiter in a small club featuring Fats Waller (himself) and his band. Bailey and Selina come in to see the talent for a show he's putting on. Selina convinces him to take Bill, but he still won't let him dance. Bill takes over his big number, impressing Selina and the audience but not Chick.

Bill wants to do his own show a bit later, but has no money. Even after Gabe claims to be rich enough to back his show, Selina's not sure she wants to give up her career for him. It takes a show for the troops to bring everyone, including Selina, back together.

The Song and Dance: As with Cabin In the Sky, there are some performances here you just won't see anywhere else. Fats Waller steals the movie despite his short screen time with his hilarious, eye-rolling, eyebrow-waggling performances of his own "Ain't Misbehavin'" and his exchanges with Ada Brown. Horne's silky style is full-on here, and she gets a rare chance at drama. Wallace has a gorgeous tenor in his "African Dance" number with Robinson, and is easy on the eyes to boot. Calloway is a hoot when he turns up during the end.

Favorite Number: Waller's "Ain't Misbehavin'" at the club is a major highlight, as are Calloway's two big numbers, the instrumental "Rhythm Cocktail" and his "Geechy Joe" in the huge baggy white suit as part of the finale. Robinson and Horne radiate elegance in the spangles-and-romance chorus routine "I Can't Give You Anything But Love." Robinson gets to show off his stuff in "Linda Brown" with a minstrel group on the riverboat to Memphis and during another big finale routine to "My, My, Ain't That Somethin'." Horne sings a gorgeous version of the title song, which is then danced in a stunning abstract routine by Katherine Dunham and her dance troupe.

Two tap dance routines here have rarely been equaled. A young man tears up the floor to the tune of the instrumental "Nobody's Sweetheart" directly after Mae E. Johnson sings "I Lost My Sugar In Salt Lake City," and he's a sight to behold. The one for the books is the Nicholas Brothers bringing down the house to Cab Calloway's "Jumpin' Jive" in the finale. Their grace, dexterity, and amazing splits are downright incredible - Fred Astaire called it the "greatest movie musical number he'd ever seen."

What I Don't Like: This is a rare time I wish there'd been more to the movie. It only runs a little over an hour. With all the great numbers, I'd love it if there were even more. Not to mention, the film has the same trouble with a cliched and fairly dull story as The Duke Is Tops. Horne has no chemistry with Robinson - supposedly, they didn't get along - making their romance unbelievable and a tad melodramatic. It also has absolutely nothing to do with either Robinson's life or actual history. Like most musicals from this era, other than some of the men's clothes early-on, neither the costumes nor the make-up even attempts to recreate the 1920's and 30's.

The Big Finale: Worth catching for some incredible numbers and as a showcase for black talent you won't see anywhere else.

Home Media: Streaming is your best option - the DVD is out of print and the limited-edition Blu-Ray is expensive.

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