In the 1930’s and ‘40s, when the South was segregated and racism was an accepted practice, most black entertainers were pigeonholed into small, cartoonish roles in comedies and musicals. All black films were a rarity, but two musicals—MGM’s Cabin in the Sky and 20th Century-Fox’s Stormy Weather-–released seven months apart in 1943, finally gave some of the eras most talented African Americans to shine, while also giving mainstream white audiences an opportunity to experience the undeniable talents of vocalists, musicians, and dancers that up until that point, had been largely ignored. Nonetheless, legend has it theatres refused to book the film, despite sold-out crowds in the auditoriums in which it did play.

The storyline is a simple one, serving as little more than an excuse for various entertainers to perform. As the film opens, dancer Bill Williamson (Bill “Bojangles” Robinson), is relating stories of his glory days to a group of neighborhood children. He tells of returning from World War I with his buddy Gabe (Dooley Wilson, best known for his portrayal of Sam in Casablanca), and charts his slow rise to stardom. Early on, he meets a beautiful, talented and ambitious singer, Selina Rogers (Lena Horne), with whom he falls in love, but her drive to succeed destroys any chance they have at long term happiness.

The plot, slim as it is, is unimportant. Stormy Weather is all about entertainment. Lena Horne belts out the memorable title song with a palpable sexuality that black performers had never been able to express on film. She exudes sex appeal not only in her delivery, but in her facial expressions and sultry walk. Bill Robinson, widely known for dancing with Shirley Temple in a series of films during the 1930’s, was finally able to break out of his role as a “tap dancing sideman” and showcase the full breadth of his skills. While his routines lack the flash of some of the other performers, director Andrew Stone is careful to emphasize the fluidity with which Robinson moves his feet, seemingly with little effort.

Stride piano man Fats Waller offers up some of his best stuff, with a fiery version of “Ain’t Misbehaving.” Clearly the folks who enforced the production code at the time had no clue what “balling” meant! Sadly, Waller would die at age 39 only a few months after the film’s release. The energetic, zoot-suited, scat singing Cab Calloway and his big band serve as the introduction for the Nicholas Brothers, who put on an electrifying display of synchronized, leaps, splits, and taps that defy reason. Truly a few minutes of greatness, it’s wonderful to see, but also a bit sad. While the Nicholas Brothers certainly had a more than respectable career, their talent should have allowed them to be as big as Fred Astaire or Gene Kelly. Watch them fly through the air and race quickly becomes unimportant.

Stormy Weather has oft been criticized for showing some clown/minstrel inspired performances, it’s important to remember that many blacks at the time were steeped in the kind of entertaining that society allowed them to do. For instance, while we may think of it as stereotyping, the man on the boat who distorts his face, seemed to enjoy and see artistic merit in it.

Occasionally lavish, fun and a landmark in the history of black cinema, it’s wonderful to see Stormy Weather get the Blu-ray treatment it deserves.

Presented in its theatrical aspect ratio of 1.37:1, Twilight Time’s 1080p transfer is solid. Sharpness is outstanding throughout, and contrast has been well applied to keep the image fairly consistent. The exception comes during the few instances fog or smoke is used during a performance. The Grayscale shows of rich black levels and pure whites.

The DTS-HD Master Audio 1.0 sound mix sounds fine, if a bit boxy at times, rather expected due to the age of the film. That said though, there’s some real vividness during each of the jazz performances and the background music.

English subtitles are included.

The following extras are available:

  • Audio Commentary by Dr. Todd Boyd, Professor of Critical Studies at USC: Rather than a direct analysis of the film, Boyd provides more of a cultural analysis of how blacks were have generally been portrayed throughout much of film history. While much of the commentary doesn’t deal with Stormy Weather directly, it still makes for a very interesting listen.
  • Isolated Score Track: Presented in DTS-HD Master Audio 2.0 stereo.
  • Six-Page Booklet: Filled with a selection of black and white stills, original poster art on the back cover, as well as an insightful essay by film historian Julie Kirgo.

There are only 3,000 copies of this Blu-ray available. Those interested should go to www.screenarchives.com to see if product is still available. Information about the movie can also be found via Facebook at www.facebook.com/twilighttimemovies