On the surface, this is a poor man's SWANEE RIVER (1939) – the big-budget 20th Century Fox biopic of celebrated American songwriter Stephen Foster (played in that film by Don Ameche); actually, there had been an even earlier film version of the same events entitled HARMONY LANE (1935) and starring Douglass Montgomery! This Republic production is, nevertheless, a colorful diversion – with a third-rate cast scoring quite nicely with their enthusiastic performances, and especially Ray Middleton (as famous minstrel man, E. P. Christy – portrayed in SWANEE RIVER by Al Jolson, and whom Middleton appears to be mimicking throughout), Muriel Lawrence (as Foster's snobbish fiancée) and Eileen Christy (as her earthier younger sister, the Jeanie of the title). However, the actor who portrays Foster here – Bill Shirley – is rather weak and fails to do real justice to the troubled, short-lived composer! Rotund character actor Percy Helton has a nice supporting role as Foster's sarcastic employer during his day job as a book-keeper.The film starts off amiably enough, but the second half is mostly bogged down by an uninterrupted succession of musical numbers – although Middleton's forceful, slightly campy portrayal of the flamboyant Christy does a lot to enliven proceedings nevertheless. Prolific Hollywood veteran Dwan dabbled in practically every genre; this, in fact, wasn't his first musical – having earlier made the 1939 version of THE THREE MUSKETEERS (also known as THE SINGING MUSKETEER, and whose recently-released DVD edition I need to pick up, especially now that I've just acquired a number of his work via budget releases from VCI). For the record, three cast members from the film – Middleton, Shirley and Christy – were re-united with their director here for next year's SWEETHEARTS ON PARADE.

Probably because the songs of Stephen C. Foster were in the public domain and therefore cost penny pinching Herbert J. Yates not a dime, Yates decided to do a minstrel show musical comedy with the life of Stephen C. Foster to hang the story on.The songs of Stephen Foster retain their beauty to this day, sad though that they do reflect the times they were written in. Since the famous minstrel star and entrepreneur E.P. Christy was the one who popularized Foster's work, to not have a minstrel show in the story would be historically way inaccurate.But this film isn't anything close to the story of Foster's life. For all the inaccuracies of that film, 20th Century Fox's Swanee River which starred Don Ameche as Foster and Al Jolson as E.P. Christy is far more accurate.The thin plot seems to be borrowed a bit from Bing Crosby's Mississippi where Bing is courting Gail Patrick, but it's really Joan Bennett who's crushing out on him. Here William Shirley as Foster is courting Muriel Lawrence, but it's really Eileen Christy as, guess who, Jeanie who's giving him the come hither glance. One thing I will say, the Foster songs are given magnificent vocal treatment. The women both sing well and Shirley most famous for his behind the camera vocalizing in Sleeping Beauty and My Fair Lady has a terrific tenor voice. Ray Middleton however, most famous as the original Frank Butler in Annie Get Your Gun, gives the best performance in the film as the egotistical E.P. Christy.The rest of the cast, acting wise, is pretty weak. The plot is razor thin and in 1952 there was no excuse for calling a young black kid, Chitlin. Rex Allen, Republic's last cowboy B picture star makes a guest appearance here in blackface as a minstrel and that sure didn't help his career in any way.I'd stick with the Ameche-Jolson version of the Stephen Collins Foster story.

An interesting film, despite the slightly overblown sentimentality and romance. Great music and ballads. Disturbing slave-era imagery, and even more disturbing, but historically accurate black face performances in the portrayal of Christy's Minstrels.The one thing I would like to know is how accurate are the portrayals of E.P. Christy and Stephen Foster? Christy's Minstrels was a black face troupe, and their performances are among the more disquieting moments in the film...you want to enjoy the music...but can't due to the irreconcilable racist undertones.All in all it's an enjoyable film, but be cautioned that your kids might ask "why are those people wearing black paint?" an honest question and worthy of in-depth dialog to help "foster" respect for all people in upcoming generations.It feels like a film from the early thirties, surprisingly it's from '52. I bought it for the performance of "Beautiful Dreamer."

I also watched the DVD that resurrected this forgotten film. The minstrel show scene aside (and that was not considered particularly hateful by white society in 1952), the racism isn't any more offensive than anything you might see in "Gone with the Wind." Ray Middleton is fun to watch as an egotistical hambone of a showman, but he is not the hero of this story. This film's real crime is to make the film's subject, songwriter Stephen Foster, the most unappealing, weak-willed, limp dishrag of a person ever to have a film centered around him, and there was no compensating spark of personality, wit, or nobility to counterbalance that impression. There was a sense of romance about him, in a wan, hopeless, tear-in-the-eye Pierrot sort of way. But really – he was portrayed as such a sad sack human doormat that you couldn't even feel sorry for him. I found it altogether puzzling.