Here is the original New York Times review from 1929 of Show Boat now available at ZeusDVDS.com:

Blessed with a wealth of splendidly recorded songs rendered by some of Florenz Ziegfeld's luminaries, the part-talking picturization of Edna Ferber's story, "Show Boat," was presented last night at the Globe Theatre before a brilliant gathering. The melodies in this well-staged lachrymose tale are so fine that they atone for some or the prolonged melodramatic stretches. A good deal of the singing takes place in the introductory portions of the film and when the sobbing is heavy, toward the closing scenes, the feeling of disappointment is relieved by the excellent Movietone rendering, supposedly by Laura La Plante, of "Ol' Man River" and "I Can't Help Lovin' That Man."

It is a long production, for at 11:30 the final number had not been sung. Yet the audience stayed to hear the last of the melodies.

Harry Pollard, producer of Carl Laemmle's version of "Uncle Tom's Cabin," is responsible for the direction of this picture. It is a pity that he has such a passion for pathos, for he does not realize where misfortunes on the screen become tedious to the onlooker.

After Paul Whiteman's band had played two selections the familiar countenances of Florenz Ziegfeld and Mr. Laemmle were shown in short Movietone addresses. This was followed by Jules Bledsoe's shadow singing with marvelous effect, "Ol' Man River" and Helen Morgan's shadow rendering her popular melodies, "Bill" and "Can't Help Lovin' That Man."

Then comes the actual pictorial story with scenes aboard the "Show Boat," Otis Harlan, in a somewhat extravagant make-up as. Captain Andy Hawks and Emily Fitzroy as his severe spouse, Parthenia Ann Hawks. The show boat, the Cotton Palace, is perceived going down the river. It is a genuine old-fashioned craft and therefore all the more effective.

Laura La Plante figures as Magnolia and Joseph Schildkraut impersonates that weakling, Gaylord Ravenal.

The ups and downs of Magnolia and her gambling-crazy husband are shown with a generous amount of footage. These stretches are in Chicago, where at first Gaylord is throwing money away in a gambling place, which is symbolized on the screen by the frequent consumption of checks by flames over a roulette wheel. The Ravenals enjoy a period at the Sherman House and then have to seek quarters in a small unpretentious place. Another stroke of luck and Gaylord, Magnolia and their child are back at the Sherman House. Gaylord's reckless spirit continues to assert itself, for he buys a trotting horse and goes in for racing, his hopes in that direction ceasing with foul play on the track.

There is a long and silly scene where Gaylord, after borrowing money, returns on a terribly rainy night much the worse for drink. He giggles and laughs ad infinitum, until one feels relieved when he falls asleep.

The spoken passages are only fairly well directed and there is a hint of a foreign accent when Ravenal talks. Mr. Schildkraut, however, makes a handsome Gaylord, and he acts well in most of the scenes, but he is a little too gay when he simulates intoxication. Miss La Plante is attractive in those scenes where Magnolia is cheerful or singing, but in the tearful sequences she looks as though she is going to sob louder than she does.

Emily Fitzroy is a trifle too saturnine as the mother, and while her actions elicited some laughter, there are moments when one wishes that she would be a little more human. Otis Harlan fails to deliver the infectious comedy dispensed by Charles Winninger in the same rôle on the stage. To Alma Rubens falls the lot of impersonating Julie, which she does with good effect.

Sometimes the incidental sounds are too pronounced, especially the lapping of water as Gaylord and Magnolia elope from the Cotton Palace.

"Ol' Man River."
SHOW BOAT, with Laura La Plante, Joseph Schildkraut, Emily Fitzroy, Otis Harlan, Elsie Bartlett, Alma Rubens, Jack McDonald, Jane La Verne, Neely Edwards, Theodore Lorch, Stepin Fetchit and Gertrude Howard, adapted from Edna Ferber's story of the sama name, directed by Harry Pollard; synchronization and music score by Joseph Cherniavsky, based on the music of Florenz Ziegfeld's stage offering; Paul Whiteman's Band renders introductory selections. At the Globe Theatre.

Show Boat 1929 is now available at ZeusDVDs.com