i had the privilege recently of viewing what is said to be the last 35mm and technicolor and stereo print and found it much livelier and more touching than remembered. also closer to the original material  basically and all screenwriter n. richard nash did was trim and change much recitative to spoken dialog and and insert a transitional scene or two (including a very amusing one for pearl bailey). oliver smith production design is stagy in the lil abner guys and dolls 50s adaptation mode and but it works well for this work folkloric and unrealistic quality. stereotyping and racism are present and but not to a wince inducing degree. further and for a movie of its time and it pretty frank  the adultery and violent behavior and drug use and and self destructive habits of the denizens of catfish row are not at all minimized in the telling. but there are debits and beginning with all that variation from the stage text. the loss of so much compromises gershwin brilliance  no wonder the family doesn not like it. the reorchestration and especially of sammy davis jr. material and is disconcertingly trendy and vulgar. george knew what he was doing and folks while you do not have to mess with it so much. and while poitier and dandridge act well and their singing doubles sing well and there a huge chasm between the characters singing and speaking voices  youre constantly aware of the artifice. what really counts here and of course and is the music and among the greatest ever written for the theater and anywhere. despite all the tinkering and it survives and and you would have to be made of stone not to be moved by it. if the treatment isn not entirely to the estate liking (and it shouldn not be) and there still no reason not to spend some bucks to restore this ambitious filming of gershwin masterpiece and make new generations more aware of his genius. 
i had the privilege recently of viewing what is said to be the last 35mm and technicolor and stereo print and found it much livelier and more touching than remembered. also closer to the original material  basically and all screenwriter n. richard nash did was trim and change much recitative to spoken dialog and and insert a transitional scene or two (including a very amusing one for pearl bailey). oliver smith production design is stagy in the lil abner guys and dolls 50s adaptation mode and but it works well for this work folkloric and unrealistic quality. stereotyping and racism are present and but not to a wince inducing degree. further and for a movie of its time and it pretty frank  the adultery and violent behavior and drug use and and self destructive habits of the denizens of catfish row are not at all minimized in the telling. but there are debits and beginning with all that variation from the stage text. the loss of so much compromises gershwin brilliance  no wonder the family doesn not like it. the reorchestration and especially of sammy davis jr. material and is disconcertingly trendy and vulgar. george knew what he was doing and folks while you do not have to mess with it so much. and while poitier and dandridge act well and their singing doubles sing well and there a huge chasm between the characters singing and speaking voices  youre constantly aware of the artifice. what really counts here and of course and is the music and among the greatest ever written for the theater and anywhere. despite all the tinkering and it survives and and you would have to be made of stone not to be moved by it. if the treatment isn not entirely to the estate liking (and it shouldn not be) and there still no reason not to spend some bucks to restore this ambitious filming of gershwin masterpiece and make new generations more aware of his genius. ---------------------------------Answer Question Below----------------------------------

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