For years I have read that Rosalind Russell was miscast as Mama Rose in this film production of "Gypsy." I disagree. I thought she brought great humanity to this hard-boiled character. Russell proves that no person's persona is black or white, but a mixture of both. In short, her performance is excellent and very touching.
94 Reviews
Interesting, Lively Fictionalized Biography; Fascinating...
silverscreen88815 July 2005
"Gypsy" is a very difficult movie to have achieved from a writer's standpoint. As is true of "Dr. Zhivago" and "The Searchers", much of the film is told from the point of view of a younger person, who serves as the viewer's alter ego within scenes while the central character does little. This book, play and film was the result of Rose Louise Hovick's biography of herself and her mother before and at the beginning of her celebrity as "Gypsy Rose Lee", burlesque icon. The film is filled with famous songs and comedy scenes, alternating with moving confrontations that for once gain by having been real ones. Among the songs are "Some People", "Everything's Coming Up Roses", "All I Need is the Girl" and "You Gotta Have a Gimmick", "Small World" and more. The memorable comedic scenes involve the repetition of Dainty June and her boys coming onstage in various guises, with a two-person cow dancing behind her; the three strippers who try to teach Louise how to succeed; the children singing, "Momma Get Married"; and "Please Mr. Goldstone" in gratitude to the producer who inexplicably likes their corny act. The moving scenes are Herbie, Mama's boyfriend, trying to convince her to give up her hard-minded pursuit of show business fame, Louise realizing the girl a young boy dancer says he needs is not she; her realization just before she goes onstage at a burlesque theater at her mother's insistence that she has one talent--she is a pretty girl, etc. the songs by Jule Styne all work, but only some are classics. the direction of the film by Mervyn LeRoy is very good, economical, and only occasionally look staged the device of theatrically closing out a scene by artificially dimming the lights for me works in this fictionalized biography; we get as viewers the feeling we are seeing glimpses of an interesting life, partly because of this device. Costumes by Orry-Kelly, Howard Shoup and others, the cinematography of Harry Stradling, Sr., excellent period sets, art direction and more are major assets to this colorful but never-splashy musical success. not the last of director LeRoy's here is that we see theatrical scenes and scenes in a theater as well or better handled than in any other film I know. The actors including the three strippers, Faith Dane, Betty Bruce and Roxanne Arlen are wonderfully funny; Benny Lessy as Mr. Goldstone, Louis Quinn, Guy Raymond and Harry Shannon get all they can out of their small parts. the children who play Rose's girls are all good, particularly Ann Jillian as June. As Herbie, Karl Malden is energetic and first-rate at conveying his love and his desire for a normal life, for the children and himself. Natalie Wood is too thin-voiced to be great but she is a seasoned performer and underplays Louise intelligently. As Rose, Rosalind Russell occupies the active center of almost every scene. There is another way to play Rose other than as someone coldly obsessed with fame; I saw Giselle Mackenzie do the role onstage as a caring obsessive, one who would not be denied justice for her children as she was for herself. But Rosalind Russell is alternately brassy and wheedling, working everyone for exactly what she needs while pretending to be pushing for the sake of her daughters. She is intelligent, always interesting and frequently epic in her hunger for what has eluded her in her own performing career. And in "Rose's Turn" we see that her extraordinary charisma and courage were indeed something special. This is a show business biography of unusual believability and intelligence for all its laughter. And a memorable musical biography that works differently on film, but does work very effectively.
Let Them Entertain You
wes-connors13 May 2010
During the roaring 1920s, domineering Rosalind Russell (as Rose Hovick) pushes her two young daughters successfully onto the vaudeville stage. But, when star Ann Jillian (as "Dainty" June) hits puberty and runs off with a chorus boy, Ms. Russell is left with relatively untalented Natalie Wood (as Louise). Undaunted, Russell alters the act for Ms. Wood, who makes it a burlesque show. When she becomes a strip-tease star (as "Gypsy Rose Lee"), an ungrateful Wood leaves her Mama in the wings. Russell receives moral support from agent and lover Karl Malden (as Herbie Sommers), who wants to be her fourth husband...
Everything's Coming Up Roses...
The main problem, here, is that the terrific score, by Jule Styne and Stephen Sondheim, is given a relatively lesser treatment, when compared to Ethel Merman's Broadway version (available on CD). Russell was dubbed well by singer Lisa Kirk - but, instead of rendering her own version of the classics, she was apparently hired to sound similar to Russell. The benefit is that you don't get raspy Russell suddenly singing like soprano Marni Nixon. While perhaps not ideally cast, Russell and Wood possess enough star power to make an already great show pass muster. Thankfully, Paul Wallace (as Tulsa) retains his stage presence.
Sing Out, Louise!
******* Gypsy (11/1/62) Mervyn LeRoy ~ Rosalind Russell, Natalie Wood, Karl Malden, Paul Wallace
Everything's Coming Up Roses...
The main problem, here, is that the terrific score, by Jule Styne and Stephen Sondheim, is given a relatively lesser treatment, when compared to Ethel Merman's Broadway version (available on CD). Russell was dubbed well by singer Lisa Kirk - but, instead of rendering her own version of the classics, she was apparently hired to sound similar to Russell. The benefit is that you don't get raspy Russell suddenly singing like soprano Marni Nixon. While perhaps not ideally cast, Russell and Wood possess enough star power to make an already great show pass muster. Thankfully, Paul Wallace (as Tulsa) retains his stage presence.
Sing Out, Louise!
******* Gypsy (11/1/62) Mervyn LeRoy ~ Rosalind Russell, Natalie Wood, Karl Malden, Paul Wallace
Well, I liked it.
movibuf196210 February 2003
No, it didn't have Ethel Merman. Most films didn't have Ethel Merman. That's because Ms. Merman was always something of a Sherman Tank personality- regardless of vocal strength- and her vocals and mannerisms would've been entirely too big on film. The jury will be forever out as to whether or not Rosalind Russell did her own singing or was partially looped by Lisa Kirk, but it ultimately doesn't matter. She captures perfectly the nuance of a driven stage mother whose ambitions cause her daughters to simultaneously love her and be frustrated by her. (In hindsight, the best possible Rose probably would've been none other than Judy Garland, named in an early casting package. Can you imagine?) As it is, I thought the most amazing performance came from Natalie Wood- who appears to age roughly fifteen years throughout the film. Note her first appearance in the film celebrating a lonely birthday with a baby lamb; she looks roughly thirteen years old. All through the troupe's vaudeville adventures she remains in the background until the train depot sequence; she then grows up overnight- first as a counselor to her mother (as 'Rose-Louise'), then begins to find her voice in the Wichita burlesque sequences as a seamstress and bit player with the strippers, then finally in the "star strip," we actually see her turn into Gypsy Rose Lee- all grown up and gorgeous. Wonderful support from manager Karl Malden and sister Ann Jillian.
Not that bad
Tommy-9213 August 1999
I guess Roz Russell's singing, which was dubbed, was a bit underwhelming, but she has great presence in many of her songs, such as "Rose's Turn". She gives a pretty complex portrayal of Mama Rose that shows she has some heart. Though I wish I'd seen Ethel Merman, Miss Russell is a worthy substitute! Natalie Wood is quite good, too, giving much depth to her portrayal of Louise/Gypsy. Ann Jillian is good, also, as Dainty June. Karl Malden does overact, but that's only a small complaint. Great songs and good performances make this worth watching.
Roz Russell Fine
williwaw6 April 2011
First of all let me join the throngs who feel Ethel Merman should have played Mama Rose to repeat Her legendary performance, and even the star of this movie Roz Russell was quoted as saying "Why couldn't they let Merman do it?" but after J L Warner decided Merman was not box office Roz Russell went after this part and was the first billed star. Roz got it because she could open the picture overseas as a worldwide Movie Star and because of her great success in WB's 'Auntie Mame', Warner Bros felt the magic would repeat. Just as Audrey Hepburn was unfairly maligned for doing 'My Fair Lady' instead of Julie Andrews, many critics went on a tear about Ms. Russell doing the film instead of evaluating the film on its merits. Roz Russell brings a leathery and determined force to Mama Rose and Roz knew and loved the camera and vice versa; Merman did not. Natalie Wood, the resident Queen of the Warner Bros lot, enchanting and beautiful is Gypsy Rose Lee. Ms. Wood was nothing like the real Gypsy but got the role anyway because of her stature at WB. Mervyn LeRoy who had decades of experience at Warners directs professionally. Karl Malden contributes a fine performance. The movie was filmed at Warner Bros studio in Burbank and for that I want to say while the sets look like a movie back lot-they were-it is one of the things I enjoyed of this movie. Both Ms. Russell and Ms. Wood would go on separately to a great starring decade in the 60's in other films. As did Mervyn Le Roy. A good film, not a great film, but a good film.
Not as bad as some think, in fact pretty good!
carolpage21 February 2010
It's been nearly 50 years since I first saw this film, and at the time I thought it was good. Over the years since, many criticisms have been hurled at this film version, and it has suffered a bad reputation. Yes, it would have been great to have a film record of Merman performing one of her most famous roles, but Merman was not as good on film as on the stage. In subsequent years, I have seen the Bette Midler TV version (Midler was much more miscast than Roz Russell! And Midler seemed to really struggle vocally in the part). I have also seen Tyne Daly on stage (great acting, vocally a stretch for her), and most recently, Patti LuPone's Tony winning, mesmerizing performance on stage. LuPone had both the acting and singing ability required and then some - it would be interesting to see how she would fare in a film version. So, when TCM recently showed this, I thought it was time to revisit the film and see what my view was after nearly 50 years. My verdict is that Rosalind Russell is not that bad really, she really acts the part, and as for Lisa Kirk dubbing some of her songs, I think it is a good fit and not at all distracting. All of the supporting roles are excellently played, too, especially my favorite Paul Wallace as Tulsa. In short, I think Russell deserves a lot more credit than she is often given for her performance!
Bravo to Russell and Wood!
mcreighton8820 March 2005
Rosalind Russell, a true world-class actress, brought perfect line readings and comic timing and delivery, along with a nice patrician air, to the role of Rose, and no one has matched her -- before or since. I've seen every Mama Rose -- Merman, Peters, Midler, Lansbury, Betty Buckley, Andrea McArdle, Mary McCarty, Joanne Worley and Giselle MacKenzie -- and none of them touches Russell in the role, certainly not in the kind of nuanced humanity she brought to it. (There have been a lot of caricaturing, mugging and over-acting in this role.) And Natalie Wood is the only actress I've seen to do anything remotely three-dimensional with the underwritten role of Louise/Gypsy. Bravo to both!
The Stage Mother from Hell
JamesHitchcock12 January 2010
Warning: Spoilers
"Gypsy" is a musical based on the memoirs of a notorious stripper. Before you get too excited, I should point out that in 1962 the Production Code was still in force, any striptease shown in the film is very tame and watered down and anyone hoping for anything racier than the sight of Natalie Wood in a bikini will be in for a disappointment.
Indeed, for much of its length "Gypsy" is not about striptease at all and its ostensible heroine, the future Gypsy Rose Lee, is not the principal character. Contrary to what I once thought, Gypsy Rose was not an ethnic Romany. Her real name was Louise Hovick and she was originally from Seattle. The main character in the early scenes is her mother Rose, played here as the stage mother from Hell. Rose Hovick drags her two daughters around the country in an effort to turn them into vaudeville stars. (The film is set in the 1920s and 1930s, a time when vaudeville was going into decline because of the growth in popularity of the cinema). The star of the family act is not Louise, who displays little talent for show business, but her younger and more talented sister June.
At first the act, "Baby June and Her Newsboys", enjoys some success, but eventually June, by now a teenager, rebels against her domineering mother and elopes with one of her backing dancers. (One might have thought that a childhood like this would have put June off showbiz for life, but in reality June Hovick went on to become a successful screen and stage actress under the name June Havoc. Her subsequent career, however, is not mentioned in the film). Rose then turns her attentions to Louise, who seems an inadequate replacement for her sister. Louise, however, gets an unexpected break as a performer in a burlesque show- much to Rose's disgust, as she has always regarded striptease as immoral.
(I should perhaps point out that this film well exemplifies the dictum that Britain and America are two countries divided by common language. In Britain the word "burlesque", in the theatre or anywhere else, means a satire or parody. It does not have any connotations of striptease. There is no such word as "vaudeville" in British English, similar entertainments being known here as "music hall" or "variety theatre").
I am not familiar with the work of Ethel Merman- I have never seen any of her films except "Airplane!" and certainly never saw her on stage. (She died when I was in my early twenties). I am therefore unable, unlike some of the other contributors to this board, to join in the debate as to whether she or Rosalind Russell should have been cast as Rose. (Merman had created the role on stage, but Russell got the part in the film for reasons connected with cinema and theatre politics). I have to say, however, that I thought Russell was very good in the role, at least as far as her acting is concerned. Her singing is another matter. Her rather gravelly singing voice was dubbed in some songs but not in others, and the overall result is far from satisfactory.
Indeed, the acting in "Gypsy" impressed me more than did the singing or the music. Russell, whatever her shortcomings as a singer may have been, makes Rose an entertaining sacred monster, the sort of woman whose antics might be fun to watch on the screen but who in real life must have been virtually impossible for her daughters to live with. She receives good support from Karl Malden as Rose's long-suffering boyfriend Herbie and from Wood as the naive, sensitive young Louise. Wood, incidentally, was allowed to sing her own songs in Gypsy, even though her singing voice had been dubbed the previous year in West Side Story. Producers were not always consistent about such things; Audrey Hepburn, for example, did her own singing in "Funny Face" and "Breakfast at Tiffany's" but not "My Fair Lady". Perhaps the makers of "Gypsy" allowed Wood to sing because audiences might not have accepted that Louise lacks talent as a singer or dancer- a key plot point- had she been voiced by someone like Marni Nixon.
As a musical, "Gypsy" is not a great one. Although Stephen Sondheim's lyrics are often effective, few of the songs really stick in the memory, except perhaps for "Everything's Coming Up Roses" and "Let Me Entertain You". "You Gotta Have A Gimmick" is memorable not for the music but for the antics of the three strippers who perform it. As a character-driven drama and a portrayal of showbiz life, however, it is a very good one. 7/10
Indeed, for much of its length "Gypsy" is not about striptease at all and its ostensible heroine, the future Gypsy Rose Lee, is not the principal character. Contrary to what I once thought, Gypsy Rose was not an ethnic Romany. Her real name was Louise Hovick and she was originally from Seattle. The main character in the early scenes is her mother Rose, played here as the stage mother from Hell. Rose Hovick drags her two daughters around the country in an effort to turn them into vaudeville stars. (The film is set in the 1920s and 1930s, a time when vaudeville was going into decline because of the growth in popularity of the cinema). The star of the family act is not Louise, who displays little talent for show business, but her younger and more talented sister June.
At first the act, "Baby June and Her Newsboys", enjoys some success, but eventually June, by now a teenager, rebels against her domineering mother and elopes with one of her backing dancers. (One might have thought that a childhood like this would have put June off showbiz for life, but in reality June Hovick went on to become a successful screen and stage actress under the name June Havoc. Her subsequent career, however, is not mentioned in the film). Rose then turns her attentions to Louise, who seems an inadequate replacement for her sister. Louise, however, gets an unexpected break as a performer in a burlesque show- much to Rose's disgust, as she has always regarded striptease as immoral.
(I should perhaps point out that this film well exemplifies the dictum that Britain and America are two countries divided by common language. In Britain the word "burlesque", in the theatre or anywhere else, means a satire or parody. It does not have any connotations of striptease. There is no such word as "vaudeville" in British English, similar entertainments being known here as "music hall" or "variety theatre").
I am not familiar with the work of Ethel Merman- I have never seen any of her films except "Airplane!" and certainly never saw her on stage. (She died when I was in my early twenties). I am therefore unable, unlike some of the other contributors to this board, to join in the debate as to whether she or Rosalind Russell should have been cast as Rose. (Merman had created the role on stage, but Russell got the part in the film for reasons connected with cinema and theatre politics). I have to say, however, that I thought Russell was very good in the role, at least as far as her acting is concerned. Her singing is another matter. Her rather gravelly singing voice was dubbed in some songs but not in others, and the overall result is far from satisfactory.
Indeed, the acting in "Gypsy" impressed me more than did the singing or the music. Russell, whatever her shortcomings as a singer may have been, makes Rose an entertaining sacred monster, the sort of woman whose antics might be fun to watch on the screen but who in real life must have been virtually impossible for her daughters to live with. She receives good support from Karl Malden as Rose's long-suffering boyfriend Herbie and from Wood as the naive, sensitive young Louise. Wood, incidentally, was allowed to sing her own songs in Gypsy, even though her singing voice had been dubbed the previous year in West Side Story. Producers were not always consistent about such things; Audrey Hepburn, for example, did her own singing in "Funny Face" and "Breakfast at Tiffany's" but not "My Fair Lady". Perhaps the makers of "Gypsy" allowed Wood to sing because audiences might not have accepted that Louise lacks talent as a singer or dancer- a key plot point- had she been voiced by someone like Marni Nixon.
As a musical, "Gypsy" is not a great one. Although Stephen Sondheim's lyrics are often effective, few of the songs really stick in the memory, except perhaps for "Everything's Coming Up Roses" and "Let Me Entertain You". "You Gotta Have A Gimmick" is memorable not for the music but for the antics of the three strippers who perform it. As a character-driven drama and a portrayal of showbiz life, however, it is a very good one. 7/10
Everything's coming up roses because I CERTAINLY let it entertain me!
Sweet Charity25 March 2001
I have LOVED this musical for about seven years... and seen both Roz & Bette's versions... now, I know most people prefer Bette... but I don't. I mean... I've read reviews where people said "Forget the '62 version... go rent Bette's!" Maybe I'm crazy... I mean, I adore Bette Midler to death, but I think Roz did a better job of actually PLAYING the part. Sure, she may not have the vocal talents of Midler and Merman... but who does?! She's more of what I imagined the real Rose Hovick to be... and she's just so... I don't know. The way she delivered her lines... it was perfection. She also made me feel just a tad sorry for Rose... now I never saw Ethel Merman play the part, but Bette never made me feel sorry for Rose. Roz does. And that's a great talent whenever you can play a part where you have people hating and yet, at the same time, feeling sorry for the character. She was absolutely brilliant in the part and I don't see how people cannot recognize this! I also enjoyed Karl Malden in the role of Herbie better than Peter Reigert (I believe that was his name). He brought such life to the role. And although Cynthia Gibb did a good job of playing Louise... Natalie Wood... I mean, who can top THAT? Natalie Wood was GREAT!!!! She was perfect as the sort of quiet, shy child that grew up into a glamorous queen of the striptease. Diane Pace who played Louise as a child did a FINE job too! Cute little girl. And then... Morgan Brittany (who is billed as Suzanne Cupito) and Ann Jillian as Baby and Dainty June... how awesome is that?! Who knew that Ann Jillian could SING? I sure didn't. Paul Wallace was awesome as Tulsa... lots of talent. It's a GREAT movie, even if it WAS a bit altered from the Broadway play... but hey, the play was a bit altered from the true life story so... what does it matter?! A GREAT MOVIE, HIGHLY RECOMMENDED!!!!!
Yes, but....
neil-47614 May 2009
Warning: Spoilers
Great songs, great performances across the board....
The only thing is that Mama Rose is such a loathsome character. She manipulates everyone around her, and subjects her children to years of privation and uncertainty in pursuit of a successful stage career for June. When June, who has been happy to be top of the pile within the family troupe, finally takes off in her own direction, Rose transfers this to Louise - who isn't very talented and doesn't really want it. On the point of finally giving up - which Louise and long-suffering doormat Herbie both want - Rose makes a last-ditch attempt at success by forcing Louise into stripping. It turns out that Louise is pretty good at this, but she too pursues her own career in her own way. Good for her, I say.
It is clear from very early on that Rose is doing it all for Rose, no matter how much she says she's doing it for the girls, and every time I see this film - and I've seen it quite a lot - I badly, badly want to see her get her comeuppance. But she never does. For me, the key scene is when Rose reads the letter - a firm but loving letter - from June, explaining that June is cutting loose. After a long period of stunned silence from Rose during which Louise and Herbie excitedly make plans for a normal life, Rose comes out of her funk and wildly expounds her ideas for putting Louise on the stage. She comes across as, frankly, deranged at this point, and Louise and Herbie hug each other closely in utter horror, which I shared.
But that can't take away from the songs, or the performances, or Natalie Wood's luminous beauty.
The only thing is that Mama Rose is such a loathsome character. She manipulates everyone around her, and subjects her children to years of privation and uncertainty in pursuit of a successful stage career for June. When June, who has been happy to be top of the pile within the family troupe, finally takes off in her own direction, Rose transfers this to Louise - who isn't very talented and doesn't really want it. On the point of finally giving up - which Louise and long-suffering doormat Herbie both want - Rose makes a last-ditch attempt at success by forcing Louise into stripping. It turns out that Louise is pretty good at this, but she too pursues her own career in her own way. Good for her, I say.
It is clear from very early on that Rose is doing it all for Rose, no matter how much she says she's doing it for the girls, and every time I see this film - and I've seen it quite a lot - I badly, badly want to see her get her comeuppance. But she never does. For me, the key scene is when Rose reads the letter - a firm but loving letter - from June, explaining that June is cutting loose. After a long period of stunned silence from Rose during which Louise and Herbie excitedly make plans for a normal life, Rose comes out of her funk and wildly expounds her ideas for putting Louise on the stage. She comes across as, frankly, deranged at this point, and Louise and Herbie hug each other closely in utter horror, which I shared.
But that can't take away from the songs, or the performances, or Natalie Wood's luminous beauty.
Russell and Wood Shine!
peacham14 October 1999
Although the television remake is truer to the original script Bette Midler was a dreadful Mama Rose she peaked way too early for us to care about her. by the time Rose' Turn happens we want her to shut up. Roz Russell has so much more depth in the role playing the caracter, not just the songs. True she is a bit weak vocally but she is always on key and the emotional levels are right on. Natalie Wood is charming as Louise and Virbrantly sexy as Gypsy. her transformation is flawless.Malden is avery good Herbie but too bad they cut "together" The three actors would hae been a joy to watch in that number. Over all this is a very good film. not perfect but it hits the right chords.
Sturdy, respectable musical classic adaptation that doesn't quite "sing out."
gbrumburgh25 April 2001
The dowager queen of all stage mothers gets the opportunity to let loose and grab the spotlight all to herself in 1962's "Gypsy," produced and directed by Mervyn LeRoy. Based on the memoirs of stripper/actress/raconteur Gypsy Rose Lee (nee Louise Hovick), the "musical fable" chronicles her early, trying days on the vaudeville circuit through her triumph as a burlesque headliner.
Career-steered all the way by an indomitable, often destructive force (her mother, of course), the movie (as did the stage show) graciously centers itself around Mama Rose instead of the future star. As well it should! Rosalind Russell is a prime example of a perfect actress given the perfect role. Rose Hovick fits Ms. Russell like a prop glove. Like she did in "Auntie Mame," Roz barnstorms her way into the part and barnstorms right off, walking away with the film like the star she is. It's hard for me to imagine another actress who could give Mama Rose the grit, the spunk, and the voracious appetite for fame this character implores. Ethel Merman, of course, became the toast of Broadway (again) in the NY production and it seemed a cinch she would get to recreate Rose here. But Merman never adapted well to the screen. A strong and preponderating presence on stage, she came off surprisingly benign on film (i.e., "There's No Business Like Show Business," "Call Me Madam"), and so she was not given the honor. Ironically, Russell's only drawback is her singing voice. It's adequate, mind you, but her low alto drains the songs of some of its power and intensity. This is one case where a Merman-like boom is sorely needed. Other than that, Russell hits the Richter scale at "10" with a captivating, high-octane performance.
Because Mama Rose is the whole show, the rest of the cast defers to her star turn. Every stage production I have ever seen has "Gypsy Rose Louise" portrayed as a demure, accommodating child player at the mercy of a titanic ego, who, by story's end, turns into a lovely, winsome striptease ingenue. The script, of course, kowtows to that image, so there is not much an actress can really do with a part so watered-down, it has little chance to shine. The title role does not allow us even a glimpse of what would be the REAL Gypsy Rose Lee an irreverent, free-wheeling, self-promoting extrovert and audience pleaser who became THE "toss-and-tickle" star of the century. A little of Mama Rose definitely rubbed off on the adult Gypsy, but you'd never know it here. So, a very professional Natalie Wood does exactly what is expected of her sans any real snap, crackle or pop. She's demure, accommodating, lovely and winsome, finally packing a little power at the end when she forces herself to stand up to Rose's unbearable interference.
In capable supports: Karl Malden, as Rose's exasperated, level-headed boyfriend; dancer Paul Wallace as Tulsa; Faith Dane, Roxanne Arlen and Betty Bruce as a flashy triad of strippers; and, particularly, little Suzanne Cupito and Ann Jilliann as "Baby June" and "Dainty June," respectively, who are adorable and appealing little pros. (Trivia note: Suzanne Cupito grew up to be the stunning Morgan Brittany.) The rest of the cast provide lively atmosphere.
The film does have some problems. Other than Russell, there is little else to ignite it. The show is trapped by its stagy origins, when it might have worked to break out of those gaudy, miserable confines with some authentic 30s cinematography a la "Paper Moon" or "Bonnie and Clyde" that might have given it some outside life. The Jule Styne/Stephen Sondheim musical score too, for me, has always been somewhat of a mixed bag. Along with the numerous gems ("Let Me Entertain You," Some People", "Everything's Coming Up Roses", "If Mama Was Married," "You Gotta Have a Gimmick" and the show-stopping "Rose's Turn," you still have to contend with "Little Lamb," "Cow Song" and "Mr. Goldstone" that border on irritating.
Still, "Gypsy" is a definitive Rosalind Russell vehicle and that alone is worth the price of a ticket.
Career-steered all the way by an indomitable, often destructive force (her mother, of course), the movie (as did the stage show) graciously centers itself around Mama Rose instead of the future star. As well it should! Rosalind Russell is a prime example of a perfect actress given the perfect role. Rose Hovick fits Ms. Russell like a prop glove. Like she did in "Auntie Mame," Roz barnstorms her way into the part and barnstorms right off, walking away with the film like the star she is. It's hard for me to imagine another actress who could give Mama Rose the grit, the spunk, and the voracious appetite for fame this character implores. Ethel Merman, of course, became the toast of Broadway (again) in the NY production and it seemed a cinch she would get to recreate Rose here. But Merman never adapted well to the screen. A strong and preponderating presence on stage, she came off surprisingly benign on film (i.e., "There's No Business Like Show Business," "Call Me Madam"), and so she was not given the honor. Ironically, Russell's only drawback is her singing voice. It's adequate, mind you, but her low alto drains the songs of some of its power and intensity. This is one case where a Merman-like boom is sorely needed. Other than that, Russell hits the Richter scale at "10" with a captivating, high-octane performance.
Because Mama Rose is the whole show, the rest of the cast defers to her star turn. Every stage production I have ever seen has "Gypsy Rose Louise" portrayed as a demure, accommodating child player at the mercy of a titanic ego, who, by story's end, turns into a lovely, winsome striptease ingenue. The script, of course, kowtows to that image, so there is not much an actress can really do with a part so watered-down, it has little chance to shine. The title role does not allow us even a glimpse of what would be the REAL Gypsy Rose Lee an irreverent, free-wheeling, self-promoting extrovert and audience pleaser who became THE "toss-and-tickle" star of the century. A little of Mama Rose definitely rubbed off on the adult Gypsy, but you'd never know it here. So, a very professional Natalie Wood does exactly what is expected of her sans any real snap, crackle or pop. She's demure, accommodating, lovely and winsome, finally packing a little power at the end when she forces herself to stand up to Rose's unbearable interference.
In capable supports: Karl Malden, as Rose's exasperated, level-headed boyfriend; dancer Paul Wallace as Tulsa; Faith Dane, Roxanne Arlen and Betty Bruce as a flashy triad of strippers; and, particularly, little Suzanne Cupito and Ann Jilliann as "Baby June" and "Dainty June," respectively, who are adorable and appealing little pros. (Trivia note: Suzanne Cupito grew up to be the stunning Morgan Brittany.) The rest of the cast provide lively atmosphere.
The film does have some problems. Other than Russell, there is little else to ignite it. The show is trapped by its stagy origins, when it might have worked to break out of those gaudy, miserable confines with some authentic 30s cinematography a la "Paper Moon" or "Bonnie and Clyde" that might have given it some outside life. The Jule Styne/Stephen Sondheim musical score too, for me, has always been somewhat of a mixed bag. Along with the numerous gems ("Let Me Entertain You," Some People", "Everything's Coming Up Roses", "If Mama Was Married," "You Gotta Have a Gimmick" and the show-stopping "Rose's Turn," you still have to contend with "Little Lamb," "Cow Song" and "Mr. Goldstone" that border on irritating.
Still, "Gypsy" is a definitive Rosalind Russell vehicle and that alone is worth the price of a ticket.
Retitle This One - "Rose: Gypsy's Monster Stage-Mother From Hell"
strong-122-47888519 November 2013
In my opinion, this 1962 film, based upon the 1957 book "Gypsy: A Memoir" written by Gypsy Rose Lee, herself, would have faired so much better had it been presented as a straight drama. I certainly found that both the musical numbers and the frequent lapses into comedy really weakened the overall punch that this film undoubtedly could've produced had these unnecessary elements not dominated a good part of the story.
I also thought that Rosalind Russell's character as Rose Hovick, the ultimate, overbearing stage-mother-from-hell (who tyrannized the entire story) was given way-way too much attention and screen-time for my liking.
From start to finish Russell's willful, one-note character literally chewed-up every bit of scenery with her loud, controlling and bossy histrionics. I found that this decidedly annoying character lost the novelty of her appeal within the first 30 minutes of the story.
I also found that "Gypsy's" 143-minute running time to be almost unendurable to sit through. If a good 30 minutes had been carefully edited from this production I think that it would've been so much easier to enjoy.
This movie just went on and on and on. (Ho-hum!) And its story just seemed to be going around and around in a vicious circle that ended up, in the long run, going absolutely nowhere at all.
Another serious problem with "Gypsy" was the miscasting of Natalie Wood as the title character. From my point of view, Wood (though undeniably attractive) just didn't seem to possess the crucial dramatic resources to draw upon for this very demanding part. Wood simply played her part sweet & simple and this inevitably reduced her "Gypsy" to being nothing but an unambitious square - In other words, she was an accidental success.
Yes. I fully understand that this film was clearly a product of early-1960's movie-making and that strict censorship was still in full swing back then - But, with that said, I really thought that it was completely laughable that Gypsy Rose Lee's meteoric rise to becoming a very hot burlesque queen was depicted as though just a sly wink, a sexy wiggle, and the revealing of a naked shoulder (and nothing else) was all that was required of her to achieve this special status of "striptease" royalty.
Even though "Gypsy" was obviously a big-budget production that might have worked its intended magic as a stage play, on screen it was a truly disappointing let-down that certainly left a whole helluva lot to be desired.
All-in-all - I would never recommend this film to anyone.
I also thought that Rosalind Russell's character as Rose Hovick, the ultimate, overbearing stage-mother-from-hell (who tyrannized the entire story) was given way-way too much attention and screen-time for my liking.
From start to finish Russell's willful, one-note character literally chewed-up every bit of scenery with her loud, controlling and bossy histrionics. I found that this decidedly annoying character lost the novelty of her appeal within the first 30 minutes of the story.
I also found that "Gypsy's" 143-minute running time to be almost unendurable to sit through. If a good 30 minutes had been carefully edited from this production I think that it would've been so much easier to enjoy.
This movie just went on and on and on. (Ho-hum!) And its story just seemed to be going around and around in a vicious circle that ended up, in the long run, going absolutely nowhere at all.
Another serious problem with "Gypsy" was the miscasting of Natalie Wood as the title character. From my point of view, Wood (though undeniably attractive) just didn't seem to possess the crucial dramatic resources to draw upon for this very demanding part. Wood simply played her part sweet & simple and this inevitably reduced her "Gypsy" to being nothing but an unambitious square - In other words, she was an accidental success.
Yes. I fully understand that this film was clearly a product of early-1960's movie-making and that strict censorship was still in full swing back then - But, with that said, I really thought that it was completely laughable that Gypsy Rose Lee's meteoric rise to becoming a very hot burlesque queen was depicted as though just a sly wink, a sexy wiggle, and the revealing of a naked shoulder (and nothing else) was all that was required of her to achieve this special status of "striptease" royalty.
Even though "Gypsy" was obviously a big-budget production that might have worked its intended magic as a stage play, on screen it was a truly disappointing let-down that certainly left a whole helluva lot to be desired.
All-in-all - I would never recommend this film to anyone.
Rose! Rose!
didi-511 December 2003
This enjoyable class act has Natalie Wood as Gypsy Rose Lee and Rosalind Russell as her overbearing mother Rose. And they are both terrific. Ok, so Russell isn't Ethel Merman and the OBC has that bit of an edge where the songs are concerned, but as an actress she is great in this role, especially in the scenes where June and Louise (Gypsy-to-be) are auditioning and she constantly interrupts; and in the Mr Goldstone number.
Natalie Wood looks the part and gives Louise a sympathetic edge, particularly in 'Little Lamb'. The best musical numbers of the lot though are Tulsa's song and dance number rehearsing his imaginary double act, and the truly brilliant 'You Gotta Have a Gimmick'. It is also a joy to see Karl Malden in a nice supporting role as Rose's long suffering beau Herbie.
Natalie Wood looks the part and gives Louise a sympathetic edge, particularly in 'Little Lamb'. The best musical numbers of the lot though are Tulsa's song and dance number rehearsing his imaginary double act, and the truly brilliant 'You Gotta Have a Gimmick'. It is also a joy to see Karl Malden in a nice supporting role as Rose's long suffering beau Herbie.
I Wanted to Like this Movie, But....
Eric26619 July 2018
I live in small town in Kansas. Last year, the local drama club put on a production of Gypsy at the performing arts theater. I have to say, the local production ran circles around this effort. I kept comparing the movie to the local theater and I was awed at how lacking the movie was in comparison.
I love Rosalind Russell from her time playing Hildy Johnson in His Girl Friday. Her rapid fire dialogue with Cary Grant was perfect. She was good as Rose, but something just wasn't right about her portrayal. I struggled to accept that she was this cold-hearted. Her version of Rose PLAYED at being cold-hearted, she didn't SEEM cold-hearted. The scenes at her childhood home should have resonated and shown why she was so selfish and self-centered. They seemed to breeze through those scenes.
As an aside, there is a scene near the end of the movie where Rose is contemplating her life. She mentions coming from the wrong side of the tracks. In the local production, as the the actress playing Rose said this, a real train went zipping by the theater as if on cue. The entire audience broke out laughing in what was supposed to be a solemn scene. The actress on stage stayed in character, wept, and mentions so many trains leaving her behind. It was funny and bittersweet at the same time.
Karl Malden was great as Herbie. I was pleased by his performance. His Herbie had the right amount of sensitivity and love, while also eventually resigning himself to the fact Rose was never going to change.
Natalie Wood was a very good Louise. She was so beautiful and it was tragic that she died so young. Again, the actress in the local production had a much better voice, but Ms. Wood had a tremendous stage presence. Her Louise tried so hard to please her mother while knowing deep down, she never would. The scenes between Rose and Louise at the end crackled with emotion.
Paul Wallace as one of the backup dancer's, Tulsa, who Louise falls in love with, was completely wasted. It was obvious Mr. Wallace was hired for his dancing skills (which were awesome and his dance number with Ms. Wood was a delight) but his character is mostly under developed. Inconceivably, the movie version of June runs off with another character while it was Tulsa she departs with in the Broadway version, breaking Louise's heart. Ann Jillian did a really nice job as "Dainty June" considering she was a last minute replacement. Her voice is tremendous. The only awkward thing was having 24-year old Wood pretending to be younger than the 12-year old Jillian. Their dance number to "If Mama was Married" sounded amazing but visually it really stretched credibility.
The cast did a nice job and the movie was very entertaining. However, when it can't compare to a summer stock production (in my opinion), it leaves something to be desired.
I love Rosalind Russell from her time playing Hildy Johnson in His Girl Friday. Her rapid fire dialogue with Cary Grant was perfect. She was good as Rose, but something just wasn't right about her portrayal. I struggled to accept that she was this cold-hearted. Her version of Rose PLAYED at being cold-hearted, she didn't SEEM cold-hearted. The scenes at her childhood home should have resonated and shown why she was so selfish and self-centered. They seemed to breeze through those scenes.
As an aside, there is a scene near the end of the movie where Rose is contemplating her life. She mentions coming from the wrong side of the tracks. In the local production, as the the actress playing Rose said this, a real train went zipping by the theater as if on cue. The entire audience broke out laughing in what was supposed to be a solemn scene. The actress on stage stayed in character, wept, and mentions so many trains leaving her behind. It was funny and bittersweet at the same time.
Karl Malden was great as Herbie. I was pleased by his performance. His Herbie had the right amount of sensitivity and love, while also eventually resigning himself to the fact Rose was never going to change.
Natalie Wood was a very good Louise. She was so beautiful and it was tragic that she died so young. Again, the actress in the local production had a much better voice, but Ms. Wood had a tremendous stage presence. Her Louise tried so hard to please her mother while knowing deep down, she never would. The scenes between Rose and Louise at the end crackled with emotion.
Paul Wallace as one of the backup dancer's, Tulsa, who Louise falls in love with, was completely wasted. It was obvious Mr. Wallace was hired for his dancing skills (which were awesome and his dance number with Ms. Wood was a delight) but his character is mostly under developed. Inconceivably, the movie version of June runs off with another character while it was Tulsa she departs with in the Broadway version, breaking Louise's heart. Ann Jillian did a really nice job as "Dainty June" considering she was a last minute replacement. Her voice is tremendous. The only awkward thing was having 24-year old Wood pretending to be younger than the 12-year old Jillian. Their dance number to "If Mama was Married" sounded amazing but visually it really stretched credibility.
The cast did a nice job and the movie was very entertaining. However, when it can't compare to a summer stock production (in my opinion), it leaves something to be desired.
Gypsy In My Soul
writers_reign23 August 2005
Warning: Spoilers
By all accounts La Merm was the cat's pajamas in the Broadway production. I wouldn't know and I care even less; I've always found Merman something of a joke, just a belter with all the subtlety of the Jerry Springer Show but Roz Russell in this movie is sensational. Okay, so Lisa Kirk helped her out vocally but NO ONE helped her ACT the bejeezus out of the ultimate control freak stage mother from hell. She did that all on her own AND managed to give us flashes of her great warmth. The Book is more than usually faithful to Gypsy's autobiography which appeared in 1957, two years before the Broadway opening. There really WAS a cow and Newsboys and when the boys were replaced with girls after June DID elope with one of the boys, it WAS her older sister who decided to rename the act Rose Louise and her Hollywood Blondes - and YES, they did tour in a tent. Basically all Jule Styne and Steve Sondheim had to do was add words and music and they did. In spades. This is definitely on the short-list of all-time great Broadway shows/scores, right up there with Kiss Me, Kate and Guys and Dolls. Both those shows were filmed and neither was wholly successful (Marlon Brando in a Sinatra part? You're kidding, right?) but Gypsy is a TOTAL joy and a total success. Every number enhances our knowledge of the characters and/or moves the story on and every melody is MELODIC and every lyric LITERATE. There's absolutely NO comparison with what passes for a Musical today. This is real Golden Age material and for 'Golden' we may as well read Jurassic. A 10 star gem.
Not the worst Broadway adaptation, but not the best either
molemandavid3 July 2017
Gypsy is arguably the greatest Broadway show ever written. It's funny, scary, dramatic, moving, sexy...everything you'd ever want from a show. Why Hollywood felt the need to mess with perfection is beyond me, but they did.
Warner's 1962 version of Gypsy gets off to such a rough start that it's impossible to ever redeem itself even when it finally gets back on track later in the film. The first act portion of Warner's Gypsy mixes song/scene order, combines characters, adds needless voice overs, and destroys the pacing of the film completely.
With this cast's less than stellar vocal abilities, the music score was never going to soar like it usually does with better singers at the helm, but the slow tempos sure don't help.
Rosalind Russell does as best she can in a role she's not terribly well-suited for, but she does manage to wring a bit of comedy out of the dreary first half of the film and give the character of Rose a bit of pathos in the second half of the film. Her voice isn't up to task for the songs, but she gives it her all and you have to admire that.
Of the whole cast, Natalie Wood comes across the best. Her voice isn't perfect, but she pulls her songs off well enough and makes Louise a real person, despite the screenwriter and studio's attempts to sabotage her at every turn. For instance, why make June run away with a random chorus boy named Jerry instead of Louise's crush, Tulsa? It takes away a big moment for her character.
Once the act 2 portion gets going, the film evens out and it becomes a bit more watchable, as it stays rather faithfully to the original stage script. Unfortunately, by that point, it's too little too late and the damage has been done.
If this movie is your only option, it's worth a shot, but the stage version is infinitely better and more worth your time.
Warner's 1962 version of Gypsy gets off to such a rough start that it's impossible to ever redeem itself even when it finally gets back on track later in the film. The first act portion of Warner's Gypsy mixes song/scene order, combines characters, adds needless voice overs, and destroys the pacing of the film completely.
With this cast's less than stellar vocal abilities, the music score was never going to soar like it usually does with better singers at the helm, but the slow tempos sure don't help.
Rosalind Russell does as best she can in a role she's not terribly well-suited for, but she does manage to wring a bit of comedy out of the dreary first half of the film and give the character of Rose a bit of pathos in the second half of the film. Her voice isn't up to task for the songs, but she gives it her all and you have to admire that.
Of the whole cast, Natalie Wood comes across the best. Her voice isn't perfect, but she pulls her songs off well enough and makes Louise a real person, despite the screenwriter and studio's attempts to sabotage her at every turn. For instance, why make June run away with a random chorus boy named Jerry instead of Louise's crush, Tulsa? It takes away a big moment for her character.
Once the act 2 portion gets going, the film evens out and it becomes a bit more watchable, as it stays rather faithfully to the original stage script. Unfortunately, by that point, it's too little too late and the damage has been done.
If this movie is your only option, it's worth a shot, but the stage version is infinitely better and more worth your time.
It's Roz's Turn
bkoganbing29 July 2008
As much as I would have liked to see Ethel Merman do the screen version of her last great Broadway triumph of Gypsy, no one should have any complaints about what Rosalind Russell did with the part. In fact unlike so many of her contemporaries who did a lot of junk at this period, Ms. Russell was getting some of the best roles in her career in her later years.
Gypsy is based on the early life and career of Gypsy Rose Lee, arguably the most famous stripper of all time. But the woman was propelled in her career by the stage mother to end all in the person of Rosalind Russell. Russell lives vicariously through the lives of her daughters, one of whom who later became actress June Havoc finally got out from under by running away and marrying at the age of 13.
With one daughter left played by Natalie Wood, Russell concentrates all her efforts with her. Nothing fazes this woman, not the Depression which together with talking pictures killed vaudeville and the stage stardom she believes is her due. I'm still trying to figure out why it never occurred to her to take the act to Hollywood as so many did back in the day.
With a little help from Lisa Kirk in the vocal department, Russell delivers the Merman songs in her own style in a grand manor. Mama Rose is a difficult part because it's so easy to let a domineering role like that slip into caricature. Karl Malden is fine as well as her agent who would like to settle down, but can't because Russell will brook no interference in her life's mission.
Natalie Wood is fine as the young Gypsy Rose Lee and unlike in West Side Story, she sings her own stuff, most memorably she urges us to Let Me Entertain You. Songs like Small World and Everything's Coming Up Roses are given good production numbers.
Gypsy ran from 1959 to 1961 on Broadway for 703 performances which is a hit by anyone's standards. Only one member of the original Broadway cast Paul Wallace who plays Tulsa, one of the boys doing backup with the Hovick girls made it to the screen. He gets a specialty number, All I Need Is The Girl and sad to say that Mr. Wallace was probably born 30 years too late. He would have had a great career in screen musicals.
After Call Me Madam which Ethel Merman did do for the screen as well had mediocre box office, Jack Warner wouldn't even consider using her. He wasn't thinking of posterity, just box office. Still Rosalind Russell's performance is a good one for posterity as well.
Don't miss Gypsy the next time it's on. Mama is going to see to it that you don't.
Gypsy is based on the early life and career of Gypsy Rose Lee, arguably the most famous stripper of all time. But the woman was propelled in her career by the stage mother to end all in the person of Rosalind Russell. Russell lives vicariously through the lives of her daughters, one of whom who later became actress June Havoc finally got out from under by running away and marrying at the age of 13.
With one daughter left played by Natalie Wood, Russell concentrates all her efforts with her. Nothing fazes this woman, not the Depression which together with talking pictures killed vaudeville and the stage stardom she believes is her due. I'm still trying to figure out why it never occurred to her to take the act to Hollywood as so many did back in the day.
With a little help from Lisa Kirk in the vocal department, Russell delivers the Merman songs in her own style in a grand manor. Mama Rose is a difficult part because it's so easy to let a domineering role like that slip into caricature. Karl Malden is fine as well as her agent who would like to settle down, but can't because Russell will brook no interference in her life's mission.
Natalie Wood is fine as the young Gypsy Rose Lee and unlike in West Side Story, she sings her own stuff, most memorably she urges us to Let Me Entertain You. Songs like Small World and Everything's Coming Up Roses are given good production numbers.
Gypsy ran from 1959 to 1961 on Broadway for 703 performances which is a hit by anyone's standards. Only one member of the original Broadway cast Paul Wallace who plays Tulsa, one of the boys doing backup with the Hovick girls made it to the screen. He gets a specialty number, All I Need Is The Girl and sad to say that Mr. Wallace was probably born 30 years too late. He would have had a great career in screen musicals.
After Call Me Madam which Ethel Merman did do for the screen as well had mediocre box office, Jack Warner wouldn't even consider using her. He wasn't thinking of posterity, just box office. Still Rosalind Russell's performance is a good one for posterity as well.
Don't miss Gypsy the next time it's on. Mama is going to see to it that you don't.
not bad
kyle_furr26 February 2004
I have hardly seen any musicals and the only reason i watched this one was because i kept seeing previews for it on turner classic movies. The movie stars Rosalind Russell as the mother of two daughters who want to be in Broadway. Russell meets Karl Malden and he agrees to help them out. Russell doesn't have any money and the only one with talent is her youngest daughter. Natalie Wood plays her oldest daughter and when the younger sister leaves, Russell expects Wood to take over. Karl Malden wants to marry Russell but she won't, not until they make it to the top. One thing i didn't like about it was that Russell sang too many songs and Natalie Wood hardly sang any songs. At first Natalie Wood looks like a tomboy but at the end when she basically becomes a stripper, she looks really great.
An unusual musical
Bob Pr.19 July 2011
This is an unusual musical film, loosely based on (not directly copied from) the Broadway musical of the same name, using the music by Sondheim & Stein. (Among its better known songs are: "Everything's Coming Up Roses," "Let Me Entertain You").
The Broadway play was loosely based on Gypsy Rose Lee's fairy tale version of growing up under the strong hand of her mother (Rose Hovick) along with her younger sister, June Havoc, who earlier escaped Momma Rose's clutches and much later became a stage, movie, & TV star.
Rosalind Russell's performance (Momma Rose) has often been criticized as being inferior to Ethel Merman's although Russell (IMO) delivers a very strong performance. Much of the difference is that in the stage version, most of Momma Rose's dark side is not shown; in Russell's version, one sees a slightly more realistic version of Momma Rose.
Russell's Momma Rose increasingly becomes (IMO) an unlikeable character rather than one brassy, funny, and larger than life. This is a bit closer to the real Momma Rose (read Noralee Frankel's "Stripping Gypsy" for an excellent biography). Momma was an extremely demanding woman, more than a bit psychopathic, who not only pressed both of her daughters to earn money for her but also drove them emotionally away. Karl Malden as Momma Rose's put-upon lover-in-waiting stands in for the many men Momma Rose actually conned and he brings enough sympathy to his role that it adds more fuel to disliking the Momma Rose that Russell brings to life. Natalie Wood is a very believable Gypsy.
An interesting film, both for its presentations of family relationships and for an era. If the film was less detailed, shorter, possibly its emotional impact would have been closer to that of the stage version. As it is, Momma's selfishness, her determination to get whatever she wanted at any cost, becomes dominant and one is thankful her two daughters escaped.
The difference between the versions of Momma Rose presented in this film and that of the stage musical stimulated me to read Frankel's excellent biography ("Stripping Gypsy"), Preminger's (Gypsy's son) "Gypsy & Me" AKA "My G-String Mother," plus June Havoc's "Early Havoc" & "More Havoc." (Plus Abbot's less helpful biography of Gypsy: "American Rose.")
Fascinating family to explore!
I also read Gypsy's fantasy, "Gypsy, a Memoir," the foundation on which the musical was built. It's interesting storytelling but a fairy tale. Momma Rose died a few years before "Gypsy," her book, was published. On her death bed, Momma Rose died putting a curse on Gypsy as Gypsy was trying to comfort her. But a great story is more acceptable than the truth and, besides, Gypsy had learned quite well from her mother the marketable advantage of spinning interesting stories!
The Broadway play was loosely based on Gypsy Rose Lee's fairy tale version of growing up under the strong hand of her mother (Rose Hovick) along with her younger sister, June Havoc, who earlier escaped Momma Rose's clutches and much later became a stage, movie, & TV star.
Rosalind Russell's performance (Momma Rose) has often been criticized as being inferior to Ethel Merman's although Russell (IMO) delivers a very strong performance. Much of the difference is that in the stage version, most of Momma Rose's dark side is not shown; in Russell's version, one sees a slightly more realistic version of Momma Rose.
Russell's Momma Rose increasingly becomes (IMO) an unlikeable character rather than one brassy, funny, and larger than life. This is a bit closer to the real Momma Rose (read Noralee Frankel's "Stripping Gypsy" for an excellent biography). Momma was an extremely demanding woman, more than a bit psychopathic, who not only pressed both of her daughters to earn money for her but also drove them emotionally away. Karl Malden as Momma Rose's put-upon lover-in-waiting stands in for the many men Momma Rose actually conned and he brings enough sympathy to his role that it adds more fuel to disliking the Momma Rose that Russell brings to life. Natalie Wood is a very believable Gypsy.
An interesting film, both for its presentations of family relationships and for an era. If the film was less detailed, shorter, possibly its emotional impact would have been closer to that of the stage version. As it is, Momma's selfishness, her determination to get whatever she wanted at any cost, becomes dominant and one is thankful her two daughters escaped.
The difference between the versions of Momma Rose presented in this film and that of the stage musical stimulated me to read Frankel's excellent biography ("Stripping Gypsy"), Preminger's (Gypsy's son) "Gypsy & Me" AKA "My G-String Mother," plus June Havoc's "Early Havoc" & "More Havoc." (Plus Abbot's less helpful biography of Gypsy: "American Rose.")
Fascinating family to explore!
I also read Gypsy's fantasy, "Gypsy, a Memoir," the foundation on which the musical was built. It's interesting storytelling but a fairy tale. Momma Rose died a few years before "Gypsy," her book, was published. On her death bed, Momma Rose died putting a curse on Gypsy as Gypsy was trying to comfort her. But a great story is more acceptable than the truth and, besides, Gypsy had learned quite well from her mother the marketable advantage of spinning interesting stories!
Gypsy
jboothmillard19 July 2018
Warning: Spoilers
I had heard the title of this movie, based on the popular stage play, I was sure I would recognise at least one song when I watched it, so I hoped for something good, from Golden Globe nominated director Mervyn LeRoy (Little Caesar, I Am a Fugitive from a Chain Gang, Mister Roberts). Basically wilful, resourceful and domineering stage mother Rose Hovick (Golden Globe winning Rosalind Russell) is determined to make her young, blonde, and beautiful daughter "Baby" June (Suzanne Cupito, aka Morgan Brittany) a vaudeville headliner. Rose will stop at nothing to achieve her goal, she drags June and her shy, awkward, and decidedly less-talented older sister "Baby" Louise (Diane Pace) around the country trying to get them noticed. Agent Herbie Sommers (Golden Globe nominated Karl Malden) assists them, and they manage to secure bookings on the prestigious Orpheum Circuit. Years pass, "Dainty" June (Ann Jillian) and Louise (Golden Globe nominated Natalie Wood) are no longer young enough to pull off childlike character, but their mother insists they continue to project. June rebels, gets married to Jerry, one of the dancers who backs the act, and she disappears to make her own way in life. Rose considers June's actions as betrayal, so she pours all her energy into making a success of Louise, despite her obvious lack of singing or dancing skills. The increasing popularity of sound films does not help matters, meaning a decline in the demand for stage entertainment. With bookings being scarce, Rose and Louise travel to Wichita, Kansas, where the owner of a third-rate burlesque house books the act. When one of the strippers is arrested for shoplifting, Rose immediately volunteers Louise as the replacement act, but it is clear Louise will only do it to please her mother. Herbie decides this is the final straw, he is disgusted by the means Rose will go, and that she will not marry him, he gives her the opportunity to convince him to stay, but she fails, and he leaves. At first, Louise's voice is shaky, and her moves are tentative, but audiences respond positively, and she slowly gains confidence on stage. Louise blossoms into the successful entertainer billed as Gypsy Rose Lee, it comes to the point where she tires of her mother's constant interference in both her life and her career. Louise confronts Rose and demands she leave her alone. Rose realises she has spent her life enslaved by a desperation to be noticed, angry and bitter she stumbles onto the empty stage in the deserted theatre and has an emotional breakdown, but Louise watches, and they reconcile. Also starring Golden Globe nominated Paul Wallace as Tulsa, Betty Bruce as Tessie Tura, Parley Baer as Mr. Kringelein, Harry Shannon as Grandpa and Ben Lessy as Mervyn Goldstone. Russell gives a showstopping performance (it could have been Ethel Merman, star of the stage show, or the more desired Judy Garland), Wood is also good as the tender daughter, and Malden is likeable as the agent trying to help them go places. The most memorable songs and performances are "Some People", "Mr. Goldstone, I Love You", "Little Lamb", "All I Need Is the Girl", "You Gotta Have a Gimmick" (famously performed by Lily Savage, Cilla Black and Barbara Windsor at the Royal Variety Performance) and "Rose's Turn". I will be honest and say that I agree with critics, about the way it is produced being a bit "theatrical", but you can forgive it because of the great songs by Stephen Sondheim and well-done choreography, and the story based on a real-life stripper it is interesting enough, all in all it is a worthwhile musical comedy drama. It was nominated the Oscar for Best Cinematography, Best Costume Design and Best Music, Scoring of Music, Adaptation or Treatment for Frank Perkins, and it was nominated the Golden Globe for Best Motion Picture - Musical. It was number 66 on The 100 Greatest Musicals. Very good!
Everythings Comin' Up Rose for Those Who See Gypsy
joseph95200128 November 2005
Let's start out with this: Just because an actress or actor was a hit in a Broadway Show doesn't mean that they are perfect for the movie version. Ethel Merman was great as Madam Rose on Broadway, but she's never been a crowd pleaser in the movies. It's true that she did the movie version of her Broadway hit "Call Me Madam" but it was not her name that brought the people to the movie theaters; it was Donald O'Connor, Vera Ellen, George Saunders and Billy De Wolfe. Even in "There's No Business Like Show Business" the cast of Dan Daily, Mitzi Gaynor and Johnny Ray were the ones who brought the paying movie public to the theaters. It's true that at one time 20th Century Fox was going to film "Gypsy" with Ethel Merman and Mitzi Gaynor playing Gypsy Rose Lee, but that didn't pan out, so Warners bought the rights and Rosalind Russells husband made a deal that would give Rosalind Russell the right to make the movie.
So, what about Rosalind Russell singing her songs: In Rosalind Russells autobiography she states, "No matter what anyone says, that's Roz up there singing the songs". Well, that's not exactly true and one of the proofs is that on the soundtrack album they don't give Russell the credit for singing her songs. Actually most of the singing was done by her, but when it came to "Everythings Coming Up Rose" she just couldn't hit the ball into the outer-field, so Warners paid Lisa Kirk a hefty sum for dubbing that song for Russell. Now, whether Natalie Wood could or could not sing is not a problem. After all, neither could Gypsy Rose Lee, but Woods numbers at the end of the film as the stripper are excellent, and she favored Gypsy Rose Lee more than Mitzy Gaynor would have.
So, why doesn't a lot of people like this movie version of Gypsy? Well, to thoroughly enjoy it, stop comparing Russell with Merman. That's a beginning. Merman could not bring the people into the movie theaters, maybe so on Broadway, but there is not enough Broadway fans out there to pay for the cost of the movie, but there were with Rosalind Russell, Natalie Wood, and Carl Malden. The next thing: You have to see this movie in a movie theater where you can experience the sweeping Technirama Wide Screen process with Stereophonic Sound. Seeing this movie on T.V. doesn't get it although if you can get a Letter-Box Version of it with a very big T.V. screen, it can be quite enjoyable, but the movie theater is the best place!
As far as other versions of Gypsy are concerned: Bette Midler was awful in the role of Madam Rose. They should have lowered her singing into a lower key. She just sounded like she was straining to get to her top notes that you wondered if she was going to make it, and even though Midler said she was born to play Madam Rose; "Oh no she wasn't!" Bad version. Didn't have the slick quality of the movie. I saw Mitzi Green do it on the stage, and even though she was no Ethel Merman, she did a great job in the road company. Joann Whorley of Laugh in Fame played Madam Rose at Dayton, Ohio's "Kenley Theater" and she quite frankly rocked the joint. She was loud, brassy and wonderful, but if anyone is Ethel Mermans successor, it's Tyne Daly who played Rose at Lincoln Center and won a Tony, and the critics said that "Merman would be proud!" So, even though I'm not really a fan of Rosalind Russell, if you erase Merman from your mind, this is a wonderful, rousing, screen adaptation of "Gypsy" and it shouldn't be missed!
So, what about Rosalind Russell singing her songs: In Rosalind Russells autobiography she states, "No matter what anyone says, that's Roz up there singing the songs". Well, that's not exactly true and one of the proofs is that on the soundtrack album they don't give Russell the credit for singing her songs. Actually most of the singing was done by her, but when it came to "Everythings Coming Up Rose" she just couldn't hit the ball into the outer-field, so Warners paid Lisa Kirk a hefty sum for dubbing that song for Russell. Now, whether Natalie Wood could or could not sing is not a problem. After all, neither could Gypsy Rose Lee, but Woods numbers at the end of the film as the stripper are excellent, and she favored Gypsy Rose Lee more than Mitzy Gaynor would have.
So, why doesn't a lot of people like this movie version of Gypsy? Well, to thoroughly enjoy it, stop comparing Russell with Merman. That's a beginning. Merman could not bring the people into the movie theaters, maybe so on Broadway, but there is not enough Broadway fans out there to pay for the cost of the movie, but there were with Rosalind Russell, Natalie Wood, and Carl Malden. The next thing: You have to see this movie in a movie theater where you can experience the sweeping Technirama Wide Screen process with Stereophonic Sound. Seeing this movie on T.V. doesn't get it although if you can get a Letter-Box Version of it with a very big T.V. screen, it can be quite enjoyable, but the movie theater is the best place!
As far as other versions of Gypsy are concerned: Bette Midler was awful in the role of Madam Rose. They should have lowered her singing into a lower key. She just sounded like she was straining to get to her top notes that you wondered if she was going to make it, and even though Midler said she was born to play Madam Rose; "Oh no she wasn't!" Bad version. Didn't have the slick quality of the movie. I saw Mitzi Green do it on the stage, and even though she was no Ethel Merman, she did a great job in the road company. Joann Whorley of Laugh in Fame played Madam Rose at Dayton, Ohio's "Kenley Theater" and she quite frankly rocked the joint. She was loud, brassy and wonderful, but if anyone is Ethel Mermans successor, it's Tyne Daly who played Rose at Lincoln Center and won a Tony, and the critics said that "Merman would be proud!" So, even though I'm not really a fan of Rosalind Russell, if you erase Merman from your mind, this is a wonderful, rousing, screen adaptation of "Gypsy" and it shouldn't be missed!
Dated, but entertaining
vincentlynch-moonoi10 June 2011
Warning: Spoilers
I suppose most musicals are dated. But in a sense, this one seems more so, even though it was released in 1962. But somehow, film musicals like "Bells Are Ringing" (1960) seemed more modern. Ah well, that's not to say this film isn't worth a watch, because it is.
First off, it's a great cast. Although some disagree -- perhaps because of a less than stellar singing voice -- Rosiland Russell's performance as the stage mother is exceptional. Here, her voice was combined in some numbers with a professional singer (and done rather well, BTW), so I think she shines...and at least in terms of a film, so much better than I think Ethel Merman would have (although I enjoyed EM in "There's No Business Like Show Business"). And Karl Malder -- what a gifted and underrated actor. He's perfect here...although how anyone could love the mother here is anybody's guess...but (relative) truth is stranger than fiction. And, although I'm not a fan, Natalie Wood turns in a stellar performance here, as well.
Then, there's the music. "Small World", "Some People", "All I Need Is the Girl", "Everything's Coming Up Roses", "Let Me Entertain You" are the show-stoppers by Stephen Sondheim (lyrics) and Jule Styne (music).
And, of course, it's a relatively true story. I'm old enough to remember Gypsy Rose Lee...on television, not in burlesque, and it's difficult for me to imagine she was that "hot" at one time (take either meaning you wish). But, she did make history.
Definitely worth watching, but again, and not because of the era of the story, this film seems very dated...but enjoyable. Rose's Turn ... Rose
First off, it's a great cast. Although some disagree -- perhaps because of a less than stellar singing voice -- Rosiland Russell's performance as the stage mother is exceptional. Here, her voice was combined in some numbers with a professional singer (and done rather well, BTW), so I think she shines...and at least in terms of a film, so much better than I think Ethel Merman would have (although I enjoyed EM in "There's No Business Like Show Business"). And Karl Malder -- what a gifted and underrated actor. He's perfect here...although how anyone could love the mother here is anybody's guess...but (relative) truth is stranger than fiction. And, although I'm not a fan, Natalie Wood turns in a stellar performance here, as well.
Then, there's the music. "Small World", "Some People", "All I Need Is the Girl", "Everything's Coming Up Roses", "Let Me Entertain You" are the show-stoppers by Stephen Sondheim (lyrics) and Jule Styne (music).
And, of course, it's a relatively true story. I'm old enough to remember Gypsy Rose Lee...on television, not in burlesque, and it's difficult for me to imagine she was that "hot" at one time (take either meaning you wish). But, she did make history.
Definitely worth watching, but again, and not because of the era of the story, this film seems very dated...but enjoyable. Rose's Turn ... Rose
Plow These Roses Under
onepotato27 June 2008
Warning: Spoilers
This material is odd. The story of an atrocious stage mother told for laughs half the time, and for annoyance the other half. It's very stagebound. And there's A LOT of flab in the story. It has the usual problem of presenting an annoying character; How do you do it without actually annoying viewers? Mama Rose is pushy, and annoying, and dumb. Oooh a footlights storyline; Will it feature that hoariest of hoary gimmicks; someone stumbling across an empty stage and pouring their heart out to an empty theater? ugh, count on it. Though the lyrics are early Sondheim, he doesn't have a chance with this indefatigable-human-spirit corn.
Finishing this movie was a burden, as the appeal of watching a dragon lady, interrupted by very lousy child vaudeville numbers, could not be detected by this viewer. They found about fifteen minutes in the whole thing to spend on Natalie Wood (you know, the title character!?) Though Rosalind Russell is dubbed, it's not a bad vocal match. For the worst dub job ever, pop 'Band of Angels' into your DVD player, and watch Sidney Poitier improbably transform from his gentle nasal-pitched self to basso-profundo Paul Robeson for his spiritual.
Finishing this movie was a burden, as the appeal of watching a dragon lady, interrupted by very lousy child vaudeville numbers, could not be detected by this viewer. They found about fifteen minutes in the whole thing to spend on Natalie Wood (you know, the title character!?) Though Rosalind Russell is dubbed, it's not a bad vocal match. For the worst dub job ever, pop 'Band of Angels' into your DVD player, and watch Sidney Poitier improbably transform from his gentle nasal-pitched self to basso-profundo Paul Robeson for his spiritual.
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