Rambling Rose

I haven't seen this film in quite a while but I have pretty good memories about it. It's an intriguing film, something different and appealing even though some of the subject matter is "inappropriate."

I saw the last word because it involves a 13-year-old boy whose hormones are raging and his brief relationship with a grown woman. There is one sex scene that may make people squirm a bit, so be forewarned. Other than that, I don't remember anything else objectionable.

I like the photography and always enjoy seeing the old days - here it's the 1920s and 1930s - portrayed on today's films with the great cameramen and directors of today. Also, the South has some beautiful scenery that is eloquently on display here.

The story is well-acted with real-life mother-daughter Diane Ladd and Laura Dern, along with Robert Duvall and Lukas Haas. The latter plays the young man and was already somewhat of a star after playing the young Amish boy in the 1985 film "Witness." Duvall is one of the finest actors of his generation so you always get a good performance out of him.

This is a pretty low-key story but never puts you to sleep. Modern day feminists might like this film was Ladd plays that role to the hilt. Dern also delivered, making a very believable "Rose."

Buddy recalls the Great Depression when Rose (Laura Dern) came to work for his family. She escaped prostitution in Birmingham to be the domestic servant. Kindly mother Hillyer (Diane Ladd) is partly deaf and was orphaned young. Rose flirts with father Hillyer (Robert Duvall) but he rebuffs her. Young Buddy (Lukas Haas) has a sexual encounter with Rose. She is desperate to stay and convinces him to keep it a secret. She continues to be flirtatious with the town's men. Father wants to send Rose away while mother argues to keep her.

This is a nostalgic jazzy rambling reminiscence of a compelling character. My only problem is that this movie takes a light tone making this almost a fable. Despite the childhood point of view, it needs to go for a darker mood to fit this sexualized tragedy. Director Martha Coolidge is caught between making a kid's coming of age journey and a young woman's walk on a dangerous tight rope. The light airy mood keeps the darker material at a distance.

An ingénue nymphomaniac's turbulent life rooted in the 1930s depression period of southern USA, served as a housemaid in a hotel owner's home, our heroine Rose, an uncultured but stalwart gal whose miserable past is the hidden wound cuts her deep and being unaware of her sex-addicted disposition, her path of looking for Mr. Right is rather bumpy and poignant.

The film is narrated by Buddy, the eldest son of the hotel owner, Rose is his first love and always occupies a special place in his heart. Although Rose is the potent pillar of the film, female director Martha Coolidge has steadily integrates a handful of equally vivid characters (young Buddy, his Daddy and Mother) into a moderate template of chanelling and rescuing Rose from her self-destructive hazard, despite of wanting any laudable gambits in highlighting the narrative skills and the plot is always stuck into a hoary frivolousness, the complete work is at best satisfactory.

The film is noteworthy by setting a record in the history of the academy by virtue of a real mother-daughter pair garners two Oscar nominations in the same film, Dern and Ladd (a second collaboration in a film after Lynch's WILD AT HEART 1990, 7/10) both showcase their stunning acting bent. Dern has nailed a quite innately delicate role since Rose is the damaged goods by nature, but her pure kindness and innocence hasn't been impaired and her female vulnerability is the real gem under the circumstance, even if she would mature gracefully later and give a more challenging and nail-biting performance in Lynch's INLAND EMPIRE (2006, 7/10), this film is among the crests of her filmography nonetheless. Ladd, after the pompous and lavish turn in WILD AT HEART, unexpectedly chooses a more positive and orthodox good-lady embodiment, her award-worthy moment confidently present itself in the latter part of the film, and single- handedly salvaging Rose from the misogyny from seedy male-predominance. But Duvall is also glittering in his category-fraud (I put him in leading) portrait of a man who is much wiser than he initially appears, and a juvenile Lukas Haas, almost being provocative while driven by curious sex impulse to take advantage of Rose, which might be the most contentious segment of the film per se, and at least he acts like a pro.

My final conclusion is that regardless of its maternal inclination of female-skewing demography, it is indeed a thespian playing field with decent fodder.

Which is a shame considering there was so much to like. Laura Dern's performance is astonishing as the Rose of the title who has a shady past and comes to live with a family headed up by Robert Duvall and Diane Lane (her real life mother) who gives a wonderful performance also.

The story is a cobweb, if story it is, I haven't read the novel,and the plot is character driven all the way.

The sexual content is handled sensitively and the fact that Rose is a 'nymphomaniac' of the era - i.e. she loves sex - is understood and tolerated by the family.

The eldest child, Buddy, is played by Lukas Haas who has many good performances to his credit - and has never turned down a movie role since he was five - who has an evil streak according to his mother but keeps certain secrets about Rose along with his father who also has secrets.

An amazingly tolerant and lovable family headed by a father with integrity - which was a bit of a stumble for me as Robert Duvall's incessant smirking does not translate as such to me. I find it irksome - and confusing. I would have preferred a different actor in that part a la Leslie Howard from the forties.

The sepia cinematography was breathtaking and the street scenes amazing as were the two actors who played the younger children.

The wraparound of the story didn't work at all. Rose deserved more that a verbal dismissal at the end. And the mother vanished inexplicably. Now there was a character. Too bad the viewer wasn't respected a little more.

6 out of 10 for all that.

I got a chance to see this film accidentally while glancing through the channels on my TV. I was instantly hooked and watched the whole film. This film is about a young, restless and free-spirited orphan girl, who is in search of affection. She's also sexually overactive, well that's what the people around her in the 30s feel. She's sheltered by a family who are just like an ordinary family down the road, but when she needs them stand up for her, never caring about the so called caretakers of morals and virtues. A very intersting study if deep rooted charcters, played equally well by the actors. 2 characters stand apart in the film, one of the girl Rose played brilliantly by Laura Dern, and of the mother, played by Laura's real mom, Diane Ladd. Robert Duvall is very believable as the head of the family in the southern in the 1930s. I liked the gentle pace of the movie, and its buildup towards the end, where Diane garners herself for a confrontation with the self proclaimed keepers of the virtues, including her own husband. I like the way their Diane's and Robert's characters undergo transformations, small ones but enough to keep the audience attached to the film at an emotional level. Even days after watching the movie, you'd have the images of the cheerful, sometimes confused, lively and lovely Rose, flashing in front of your eyes. And that's makes the use of a narrative, which some people didn't like about this movie, so appropriate. If I had known someone like Rose in my lifetime, I would definately told this story to everybody I knew, many times over.