Tomboy Rose Marie Lemaitre, the orphaned ward of Mountie Mike Malone, falls in love with him, and he with her. But when she goes to "learn to be a lady", she meets outlaw trapper James ...
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Three Broadway producers struggling to get backing for their show hope one's sudden inheritance of a half interest in a Parisian fashion house is the answer. They travel to Paris only to learn the salon is in debt and requires their help.
Two marketing professionals hire a lookalike of classic western actor Smoky Callaway to impersonate the actor and make new films, but things go awry when the real Callaway, thought long missing, returns.
A government agent is sent to a western town to investigate attacks that the townspeople say are being commited by rampaging Apaches. The agent, however, suspects that different forces may ... See full summary »
Fabius loves his beautiful but vulnerable city, Rome, and he also loves his beautiful but invulnerable fiancée, Amytis. Fascinated by the tales she has heard about Hannibal, who is about to... See full summary »
Tomboy Rose Marie Lemaitre, the orphaned ward of Mountie Mike Malone, falls in love with him, and he with her. But when she goes to "learn to be a lady", she meets outlaw trapper James Duval, who also falls in love with her. But Duval is in a dispute with the local Native American chief Black Eagle, and soon Black Eagle is murdered.Written by
Albert Sanchez Moreno firstname.lastname@example.org
The First CinemaScope Musical--a Visual & Vocal Treat!
Why hasn't this MGM musical ever gotten the acclaim it deserves? The CinemaScope/Eastman Color cinematography of the Canadian Rockies serves as a dazzling backdrop for a rousing Mounties adventure saga. Which also happens to feature a gloriously composed and sung score--Ann Blyth and Fernando Lamas's rendition of "Indian Love Call" is enthralling. Check this out the next time it shows up on Turner Classic Movies. Like "River of No Return" (with Mitchum & Monroe--shot the same year in the same breathtaking locale), it was one of the first films to exploit the new anamorphic process in its full glory--and has never been surpassed.
With a deliciously hilarious romantic subplot involving those two comedic geniuses, Marjorie Main and Bert Lahr. What more could one want? As Howard Keel sings to Blythe in the course of the title song, "Rose Marie I love you" . . .
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