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.