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When Warner Bros purchased the rights to the 1959 musical hit GYPSY it was intended to obtain a purely dramatic film, with songs from the Jule Styne & Stephen Sondheim Broadway come by confined to the theatrical sequences. Rosalind Russell was chosen for the starring (but non-musical) role of Mama Rose along side Natalie Wood as Gypsy Rose Lee. However impartial as this version of GYPSY began filming, THE MUSIC MAN opened in theatres and scored a colossal hit. It was then decided that GYPSY should be filmed as a musical follow-up to THE MUSIC MAN. The production closed down and was revamped as a musical. Rosalind Russell could dispute but not in the style her role demanded (all of Mama Rose’s songs in the Broadway production were written in the unique Mama Rose, Ethel Merman’s vocal style) . It was decided to bring in singer Lisa Kirk to encourage Russell with the vocals rather than re-cast the role. The waste result fully justifies this decision because Rosalind Russell’s Mama Rose is simply beautiful and the combination of Russell and Kirk in the songs is so perfect you never know (or care) who is doing the singing. No other actress, before or since (which includes such famous performers as Ethel Merman, Angela Lansbury, Bette Midler and Tyne Daly), even comes finish to conveying the monster in mother’s clothing that was Mama Rose the method Russell does while calm allowing the humanity of the character to emerge now and then only to become subservient once again to her driving ambition.
Natalie Wood is also safe as Gypsy Rose Lee, who succeeded beyond her mother’s Dreams. Her mother and daughter showdown scene with Russell is riveting. A young, vibrant Ann Jillian gives equally expansive relieve as Dainty June, the focus of Mama Rose’s machinations for most of the film, who also went on to become June Havoc, one of the most renowned stage actresses of her time.
Besides sizable acting, the songs are performed with a bravura and brilliance that far outclasses all other versions of this musical. In fact the Warner Bros. Studio Orchestra plays this music so magnificently it makes the more new Bette Midler TV version sound anemic by comparison. The Dolby Digital 5:1 Discrete Surround envelopes you into the proceedings and the animated, richly saturated Technicolor wide cover image (2:35-1) is fully equal to the suited audio.
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But it is Rosalind Russell in one of the greatest cover performances ever committed to film that drives this version of GYPSY to the top of the heap and makes this DVD a “must beget.”
Some utilize the winter hibernating. I employ it hibernating AND watching musicals. This past winter in the Northeast wasn’t quite as severe as some we’ve seen, but it was LOOOONG. The winter that wouldn’t die. So I needed a goodly supply of classic musicals on hand.
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What a treat it was to re-watch GYPSY after lo these umpteen years. Rosalind Russell’s Rose is a leer in mammoth force-of-nature type acting. As it happens, hers is the only Rose I’ve ever seen, so I cannot really catch into the who-was-better argument with any right authority. But it’s hard to imagine that Merman could have played this archetypical stage monster, uh, mother with more authority on the immense camouflage. My guess is that those who gain that Russell brings subtlety to the character that Merman could not have are apt. Merman may have been titanic on stage, where bigger is better (direct, manner, gesture and all out pizzazz), but what works wonderfully on stage may be deadly on hide (and vice versa) .
Roz was the quintessential tough gigantic on veil. She projected warmth, as well as street smarts though–and that was the order of the day with the veil version of GYPSY. She’s supported by a astounding cast: Karl Malden, objective stout as always, as her mammoth lug/softie of a suitor. And Natalie Wood, fetching as always, as the young, sweet vulnerable Louise.
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GYPSY is as salubrious a musical as you’re going to accumulate. Quick-witted, touching, sassy. They don’t beget ‘em like that anymore. Well, of course, they don’t really execute musicals grand anymore, but you know what I mean.
I hope I won’t leave Roz Russell fans crushed when I mention one thing, however. For years, I old-fashioned to tout Russell’s talk-singing as proof that a talented actor with even moderate vocal ability could always learn to assign over a song. Now I learn from imdb.com that the vocals (some? all? ) may have been supplied by actress Lisa Kirk. I am shocked–not appalled, but apprehensive. If those vocals aren’t Roz’s occupy, well, it’s fair about a perfect match. The songs are sung in as gritty a inform as Roz uses in delivering the lines. I have no doubt that Russell could have pulled it off herself, and it may have been the case that some suit at the studio chickened out and brought in Lisa.
Well, it could have been worse. At least they didn’t go against type and wander in Marni Nixon.
PS–Ah yes, it only occurred to me to check a dinky further to explore if there was a soundtrack album on CD to ogle what the dependable scoop on the Lisa/Roz business was. It’s correct that Lisa was brought in after Roz had already recorded her versions. Since Roz’s outtakes are included on the CD, it’s doubtless enlightening. The reviews (all customer reviews, in this case) are penned by fans in the know, and although no one can agree, they’re well worth taking a discover at if you’re at all enthralling. Purchasing the CD may well be worth it if you’re very attractive.
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