Rose Marie

Canadian Mountie Mike Malone (Howard Keel) encounters orphan Rose Marie Lemaitre (Ann Blyth) on her canoe in the wilderness alone. Her father was a French trapper. She would rather live alone in the wild. Malone forces her back to Fort Macroy where she continues to rebel. In time, she joins the Mounties under Malone. She falls for French trapper James Severn Duval (Fernando Lamas).

This musical is reportedly one of Busby Berkeley's last movie work. The exterior shots have the amazing Canadian wilderness vista. The music is more opera in nature which is not my taste. Otherwise, this romance mostly works although it is very old fashion. There is some awkward stuff which is the old fashion stuff.

Not enough good things can be said about this beautiful musical, one of my favorites. It has the right combination of romance, conflict, suspense, tragedy, and comedy in the plot. The setting is in the colonial or exploration era of Canada, and the rivalry between English and French Canadians is evident.

The story is about Rose Marie (Ann Blyth), a tomboyish girl that her guardian Mountie (Howard Keel) tries to civilize. Rose Marie is grateful to him, but she truly loves the French trader Duval (Fernando Lamas), who accepts her as she is. The unrequited love an Indian girl has for Duval adds to the conflict and leads to the tragic elements in the film. However, justice and a happy ending prevail.

I commend Turner Broadcasting for keeping "Rose Marie" alive by showing it on the movie channel, but I would love to have a quality DVD version. I hope it will be on DVD soon.

The film has inspired me to look for the sheet music and script from the musical, and I am very disappointed that I cannot find a "Rosemarie" songbook. If any music and script publishers are listening, they should have the score and script of this film in print.

Saw this on a massive CinemaScope screen during its first-run release at the Egyptian Theater in Hollywood, California. If memory serves (since I haven't caught it on a Turner Classic Movies broadcast recently) it was enjoyable and nicely mounted, although I seem to recall that a lot of it was done on some massive MGM soundstages rather than outdoors in the northern California and Canadian locations. Of course that was usually the case with musicals with outdoor settings. Technical considerations prompted the studios to go the easy route of utilizing the more easily controlled environments of, in MGM's case, their Culver City, Calif. lot and stages subbing for the great outdoors. Howard Keel and Ann Blyth (and Fernando Lamas, too) acquitted themselves quite nicely in the vocal department. And any movie that gives us Marjorie Main and Bert Lahr for some expert comic relief is to be fondly remembered. Although its popularity may not merit it, it would be nice to add a DVD version, not yet available, it appears, of this widescreen/stereo remake to one's video library.

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" . . .

MGM's first CinemaScope musical is pictorially splendid, with what looks like on-location shooting of the Canadian wilderness, or a very good faking thereof. The lake and mountain vistas must have been spectacular on the big screen; even on a TV screen they're impressive. Also, the screenwriters dump the pretensions that marred the 1936 Nelson-Jeannette version and return closer to the 1924 stage story, streamlining it nicely and removing some of the clunkiness in the dialog. Only a handful of the original Friml-Harbach-Hammerstein-Stothart songs survive, but several of the new ones are by Friml, too (with lyrics by Paul Francis Webster), and one, "I Have the Love," is quite nice. Ann Blyth, while not credibly a backwoods French-Canadian, is lovely and with a fine set of soprano pipes, and Howard Keel reminds us again of how Hollywood underrated him--one of our most masculine musical leading men, with an easy understated acting style to back up his booming vocals. Fernando Lamas hasn't that much to do, and it feels unfair that one of Ms. Blyth's leading men has to be a good sport and just step back and let her love the other. And Bert Lahr may be a comic genius, but his and Marjorie Main's material is so rotten that you tend to forget it. Still, a couple of soundstage scenes aside, it's a gorgeous big-screen production, and not as dramatically inert as many other operetta-derived musicals. A very pleasant 107 minutes.