Die tätowierte Rose

Ten out of ten for Anna Magnani's tour-de-force performance in "The Rose Tattoo," but the film itself falls a notch or two below that level. From time to time, a performance comes along that is so brilliant that the work of all other actors in the same year pales in comparison. Ben Kingsley in "Gandhi" and Daniel Day Lewis in "My Left Foot" come to mind, and Anna Magnani as Serafina Delle Rose in "The Rose Tattoo" can be added to that short list. The actress seems to physically transform herself before your eyes from a depressed, self-pitying widow, who has been swallowed by grief over the death of the husband that she worshiped, into a flirtatious, earthy woman, who cannot resist the attention and physical attraction of Alvaro, a truck driver, who is played by Burt Lancaster. Unfortunately, Lancaster, who often overacted when there was not a strong director to control him, lets loose at times in a nearly buffoonish performance as the suitor. Fortunately, nearly half the movie passes before he arrives on screen. Since Lancaster is capable of subtle restrained work such as that in "Atlantic City" and "Field of Dreams," one can only fault director Daniel Mann for not reining in the actor's over-the-top gestures and shameless mugging.

The original Tennessee Williams play has been effectively opened up and only occasionally betrays its stage origins. James Wong Howe's black-and-white cinematography beautifully captures the atmospheric art direction, and two of the film's three Academy Awards deservedly went to the cinematographer and art director. The third, of course, was presented to Anna Magnani. The film has some dry stretches, Marisa Pavan is obviously much older than the 15 that she portrays, and Lancaster is definitely miscast, which was possibly a studio decision for marquee value. However, despite its flaws, "The Rose Tattoo" remains a worthy film for its Tennessee Williams lines and the brilliance of Magnani's performance. Unfortunately, the great Italian actress made far too few films and died much too young, so film lovers should relish this diamond-caliber performance, even if its setting is only gold-plated. .

I recommend this film solely to witness Magnani's performance, which was an utterly beautiful piece of acting, indeed. Although I did not feel pulled into the plot very much, I did sympathize with Magnani's character because she played her part with such heart. I must admit that I was disappointed by Lancaster's overacting, and the minor actors also were not at all impressive. Also, I do not feel inspired to read the play itself because I don't think that reading it could compare to watching Magnani's riveting performance through which Magnani's soul itself seems to bleed.

Although I cannot think of another film with such an engaging actress, the beginning tone and ambiance of this film reminded me of other Tennessee Williams works. The atmosphere is open, naked, and almost frightening; Williams's plays always introduce characters that are very human--weak, lonely, unsettled--and deeply passionate. He doesn't take care to hide the frightening and desperate side of people even though we may not want to see that. He makes no exception in this piece, and this sense of humanity is most effectively portrayed through Magnani.

Remarkable and intelligent weeper account about a widow , her daughter and their suitors , being well directed and wonderfully performed . An Italian-American neighborhood in Louisiana is disturbed when trucker Rosario Delle Rose is killed when pursued by police his truck is crashed out . His mature widow miscarries , then over a period of long time draws more and more into herself , attempting to force her lovely teenaged daughter Rosa Delle Rose (Marisa Pavan, Pier Angeli's sister) to do likewise . On one eventful day , Rose finally breaks away along with his fiancé , handsome Seaman Jack Hunter (Ben Cooper) ; things go wrong when Serafina learns of deceased husband's affair with another woman (Virginia Grey) . Along the way , there appears a sympathetic seducer , the italian truck driver Alvaro Mangiacavallo (Burt Lancaster) . While romancing the widow , Alvaro learns the principal problem results in convincing her that their relationship will make all their lives better . While the other young couple have an unexpectedly tender romance , as the boyfriend attempts to persuade her that all will be better if they marry . Her blood boiled with desire...raged with jealous fury!.Seething with realism and frankness!. The boldest story of love you have ever been permitted to see!.

This is a plain and simple film with plenty of interesting drama , soap opera , emotion and two enjoyable romances . Filmmaker Daniel Mann has got a considerable success in delineating their troublesome roles in this fabricated soaper . Various character-studios furnish the basis for this agreeable drama and it results to be a superb piece of acting . It is a mostly staged drama in which the two main actors spend the majority of the movie attempting to persuade themselves . Nice screenplay by Hal Kanter and Tennessee Williams based on his own play dealing with sensitive themes such as the disintegration of a family , an enticing love story , rebellious adolescent and including engaging dialogs . Excellent interpretation by protagonist duo , Anna Magnani as Serafina Delle Rose playing magnificently the mature but attractive truck driver's widow , though she was 46 years old during filming and she previously achieved a big hit : Rome , city open . The picture also established Magnani's claim as a player of a great worth and paved the way for her Academy Award-winning success . While Burt Lancaster plays the new carefree, good-looking Italian truck driver who enters her life , as wooing a widow that leads to unexpected consequences and while delivering an awesome performance , though overacting , at times . This is a Daniel Mann film shot in his peculiar style , in fact he established himself as a first-rate actors' director while on Broadway. Under his direction Sidney Blackmer and Shirley Booth won Tony Awards for "Come Back, Little Sheba", which also became Mann's film directorial debut in 1952 with Burt Lancaster in support of Booth on the screen. Mann would direct her again in the less successful Hot Spell (1958) at the end of the decade. Booth won an Oscar for her work, as did Anna Magnani Rose Tatto (1955), which Mann also directed on Broadway with Maureen Stapleton in the part of the lonely Italian-American widow Serafina Delle Rose, which Tennessee Williams originally wrote with Magnani in mind . Anna Magnani beat out 'Susann Hayward in I'll cry tomorrow (1955) for the Oscar, another performance directed by Mann. The top-drawer main cast Anna Magnani and Burt lancaster are well supported by a very good support cast as Marisa Pavan , Ben Cooper , Virginia Grey and veteran Jo Van Fleet.

It displays a brilliant cinematography in black and white by James Wong Howe. As welll as an evocative musical score by Alex North. The motion picture was well directed by Daniel Mann . Mann was one of the top movie directors of the 1950s, helming a lot of successes as I'll cry tomorrow (1955), The teahouse of the moon of august (1956), The Last Angry Man (1959) and Butterfield 8 (1960), which brought Elizabeth Taylor her first Oscar. However, his film career began to decline in the 1960s. In the first half of the decade he still was given A-list pictures with top female stars like Anna Magnani, Rosalind Russell and Sophia Loren, but he also directed Dean Martin comedies and the spy movie spoof Flint (1966). His reputation waned and he played out his string in the 1970s and 1980s, directing TV movies and an embarrassingly bad feature about a boxing kangaroo, Super Rocky (1978) and another failed film, a Western titled Revengers , it was a real flop , because Mann being Drama expert , no Westerns . Rating : 7.5/10 . Above average.

It ain't easy to steal the spotlight from Burt Lancaster, but Anna Magnani in her Oscar winning performance managed to do just that. Of course it helps to have the female role be the protagonist here.

In the 1951 season on Broadway, Tennessee Williams's The Rose Tattoo came to Broadway and ran for 306 performances and starred Maureen Stapleton and Eli Wallach in the Magnani and Lancaster parts. Like all of Tennessee Williams's work it is set in the south, but a different kind of south than we usually see. Surely Serafina Derosse is a lot different than decadent southerners like Blanche Dubois, or Alexandra Del Lago, or Violet Venable. She's from a different world than they, being an immigrant. She brings her culture and its values to the gulf area.

Serafina's husband is killed in a brief prologue in a car crash, he's a truck driver who does a little smuggling on the side. He also does a bit of womanizing on the side as well which comes out at his death. As a result Magnani just withdraws from the world and even tries to turn her daughter, Marisa Pavan, into as a bitter a creature as she is.

Enter Burt Lancaster into her life, who's also a truck driver. His is a pretty expansive role also, but he's just not in the same league as Magnani, few are. Burt was cast in the role because Paramount wanted some box office name as Magnani was not known in this country, though she was Italy's biggest female star.

In a recent biography of Burt Lancaster it said that Lancaster was lucky in this part because he grew up in East Harlem, one of the few WASP types there and had many Italian immigrant friends and their families to draw upon for his character. It's a good performance, Lancaster stops well short of making it a cartoon creation and getting the Italian American Civil Rights group down on him.

Still it's Magnani's picture and she dominates it thoroughly. She did only a few English language films after this, Wild is the Wind and The Secret of Santa Vittoria with Anthony Quinn and The Fugitive Kind with Marlon Brando among them. Brando in fact turned down this film because he was afraid she'd upstage him. Guess he got his courage later on.

The Rose Tattoo is probably the closest Tennessee Williams came to doing a comedy. It's well short of a comedy, there's too many serious parts to this film to consider it that. Still I think it's something different from Tennessee Williams, something unique, and something wonderful.

The Rose Tattoo is a solid film with terrific performances by 3 Oscar winners: Anna Magnani, Burt Lancaster, and Jo Van Fleet. Magnani landed the film version after Maureen Stapleton had originated the part on Broadway, and she is terrific as the smouldering Italian woman whose husband is killed when he is caught smuggling. The Tennessee Williams play touches on the usual ingredients of sexual repression and denial and hypocrisy. After years of mourning the dead husband (the Baron), Magnani finally gives in to sexual urges (with Lancaster) only after the swarm of village women (a pack of Italian harpy hags that acts as a Greek Chorus) convince her that the husband had been unfaithful. The subplot involves the purity of the daughter who is dating an equally pure sailor (Marisa Pavan and Ben Cooper). The subplot is boring. Lancaster is good as the simpleton truck driver who serves as the double for the dead husband, right down to the rose tattoo on his chest. Another rose tattoo shows up on the chest of the husband's floozie girl friend (nicely played by Virginia Grey), which serves as the "proof" Magnani needs to finally believe her husband's cheating. Lots of symbolism and circular plots, but the bottom line is the excellence of the acting. Magnani won a well-deserved Oscar for this film. Her scenes with Lancaster are electric. And Van Fleet is super as the shrieking customer (Magnani is a seamstress); it's no coincidence that Van Fleet won the supporting actress Oscar that year for East of Eden, since her performance in The Rose Tattoo is a world apart from that film. And yes Tennessee Williams can be glimpsed as a barfly at the Mardi Gras Club.