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.

I well remember seeing this movie when it was shown in New Zealand about 1955. It was an enjoyable movie and my desire to own it on DVD was only heightened when I recently saw it on Turner Classic Movies. Regrefully most TCM movies in New Zealand are a bit blurry and the sound track had lots of 50/60 cycle hum in it. It would be nice if it was to be released on DVD particularly if a little care was taken in restoring the visual print and the sound track.

The original sound track for Rosemarie was a magnetic 3 channel across the screen and 1 surround channel. With modern sound restoration and enhancement equipment that is available today, there is no reason why this could not be restored to quiet a presentable 5.1 sound track.

It disappoints me to see many of the fine old movies reissued with excellent visual print but little care having been taken on the sound restoration when as a sound engineer specializing in old recorded sound restoration I know much better could be done.

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" . . .

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.

Bears little resemblance to the (better) MacDonald/Eddy version, at least what little I can remember of it. Very much in the style of musical that MGM would do for the better part of the 50's, for better and worse. As such, it was fine. Would have improved had they cut the entire Duval/Wanda subplot and just focused on Howard Keel and Ann Blyth. Busby Berkeley worked on the staging of the musical sequences --his last major theatrical film until 1962's Jumbo-- but there was really only one short sequence which clearly bore his fingerprints: the one involving the Native American medicine man (Thurl Ravenscroft, best known for How the Grinch Stole Christmas) and a group dance centered around Wanda. In retrospect, considering Berkeley's Hollywood career as just about over, this was a fitting bookend to someone whose very first Hollywood job was on the Eddie Cantor musical, Whoopee!, faint echoes of which appeared in that aforementioned sequence. Aside from that sequence, the best part of the film was a comic number by Bert Lahr, doing a more up-tempo variation on his big number from The Wizard of Oz ('If I Were King of the Forest'). For me, this lost steam about two-thirds of the way through and never really recovered. And I didn't like the ending either. Well-produced, but still rather middling.