Gypsy

I like the Rosalind Russell version a lot(I perhaps prefer it just a tad) and Russell in it, but this Gypsy has a lot to recommend. It is not quite on par with the musical itself(neither film version is) which is a masterpiece of character and music, but it has its spirit, heart and charm. The spirit is droll and sincere and the story has so much heart to it. The music is wonderful and the lyrics positively delight. The production values are kitsch, bright and colourful. While I prefer Malden and Wood in their respective roles in the 1962 film, Peter Reigert(though his singing leaves a lot to be desired) and Cynthia Gibb are truly charming and entertaining, and Christine Ebersole steals all her scenes. If there are any preferences I have at all over the 1962 film, it is the staging and choreography, which is less clunky and moves more effortlessly, and Bette Midler's singing, Russell's was raspy and off-key sometimes whereas Midler's is big and brassy. Midler is just superb as Mama Rose, although Russell was superb also Midler's Mama Rose is truer to what Mama Rose should be like. Overall, a fine Gypsy. 8/10 Bethany Cox

Bette Midler stars in this production of the much loved musical that starred Ethel Merman on Broadway and Rosalind Russell in the film version.

Everyone knows the plot. Mama Rose (Midler) is the ultimate stage mother who pushes her two daughters onto any stage she can find. Eventually Baby June becomes a Vaudeville star with sister Louise in the background. Years later and with Vaudeville dying, June runs off, leaving Mama and Louise to fend for themselves.

After years of being a flop, they land in Burlesque and Louise reinvents herself as Gypsy Rose Lee and becomes a star stripper. But the mother never lets go, living her dreams through her kids. Baby June, by the way, went on to become June Havoc.

Midler is terrific as Mama Rose with Cynthia Gibb as the grown Louise and Peter Riegert as Herbie. The bawdy strippers played by Christine Ebersole, Linda Hart, and Anna McNeely shine in the "You Gotta Have a Gimmick" number.

There's also Edward Asner, Tony Shalhoub, Andrea Martin, Michael Jeter, and Jeffrey Broadhurst as Tulsa.

It's a show biz world that doesn't exist anymore, and this great show with music by Jule Styne and lyrics by Stephen Sondheim immortalizes it with much love. The show is gritty and grimy and ballsy and a pleasure to behold. And brava to Bette Midler!

If you want to see what could be classed as the 'stage' version of GYPSY this is the film for you.

If you enjoy(ed) listing to the MERMAN recording of GYPSY then you really enjoy watching MIDLER as Gypsy's mother, ROSE. It's my opinion that Midler has the volume, vibrato and presents that Merman once had.

It's not often these days, when listening to update versions of musicals, that I get that tingling sensation that makes the hair on my neck tingle but Bette Midler certainly shows her talents in this movie -see how you like them apples.....

I know you may not like it, but for me Ms. Midler is the definitive "Gypsy".

"Gypsy" is possibly the greatest musical ever written, so it's too bad that it's film version was such a disappointment. To make up for that, we have this re-make which, if not flawless, is an enjoyable and well done adaption of the musical. The script is completely accurate, all the songs included, and the staging remains close to the original Jerome Robbins' staging. Bette Midler is a deft choice for Rose, her singing and personality Merman-esquire, and her acting splendid. Peter Reigert is a fine Herby, if not a great singer, and Cynthia Gibb is a straight forward, natural Louise. In truth, a live taping of the 1989 revival with Tyne Daly might have been a better idea, if only because "Gypsy" is simply more exciting on stage, But this film is a fine translation of a great musical.

The '90s was such a wasteland for musicals--with Disney animation at least restoring some luster by way of BEAUTY AND THE BEAST, THE LION KING etc. But live-action? Not a prayer. Yet with GYPSY, a modestly budgeted TV-movie version of the Broadway show, with a first rate cast and crew, did an exceptional job showing how such things can still happen. Midler was the necessary powerhouse as Mama Rose, and the entire cast held their own just fine. A musical shouldn't have to be bogged down with socio-political baggage to make it relevant nowadays--a production like this shows what sheer showmanship and celebration of music and dance can still be all about, albeit derived from a forty year-old source. To see a renewal of this kind of exuberant entertainment would be a wonderful thing; at least this GYPSY shows how it can still work.