La donna che inventò lo strip-tease

No, it didn't have Ethel Merman. Most films didn't have Ethel Merman. That's because Ms. Merman was always something of a Sherman Tank personality- regardless of vocal strength- and her vocals and mannerisms would've been entirely too big on film. The jury will be forever out as to whether or not Rosalind Russell did her own singing or was partially looped by Lisa Kirk, but it ultimately doesn't matter. She captures perfectly the nuance of a driven stage mother whose ambitions cause her daughters to simultaneously love her and be frustrated by her. (In hindsight, the best possible Rose probably would've been none other than Judy Garland, named in an early casting package. Can you imagine?) As it is, I thought the most amazing performance came from Natalie Wood- who appears to age roughly fifteen years throughout the film. Note her first appearance in the film celebrating a lonely birthday with a baby lamb; she looks roughly thirteen years old. All through the troupe's vaudeville adventures she remains in the background until the train depot sequence; she then grows up overnight- first as a counselor to her mother (as 'Rose-Louise'), then begins to find her voice in the Wichita burlesque sequences as a seamstress and bit player with the strippers, then finally in the "star strip," we actually see her turn into Gypsy Rose Lee- all grown up and gorgeous. Wonderful support from manager Karl Malden and sister Ann Jillian.

I guess Roz Russell's singing, which was dubbed, was a bit underwhelming, but she has great presence in many of her songs, such as "Rose's Turn". She gives a pretty complex portrayal of Mama Rose that shows she has some heart. Though I wish I'd seen Ethel Merman, Miss Russell is a worthy substitute! Natalie Wood is quite good, too, giving much depth to her portrayal of Louise/Gypsy. Ann Jillian is good, also, as Dainty June. Karl Malden does overact, but that's only a small complaint. Great songs and good performances make this worth watching.

For years I have read that Rosalind Russell was miscast as Mama Rose in this film production of "Gypsy." I disagree. I thought she brought great humanity to this hard-boiled character. Russell proves that no person's persona is black or white, but a mixture of both. In short, her performance is excellent and very touching.

During the roaring 1920s, domineering Rosalind Russell (as Rose Hovick) pushes her two young daughters successfully onto the vaudeville stage. But, when star Ann Jillian (as "Dainty" June) hits puberty and runs off with a chorus boy, Ms. Russell is left with relatively untalented Natalie Wood (as Louise). Undaunted, Russell alters the act for Ms. Wood, who makes it a burlesque show. When she becomes a strip-tease star (as "Gypsy Rose Lee"), an ungrateful Wood leaves her Mama in the wings. Russell receives moral support from agent and lover Karl Malden (as Herbie Sommers), who wants to be her fourth husband...

Everything's Coming Up Roses...

The main problem, here, is that the terrific score, by Jule Styne and Stephen Sondheim, is given a relatively lesser treatment, when compared to Ethel Merman's Broadway version (available on CD). Russell was dubbed well by singer Lisa Kirk - but, instead of rendering her own version of the classics, she was apparently hired to sound similar to Russell. The benefit is that you don't get raspy Russell suddenly singing like soprano Marni Nixon. While perhaps not ideally cast, Russell and Wood possess enough star power to make an already great show pass muster. Thankfully, Paul Wallace (as Tulsa) retains his stage presence.

Sing Out, Louise!

******* Gypsy (11/1/62) Mervyn LeRoy ~ Rosalind Russell, Natalie Wood, Karl Malden, Paul Wallace

This enjoyable class act has Natalie Wood as Gypsy Rose Lee and Rosalind Russell as her overbearing mother Rose. And they are both terrific. Ok, so Russell isn't Ethel Merman and the OBC has that bit of an edge where the songs are concerned, but as an actress she is great in this role, especially in the scenes where June and Louise (Gypsy-to-be) are auditioning and she constantly interrupts; and in the Mr Goldstone number.

Natalie Wood looks the part and gives Louise a sympathetic edge, particularly in 'Little Lamb'. The best musical numbers of the lot though are Tulsa's song and dance number rehearsing his imaginary double act, and the truly brilliant 'You Gotta Have a Gimmick'. It is also a joy to see Karl Malden in a nice supporting role as Rose's long suffering beau Herbie.