Em Busca de um Sonho

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.

After seeing many productions and the remake, I have to say Roz was my favorite Rose. My biggest disappointment comes from the foolish excising of "Together" from the film.

Even though the "lost" footage is added as an extra after the film on the DVD and Video, there is a verse missing. I was told that there are no more 35 mm prints in existence of this film but, I do not have statistics or proof to back this up but, I am sure there must be a copy of this film with the entire song in tact and Karl Malden's Verse in "You'll Never Get Away From Me." I have no clear reason as to why "Together..." was cut and I would like to know why but, I am in hopes it can be found somewhere and added in another video release undamaged.-Tony

This is a terrific filmization of the 1959 Broadway show which starred Ethel Merman. Although some may argue that Rosalind Russell is not effective in the role of Mama Rose, I can't see how anyone could complain. Russell is excellent in the role, she's funny, entertaining, and sincere. Although I understand her singing voice was dubbed, it still sounds more pleasant to me then the loud, brash singing of Merman that I heard from the Broadway soundtrack album.

As for the others, Karl Malden is great in his role, as is Ann Jillian as June. The real star here, to me, is Natalie Wood who is both believable in her role as the neglected Louise, and stunning in her transformation to Gypsy Rose Lee. The moment where she looks in the mirror prior to her first solo performance ("I'm pretty!"), is one of the best screen moments ever.

The songs and musical scenes here are all wonderful too, "If Mama Was Married" is a great duet between June and Louise, "Everything's Coming Up Roses" is terrific too, as is "Rose's Turn" and most of the others. If there is one complaint to be made about this film, it's that the wonderful "Together, Wherever We Go" number was cut out. Worse then that, no prints with that number intact seem to exist on 35mm. Other then that, though, it is a great film with excellent Technicolor photography and excellent music. If you love musicals, see it, and be sure to see it in the wide screen version.

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.

"Gypsy" is a very difficult movie to have achieved from a writer's standpoint. As is true of "Dr. Zhivago" and "The Searchers", much of the film is told from the point of view of a younger person, who serves as the viewer's alter ego within scenes while the central character does little. This book, play and film was the result of Rose Louise Hovick's biography of herself and her mother before and at the beginning of her celebrity as "Gypsy Rose Lee", burlesque icon. The film is filled with famous songs and comedy scenes, alternating with moving confrontations that for once gain by having been real ones. Among the songs are "Some People", "Everything's Coming Up Roses", "All I Need is the Girl" and "You Gotta Have a Gimmick", "Small World" and more. The memorable comedic scenes involve the repetition of Dainty June and her boys coming onstage in various guises, with a two-person cow dancing behind her; the three strippers who try to teach Louise how to succeed; the children singing, "Momma Get Married"; and "Please Mr. Goldstone" in gratitude to the producer who inexplicably likes their corny act. The moving scenes are Herbie, Mama's boyfriend, trying to convince her to give up her hard-minded pursuit of show business fame, Louise realizing the girl a young boy dancer says he needs is not she; her realization just before she goes onstage at a burlesque theater at her mother's insistence that she has one talent--she is a pretty girl, etc. the songs by Jule Styne all work, but only some are classics. the direction of the film by Mervyn LeRoy is very good, economical, and only occasionally look staged the device of theatrically closing out a scene by artificially dimming the lights for me works in this fictionalized biography; we get as viewers the feeling we are seeing glimpses of an interesting life, partly because of this device. Costumes by Orry-Kelly, Howard Shoup and others, the cinematography of Harry Stradling, Sr., excellent period sets, art direction and more are major assets to this colorful but never-splashy musical success. not the last of director LeRoy's here is that we see theatrical scenes and scenes in a theater as well or better handled than in any other film I know. The actors including the three strippers, Faith Dane, Betty Bruce and Roxanne Arlen are wonderfully funny; Benny Lessy as Mr. Goldstone, Louis Quinn, Guy Raymond and Harry Shannon get all they can out of their small parts. the children who play Rose's girls are all good, particularly Ann Jillian as June. As Herbie, Karl Malden is energetic and first-rate at conveying his love and his desire for a normal life, for the children and himself. Natalie Wood is too thin-voiced to be great but she is a seasoned performer and underplays Louise intelligently. As Rose, Rosalind Russell occupies the active center of almost every scene. There is another way to play Rose other than as someone coldly obsessed with fame; I saw Giselle Mackenzie do the role onstage as a caring obsessive, one who would not be denied justice for her children as she was for herself. But Rosalind Russell is alternately brassy and wheedling, working everyone for exactly what she needs while pretending to be pushing for the sake of her daughters. She is intelligent, always interesting and frequently epic in her hunger for what has eluded her in her own performing career. And in "Rose's Turn" we see that her extraordinary charisma and courage were indeed something special. This is a show business biography of unusual believability and intelligence for all its laughter. And a memorable musical biography that works differently on film, but does work very effectively.