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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.

"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.

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

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.

First of all let me join the throngs who feel Ethel Merman should have played Mama Rose to repeat Her legendary performance, and even the star of this movie Roz Russell was quoted as saying "Why couldn't they let Merman do it?" but after J L Warner decided Merman was not box office Roz Russell went after this part and was the first billed star. Roz got it because she could open the picture overseas as a worldwide Movie Star and because of her great success in WB's 'Auntie Mame', Warner Bros felt the magic would repeat. Just as Audrey Hepburn was unfairly maligned for doing 'My Fair Lady' instead of Julie Andrews, many critics went on a tear about Ms. Russell doing the film instead of evaluating the film on its merits. Roz Russell brings a leathery and determined force to Mama Rose and Roz knew and loved the camera and vice versa; Merman did not. Natalie Wood, the resident Queen of the Warner Bros lot, enchanting and beautiful is Gypsy Rose Lee. Ms. Wood was nothing like the real Gypsy but got the role anyway because of her stature at WB. Mervyn LeRoy who had decades of experience at Warners directs professionally. Karl Malden contributes a fine performance. The movie was filmed at Warner Bros studio in Burbank and for that I want to say while the sets look like a movie back lot-they were-it is one of the things I enjoyed of this movie. Both Ms. Russell and Ms. Wood would go on separately to a great starring decade in the 60's in other films. As did Mervyn Le Roy. A good film, not a great film, but a good film.

It's been nearly 50 years since I first saw this film, and at the time I thought it was good. Over the years since, many criticisms have been hurled at this film version, and it has suffered a bad reputation. Yes, it would have been great to have a film record of Merman performing one of her most famous roles, but Merman was not as good on film as on the stage. In subsequent years, I have seen the Bette Midler TV version (Midler was much more miscast than Roz Russell! And Midler seemed to really struggle vocally in the part). I have also seen Tyne Daly on stage (great acting, vocally a stretch for her), and most recently, Patti LuPone's Tony winning, mesmerizing performance on stage. LuPone had both the acting and singing ability required and then some - it would be interesting to see how she would fare in a film version. So, when TCM recently showed this, I thought it was time to revisit the film and see what my view was after nearly 50 years. My verdict is that Rosalind Russell is not that bad really, she really acts the part, and as for Lisa Kirk dubbing some of her songs, I think it is a good fit and not at all distracting. All of the supporting roles are excellently played, too, especially my favorite Paul Wallace as Tulsa. In short, I think Russell deserves a lot more credit than she is often given for her performance!

Rosalind Russell, a true world-class actress, brought perfect line readings and comic timing and delivery, along with a nice patrician air, to the role of Rose, and no one has matched her -- before or since. I've seen every Mama Rose -- Merman, Peters, Midler, Lansbury, Betty Buckley, Andrea McArdle, Mary McCarty, Joanne Worley and Giselle MacKenzie -- and none of them touches Russell in the role, certainly not in the kind of nuanced humanity she brought to it. (There have been a lot of caricaturing, mugging and over-acting in this role.) And Natalie Wood is the only actress I've seen to do anything remotely three-dimensional with the underwritten role of Louise/Gypsy. Bravo to both!

I live in small town in Kansas. Last year, the local drama club put on a production of Gypsy at the performing arts theater. I have to say, the local production ran circles around this effort. I kept comparing the movie to the local theater and I was awed at how lacking the movie was in comparison.

I love Rosalind Russell from her time playing Hildy Johnson in His Girl Friday. Her rapid fire dialogue with Cary Grant was perfect. She was good as Rose, but something just wasn't right about her portrayal. I struggled to accept that she was this cold-hearted. Her version of Rose PLAYED at being cold-hearted, she didn't SEEM cold-hearted. The scenes at her childhood home should have resonated and shown why she was so selfish and self-centered. They seemed to breeze through those scenes.

As an aside, there is a scene near the end of the movie where Rose is contemplating her life. She mentions coming from the wrong side of the tracks. In the local production, as the the actress playing Rose said this, a real train went zipping by the theater as if on cue. The entire audience broke out laughing in what was supposed to be a solemn scene. The actress on stage stayed in character, wept, and mentions so many trains leaving her behind. It was funny and bittersweet at the same time.

Karl Malden was great as Herbie. I was pleased by his performance. His Herbie had the right amount of sensitivity and love, while also eventually resigning himself to the fact Rose was never going to change.

Natalie Wood was a very good Louise. She was so beautiful and it was tragic that she died so young. Again, the actress in the local production had a much better voice, but Ms. Wood had a tremendous stage presence. Her Louise tried so hard to please her mother while knowing deep down, she never would. The scenes between Rose and Louise at the end crackled with emotion.

Paul Wallace as one of the backup dancer's, Tulsa, who Louise falls in love with, was completely wasted. It was obvious Mr. Wallace was hired for his dancing skills (which were awesome and his dance number with Ms. Wood was a delight) but his character is mostly under developed. Inconceivably, the movie version of June runs off with another character while it was Tulsa she departs with in the Broadway version, breaking Louise's heart. Ann Jillian did a really nice job as "Dainty June" considering she was a last minute replacement. Her voice is tremendous. The only awkward thing was having 24-year old Wood pretending to be younger than the 12-year old Jillian. Their dance number to "If Mama was Married" sounded amazing but visually it really stretched credibility.

The cast did a nice job and the movie was very entertaining. However, when it can't compare to a summer stock production (in my opinion), it leaves something to be desired.

I have LOVED this musical for about seven years... and seen both Roz & Bette's versions... now, I know most people prefer Bette... but I don't. I mean... I've read reviews where people said "Forget the '62 version... go rent Bette's!" Maybe I'm crazy... I mean, I adore Bette Midler to death, but I think Roz did a better job of actually PLAYING the part. Sure, she may not have the vocal talents of Midler and Merman... but who does?! She's more of what I imagined the real Rose Hovick to be... and she's just so... I don't know. The way she delivered her lines... it was perfection. She also made me feel just a tad sorry for Rose... now I never saw Ethel Merman play the part, but Bette never made me feel sorry for Rose. Roz does. And that's a great talent whenever you can play a part where you have people hating and yet, at the same time, feeling sorry for the character. She was absolutely brilliant in the part and I don't see how people cannot recognize this! I also enjoyed Karl Malden in the role of Herbie better than Peter Reigert (I believe that was his name). He brought such life to the role. And although Cynthia Gibb did a good job of playing Louise... Natalie Wood... I mean, who can top THAT? Natalie Wood was GREAT!!!! She was perfect as the sort of quiet, shy child that grew up into a glamorous queen of the striptease. Diane Pace who played Louise as a child did a FINE job too! Cute little girl. And then... Morgan Brittany (who is billed as Suzanne Cupito) and Ann Jillian as Baby and Dainty June... how awesome is that?! Who knew that Ann Jillian could SING? I sure didn't. Paul Wallace was awesome as Tulsa... lots of talent. It's a GREAT movie, even if it WAS a bit altered from the Broadway play... but hey, the play was a bit altered from the true life story so... what does it matter?! A GREAT MOVIE, HIGHLY RECOMMENDED!!!!!

Although the television remake is truer to the original script Bette Midler was a dreadful Mama Rose she peaked way too early for us to care about her. by the time Rose' Turn happens we want her to shut up. Roz Russell has so much more depth in the role playing the caracter, not just the songs. True she is a bit weak vocally but she is always on key and the emotional levels are right on. Natalie Wood is charming as Louise and Virbrantly sexy as Gypsy. her transformation is flawless.Malden is avery good Herbie but too bad they cut "together" The three actors would hae been a joy to watch in that number. Over all this is a very good film. not perfect but it hits the right chords.

In my opinion, this 1962 film, based upon the 1957 book "Gypsy: A Memoir" written by Gypsy Rose Lee, herself, would have faired so much better had it been presented as a straight drama. I certainly found that both the musical numbers and the frequent lapses into comedy really weakened the overall punch that this film undoubtedly could've produced had these unnecessary elements not dominated a good part of the story.

I also thought that Rosalind Russell's character as Rose Hovick, the ultimate, overbearing stage-mother-from-hell (who tyrannized the entire story) was given way-way too much attention and screen-time for my liking.

From start to finish Russell's willful, one-note character literally chewed-up every bit of scenery with her loud, controlling and bossy histrionics. I found that this decidedly annoying character lost the novelty of her appeal within the first 30 minutes of the story.

I also found that "Gypsy's" 143-minute running time to be almost unendurable to sit through. If a good 30 minutes had been carefully edited from this production I think that it would've been so much easier to enjoy.

This movie just went on and on and on. (Ho-hum!) And its story just seemed to be going around and around in a vicious circle that ended up, in the long run, going absolutely nowhere at all.

Another serious problem with "Gypsy" was the miscasting of Natalie Wood as the title character. From my point of view, Wood (though undeniably attractive) just didn't seem to possess the crucial dramatic resources to draw upon for this very demanding part. Wood simply played her part sweet & simple and this inevitably reduced her "Gypsy" to being nothing but an unambitious square - In other words, she was an accidental success.

Yes. I fully understand that this film was clearly a product of early-1960's movie-making and that strict censorship was still in full swing back then - But, with that said, I really thought that it was completely laughable that Gypsy Rose Lee's meteoric rise to becoming a very hot burlesque queen was depicted as though just a sly wink, a sexy wiggle, and the revealing of a naked shoulder (and nothing else) was all that was required of her to achieve this special status of "striptease" royalty.

Even though "Gypsy" was obviously a big-budget production that might have worked its intended magic as a stage play, on screen it was a truly disappointing let-down that certainly left a whole helluva lot to be desired.

All-in-all - I would never recommend this film to anyone.

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.

The dowager queen of all stage mothers gets the opportunity to let loose and grab the spotlight all to herself in 1962's "Gypsy," produced and directed by Mervyn LeRoy. Based on the memoirs of stripper/actress/raconteur Gypsy Rose Lee (nee Louise Hovick), the "musical fable" chronicles her early, trying days on the vaudeville circuit through her triumph as a burlesque headliner.

Career-steered all the way by an indomitable, often destructive force (her mother, of course), the movie (as did the stage show) graciously centers itself around Mama Rose instead of the future star. As well it should! Rosalind Russell is a prime example of a perfect actress given the perfect role. Rose Hovick fits Ms. Russell like a prop glove. Like she did in "Auntie Mame," Roz barnstorms her way into the part and barnstorms right off, walking away with the film like the star she is. It's hard for me to imagine another actress who could give Mama Rose the grit, the spunk, and the voracious appetite for fame this character implores. Ethel Merman, of course, became the toast of Broadway (again) in the NY production and it seemed a cinch she would get to recreate Rose here. But Merman never adapted well to the screen. A strong and preponderating presence on stage, she came off surprisingly benign on film (i.e., "There's No Business Like Show Business," "Call Me Madam"), and so she was not given the honor. Ironically, Russell's only drawback is her singing voice. It's adequate, mind you, but her low alto drains the songs of some of its power and intensity. This is one case where a Merman-like boom is sorely needed. Other than that, Russell hits the Richter scale at "10" with a captivating, high-octane performance.

Because Mama Rose is the whole show, the rest of the cast defers to her star turn. Every stage production I have ever seen has "Gypsy Rose Louise" portrayed as a demure, accommodating child player at the mercy of a titanic ego, who, by story's end, turns into a lovely, winsome striptease ingenue. The script, of course, kowtows to that image, so there is not much an actress can really do with a part so watered-down, it has little chance to shine. The title role does not allow us even a glimpse of what would be the REAL Gypsy Rose Lee – an irreverent, free-wheeling, self-promoting extrovert and audience pleaser who became THE "toss-and-tickle" star of the century. A little of Mama Rose definitely rubbed off on the adult Gypsy, but you'd never know it here. So, a very professional Natalie Wood does exactly what is expected of her sans any real snap, crackle or pop. She's demure, accommodating, lovely and winsome, finally packing a little power at the end when she forces herself to stand up to Rose's unbearable interference.

In capable supports: Karl Malden, as Rose's exasperated, level-headed boyfriend; dancer Paul Wallace as Tulsa; Faith Dane, Roxanne Arlen and Betty Bruce as a flashy triad of strippers; and, particularly, little Suzanne Cupito and Ann Jilliann as "Baby June" and "Dainty June," respectively, who are adorable and appealing little pros. (Trivia note: Suzanne Cupito grew up to be the stunning Morgan Brittany.) The rest of the cast provide lively atmosphere.

The film does have some problems. Other than Russell, there is little else to ignite it. The show is trapped by its stagy origins, when it might have worked to break out of those gaudy, miserable confines with some authentic 30s cinematography a la "Paper Moon" or "Bonnie and Clyde" that might have given it some outside life. The Jule Styne/Stephen Sondheim musical score too, for me, has always been somewhat of a mixed bag. Along with the numerous gems ("Let Me Entertain You," Some People", "Everything's Coming Up Roses", "If Mama Was Married," "You Gotta Have a Gimmick" and the show-stopping "Rose's Turn," you still have to contend with "Little Lamb," "Cow Song" and "Mr. Goldstone" that border on irritating.

Still, "Gypsy" is a definitive Rosalind Russell vehicle and that alone is worth the price of a ticket.

Gypsy is arguably the greatest Broadway show ever written. It's funny, scary, dramatic, moving, sexy...everything you'd ever want from a show. Why Hollywood felt the need to mess with perfection is beyond me, but they did.

Warner's 1962 version of Gypsy gets off to such a rough start that it's impossible to ever redeem itself even when it finally gets back on track later in the film. The first act portion of Warner's Gypsy mixes song/scene order, combines characters, adds needless voice overs, and destroys the pacing of the film completely.

With this cast's less than stellar vocal abilities, the music score was never going to soar like it usually does with better singers at the helm, but the slow tempos sure don't help.

Rosalind Russell does as best she can in a role she's not terribly well-suited for, but she does manage to wring a bit of comedy out of the dreary first half of the film and give the character of Rose a bit of pathos in the second half of the film. Her voice isn't up to task for the songs, but she gives it her all and you have to admire that.

Of the whole cast, Natalie Wood comes across the best. Her voice isn't perfect, but she pulls her songs off well enough and makes Louise a real person, despite the screenwriter and studio's attempts to sabotage her at every turn. For instance, why make June run away with a random chorus boy named Jerry instead of Louise's crush, Tulsa? It takes away a big moment for her character.

Once the act 2 portion gets going, the film evens out and it becomes a bit more watchable, as it stays rather faithfully to the original stage script. Unfortunately, by that point, it's too little too late and the damage has been done.

If this movie is your only option, it's worth a shot, but the stage version is infinitely better and more worth your time.

As much as I would have liked to see Ethel Merman do the screen version of her last great Broadway triumph of Gypsy, no one should have any complaints about what Rosalind Russell did with the part. In fact unlike so many of her contemporaries who did a lot of junk at this period, Ms. Russell was getting some of the best roles in her career in her later years.

Gypsy is based on the early life and career of Gypsy Rose Lee, arguably the most famous stripper of all time. But the woman was propelled in her career by the stage mother to end all in the person of Rosalind Russell. Russell lives vicariously through the lives of her daughters, one of whom who later became actress June Havoc finally got out from under by running away and marrying at the age of 13.

With one daughter left played by Natalie Wood, Russell concentrates all her efforts with her. Nothing fazes this woman, not the Depression which together with talking pictures killed vaudeville and the stage stardom she believes is her due. I'm still trying to figure out why it never occurred to her to take the act to Hollywood as so many did back in the day.

With a little help from Lisa Kirk in the vocal department, Russell delivers the Merman songs in her own style in a grand manor. Mama Rose is a difficult part because it's so easy to let a domineering role like that slip into caricature. Karl Malden is fine as well as her agent who would like to settle down, but can't because Russell will brook no interference in her life's mission.

Natalie Wood is fine as the young Gypsy Rose Lee and unlike in West Side Story, she sings her own stuff, most memorably she urges us to Let Me Entertain You. Songs like Small World and Everything's Coming Up Roses are given good production numbers.

Gypsy ran from 1959 to 1961 on Broadway for 703 performances which is a hit by anyone's standards. Only one member of the original Broadway cast Paul Wallace who plays Tulsa, one of the boys doing backup with the Hovick girls made it to the screen. He gets a specialty number, All I Need Is The Girl and sad to say that Mr. Wallace was probably born 30 years too late. He would have had a great career in screen musicals.

After Call Me Madam which Ethel Merman did do for the screen as well had mediocre box office, Jack Warner wouldn't even consider using her. He wasn't thinking of posterity, just box office. Still Rosalind Russell's performance is a good one for posterity as well.

Don't miss Gypsy the next time it's on. Mama is going to see to it that you don't.

I have hardly seen any musicals and the only reason i watched this one was because i kept seeing previews for it on turner classic movies. The movie stars Rosalind Russell as the mother of two daughters who want to be in Broadway. Russell meets Karl Malden and he agrees to help them out. Russell doesn't have any money and the only one with talent is her youngest daughter. Natalie Wood plays her oldest daughter and when the younger sister leaves, Russell expects Wood to take over. Karl Malden wants to marry Russell but she won't, not until they make it to the top. One thing i didn't like about it was that Russell sang too many songs and Natalie Wood hardly sang any songs. At first Natalie Wood looks like a tomboy but at the end when she basically becomes a stripper, she looks really great.

This is an unusual musical film, loosely based on (not directly copied from) the Broadway musical of the same name, using the music by Sondheim & Stein. (Among its better known songs are: "Everything's Coming Up Roses," "Let Me Entertain You").

The Broadway play was loosely based on Gypsy Rose Lee's fairy tale version of growing up under the strong hand of her mother (Rose Hovick) along with her younger sister, June Havoc, who earlier escaped Momma Rose's clutches and much later became a stage, movie, & TV star.

Rosalind Russell's performance (Momma Rose) has often been criticized as being inferior to Ethel Merman's although Russell (IMO) delivers a very strong performance. Much of the difference is that in the stage version, most of Momma Rose's dark side is not shown; in Russell's version, one sees a slightly more realistic version of Momma Rose.

Russell's Momma Rose increasingly becomes (IMO) an unlikeable character rather than one brassy, funny, and larger than life. This is a bit closer to the real Momma Rose (read Noralee Frankel's "Stripping Gypsy" for an excellent biography). Momma was an extremely demanding woman, more than a bit psychopathic, who not only pressed both of her daughters to earn money for her but also drove them emotionally away. Karl Malden as Momma Rose's put-upon lover-in-waiting stands in for the many men Momma Rose actually conned and he brings enough sympathy to his role that it adds more fuel to disliking the Momma Rose that Russell brings to life. Natalie Wood is a very believable Gypsy.

An interesting film, both for its presentations of family relationships and for an era. If the film was less detailed, shorter, possibly its emotional impact would have been closer to that of the stage version. As it is, Momma's selfishness, her determination to get whatever she wanted at any cost, becomes dominant and one is thankful her two daughters escaped.

The difference between the versions of Momma Rose presented in this film and that of the stage musical stimulated me to read Frankel's excellent biography ("Stripping Gypsy"), Preminger's (Gypsy's son) "Gypsy & Me" AKA "My G-String Mother," plus June Havoc's "Early Havoc" & "More Havoc." (Plus Abbot's less helpful biography of Gypsy: "American Rose.")

Fascinating family to explore!

I also read Gypsy's fantasy, "Gypsy, a Memoir," the foundation on which the musical was built. It's interesting storytelling but a fairy tale. Momma Rose died a few years before "Gypsy," her book, was published. On her death bed, Momma Rose died putting a curse on Gypsy as Gypsy was trying to comfort her. But a great story is more acceptable than the truth and, besides, Gypsy had learned quite well from her mother the marketable advantage of spinning interesting stories!

Although I didn't see the Ethel Merman version (wasn't born at the time!), I do have the soundtrack and prefer Roz' version. Ethel Merman warbles and maybe onstage that's just fine and dandy. But in a movie or on a record? I'm sorry. I can't take it. Maybe it would have been "fair play" for the producers to allow her to take the role to film but from what I've read, she could be difficult. Having produced plays that cost nowhere near what a major motion picture would cost, I have been driven almost to the point of homicide by difficult actors and actresses. And although you'd rather have the best actor for the part, sometimes it's better to settle for second best and leave the headache where you found it. Rosalind Russell had a reputation for being easy to work with and very professional. I'd take that any day!