It's hard to say which is the better film of the 1936 film, starring Nelson Eddy and Jeanette MacDonald, or this version from 1954. Neither are "great" films but both are enjoyable in their own way, probably put them on the same level but for different reasons.
'Rose Marie' holds the historical distinction of being the first colour CinemaScope musical. This said, warts and all, it does have much more than just historical interest. From the rating, one would assume that it is a mediocre film or worse. To me, it is a long way from being either and not too shabby at all. If anything, while it could have been better, it's pretty good and the main reasons to see it don't disappoint.
Some of the comedy does fall flat, feeling both overegged and leaden, some of the dialogue being barely amusing. As a consequence of trying to do something with it, both Burt Lahr and Marjorie Main try far too hard and end up rather annoying, Lahr especially overdoes it.
The story is re-worked, and while less creaky, a little tighter paced and schmaltzy than the previous version, it's still a bit on the flimsy side with some character agreed being given short shrift and disappear without warning for long stretches. The first half also drags and takes a while to get going.
On the other hand, 'Rose Marie' looks great, with much made out of the marvellous scenery and done justice by truly beautiful photography. The standouts are the three songs lifted out of the operetta, being the title song, "Indian Love Call" and "Mounties". With the other songs, "I Have the Love" and "Free to be Free" are particularly lovely. The weak link is "I'm a Mountie who Never Got His Man" which isn't as well placed as the rest and barely passes muster as a particularly great song.
Furthermore, they are nicely and efficiently choreographed. The high-spot, and perhaps the highlight of the entire film, is the jaw-dropping choreography of "Totem Tom-Tom" (don't let the title fool you, it's hugely entertaining and nothing to be offended over). The romantic elements are sweet and touching.
Howard Keel is a little wooden at times but on the most part it is a robust and charming performance, and he sings magnificently as always. Lovely Ann Blyth, who also acquits herself well in the singing, and Joan Taylor (as a new character) are more than able support for him, and while Fernando Lamas seemed an unlikely choice for his role he pulls it off surprisingly well.
All in all, pretty good musical and more than just historical interest for being the first colour CinemaScope musical. 7/10 Bethany Cox
'Rose Marie' holds the historical distinction of being the first colour CinemaScope musical. This said, warts and all, it does have much more than just historical interest. From the rating, one would assume that it is a mediocre film or worse. To me, it is a long way from being either and not too shabby at all. If anything, while it could have been better, it's pretty good and the main reasons to see it don't disappoint.
Some of the comedy does fall flat, feeling both overegged and leaden, some of the dialogue being barely amusing. As a consequence of trying to do something with it, both Burt Lahr and Marjorie Main try far too hard and end up rather annoying, Lahr especially overdoes it.
The story is re-worked, and while less creaky, a little tighter paced and schmaltzy than the previous version, it's still a bit on the flimsy side with some character agreed being given short shrift and disappear without warning for long stretches. The first half also drags and takes a while to get going.
On the other hand, 'Rose Marie' looks great, with much made out of the marvellous scenery and done justice by truly beautiful photography. The standouts are the three songs lifted out of the operetta, being the title song, "Indian Love Call" and "Mounties". With the other songs, "I Have the Love" and "Free to be Free" are particularly lovely. The weak link is "I'm a Mountie who Never Got His Man" which isn't as well placed as the rest and barely passes muster as a particularly great song.
Furthermore, they are nicely and efficiently choreographed. The high-spot, and perhaps the highlight of the entire film, is the jaw-dropping choreography of "Totem Tom-Tom" (don't let the title fool you, it's hugely entertaining and nothing to be offended over). The romantic elements are sweet and touching.
Howard Keel is a little wooden at times but on the most part it is a robust and charming performance, and he sings magnificently as always. Lovely Ann Blyth, who also acquits herself well in the singing, and Joan Taylor (as a new character) are more than able support for him, and while Fernando Lamas seemed an unlikely choice for his role he pulls it off surprisingly well.
All in all, pretty good musical and more than just historical interest for being the first colour CinemaScope musical. 7/10 Bethany Cox