Tomboy meets manly man, falls for his charm, and becomes a “lady” for him. Sound familiar?
Rose Marie has shades of two other highly esteemed musicals of the 50’s – MGM’s Annie Get Your Gun (1950) and Warner Brothers’ Calamity Jane (1953), in which a tomboy gets transformed into a lady. Interestingly, these films also share the same leading man, Howard Keel. What makes Rose Marie unique however, is the style of the music, the casting of the heroine, and the ending of the story.
This 1954 adaptation of Rudolf Friml and Herbert Stothart’s operetta, Rose-Marie, was MGM’s third time bringing this story to the big screen. The first film, now considered to be lost, (1928) was a silent with Joan Crawford playing the lead. The second and best-known version, (1936) starring Nelson Eddy and Jeanette MacDonald, gave the team their signature song, “Indian Love Call.” Each time the film has been re-made, the story has changed, but the 1954 version bears close resemblance to the original operetta. While the film only retained three of the songs from the original operetta, it did add five others. The duet “I Have the Love” is exceptionally lovely.
Taking us on this journey into the Canadian wilderness and into the heart of Rose Marie is the lovely Ann Blyth. As the titular character, Ann is sassy and independent, while still retaining her feminine charm. She is the perfect blend of innocence and fire. Unlike Betty Hutton’s Annie Oakley and Doris Day’s Calamity Jane, Ann Blyth’s Rose Marie is not larger than life; quite the contrary. Ann plays the part in an understated fashion. She brings out Rose Marie’s naivety, and her plight to find her proper place in the world. I think this is what made her so wonderful in Mr. Peabody and the Mermaid (1948) – her ability to portray a character who is innocent and naive about certain things, but also very vulnerable and emotionally intelligent at the same time. And to play that character in a likable way that does not come across as fake, contrived, or cloying.
Note: I enjoy Betty’s Annie and Doris’s Jane as well; however, I like to note different acting styles and character interpretations. I love the individual qualities each one possesses and appreciate each of them for what they are. The differences are what makes each special, unique, and exciting to watch. We move on… 🙂
Rounding out the cast is Howard Keel, Fernando Lamas, Bert Lahr, and Marjorie Main. The most notable for me was Bert Lahr. I believe this is the second film I’ve seen him in. The first, of course, as the incomparable Cowardly Lion in Oz. He does have a number which is fun to see and makes some of his lion grunts and sounds.
Howard Keel and Fernando Lamas add their rich baritone voices to the mix while vying for the hand of Rose Marie. Keel is well cast as the good-hearted Mountie and Lamas as the ambiguous trapper. In my eyes, these two couldn’t be more opposite – all the more fitting for the story.
MGM pulled out the stops by filming Rose Marie in the Canadian Rockies, and it is simply breathtaking. The gorgeous scenery filmed in eye-popping color enhances the realism of the story and the plight of the Mounties. In addition, the cinematography by Paul Vogel (High Society, 1956) is beautiful and engaging. The film is also the first movie musical to be released in the new widescreen format at that time, CinemaScope.
I had to watch this film twice to fully appreciate it because it took me be surprise. All in all, Rose Marie (1954) is very enjoyable, featuring one of the most beautiful duets, talented singers, nature’s beauty, and produced by the most prestigious studio of Hollywood’s Golden Age. If any of those mentioned above make your heart skip a beat, this film is calling you…
This post is my contribution to the O Canada! Blogathon hosted by Silver Screenings and Speakeasy. Thanks, ladies, for letting me participate! Head over here to read the rest of the posts honoring this vast and beautiful country.
Thanks for reading and for visiting The Classic Movie Muse!