Rosalind Russell, Natalie Wood, Karl Malden, Ann Jillian, Paul Walace, Jean Willes, Harry Shannon, Morgan Brittny, Jack Benny. Director: Mervyn LeRoy
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CRITICA EN EL PERIÓDICO "ABC DE SEVILLA" (30-6-1973)
Comedia biográfica musical, ambientada en los años veinte, en Estados Unidos. Se nos cuenta la historia de una famosa artista de vaudeville: Gypsy Rose Lee. Doña Gypsy se propone hacer de sus dos hijas June y Louise, dos auténticas estrellas de la revista teatral. Y la buena señora no para en medios para conseguir el fin propuesto. Presenta las niñas Bay June y Baby Louise en una función infantil de promoción de futuros valores. Allí conocen a Herbie Sommers, hombre introducido en los medios teatrales y posterior apoderado de la compañía juvenil de variedades. De un lado para otro, visitan varias ciudades, actuando siempre la hermana June como artista principal y su hermana Louise de segundona... Pasan los años y las niñas crecen; la voz cambiada es ya un problema, y el señor Herbie Sommer se enamora de la madre de las chavalas y más, puntos suspensivos, hasta llegar a un "The End" en el que felizmente madre e hija Louise comen perdices cada una por su lado; pero, eso sí, después de que Natalie Wood ha triunfado en el music-hall (en general). El realizador, Le Roy, nacido en 1900, empezó bien, con peliculas como "Soy un fugitivo" (1932), "Hampa dorada", "El mago de Oz", "El puente de Waterloo" y otras; pero el vil metal y otros atractivos, ya se sabe que corrompen, y tiró por el camino... que va a la ermita, y le salieron productos como este, con tufillo camp, ligeramente hortera y con muchos colorines. Un error grave, es la elección de Natalie Wood para el papel que exigía un carácter más frívolo que el de la señora Wood. en fin una cinta que hará las delicias de muchos mayores y jóvenes nostálgicos.-A. F. M.
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"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.
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