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Aranmanai 3 3. Mughizh 3. Cinderella 2. Kodiyil Oruvan 3. Promoted Stories. Recommended By Columbia. The script is completely accurate, all the songs included, and the staging remains close to the original Jerome Robbins' staging. Bette Midler is a deft choice for Rose, her singing and personality Merman-esquire, and her acting splendid.
Peter Reigert is a fine Herby, if not a great singer, and Cynthia Gibb is a straight forward, natural Louise. In truth, a live taping of the revival with Tyne Daly might have been a better idea, if only because "Gypsy" is simply more exciting on stage, But this film is a fine translation of a great musical.
Jvbway Feb 23, Details Edit. Release date December 12, United States. United States. English French. RHI Entertainment. Technical specs Edit. Runtime 2 hours 33 minutes. Related news. Contribute to this page Suggest an edit or add missing content. Hide Spoilers. TheLittleSongbird 25 August I like the Rosalind Russell version a lot I perhaps prefer it just a tad and Russell in it, but this Gypsy has a lot to recommend.
It is not quite on par with the musical itself neither film version is which is a masterpiece of character and music, but it has its spirit, heart and charm. The spirit is droll and sincere and the story has so much heart to it.
The music is wonderful and the lyrics positively delight. The production values are kitsch, bright and colourful. While I prefer Malden and Wood in their respective roles in the film, Peter Reigert though his singing leaves a lot to be desired and Cynthia Gibb are truly charming and entertaining, and Christine Ebersole steals all her scenes. If there are any preferences I have at all over the film, it is the staging and choreography, which is less clunky and moves more effortlessly, and Bette Midler's singing, Russell's was raspy and off-key sometimes whereas Midler's is big and brassy.
Overall, a fine Gypsy. Was this review helpful? Sign in to vote. Show queens will be arguing in when "Gypsy", the Broadway musical, turns In the meantime, there probably will have been umpteen revivals on Broadway one for next year is already rumored , and maybe even several more movie versions as has recently been announced as well with the legendary, if now too old Barbra Streisand. When this first aired in , I was working as a v.
Needless to say, within five minutes, it was back on in the entire bar. Bette is much more believable as the mother of youngsters, teenagers and eventually a young lady, and her devotion to her children is more believable than some of the older women who have played this part. Singing wonderfully with the dramatic flair that only Bette can, she truly is coming up Roses. Familiar stage, film and T. Even without saying a word, Michael Jeter's expressions say it all. Funny lady Andrea Martin adds flair in a bit as a secretary, while Christine Ebersole is a great headliner of the three strippers.
All those bits include five Tony wins, not to mention Bette, soon to attack Dolly Levi. But any version of this classic musical is going to be judged by how the perfect score is performed, and it is without a doubt flawless.
Colorful and perfect in period detail, this helped bring the T. Not live like recent entries, it is an amazing feat. Movie musicals have made a slight comeback on the big screen, but it took the step that the producers of this T. This is one musical that is fine with the gimmick it has. It doesn't need to add to the huge pot of paradise it is. Outstanding interpretation of Bette Midler as domineering mother Rose Hovick marks this excellent production.
Surprisingly, Midler won the Golden Globe Award for best actress and it was certainly well-deserved. She is bossy, sincere and forever endearing in the part. She belts out the songs, not exactly in the tradition of Ethel Merman, but with her own style-she reached new heights herself.
Her facial contortions are excellent. At times, in her face, I saw her characters in "Hocus Pocus," and when she sings "Everything is coming up roses," at the train station, I thought I was seeing Gloria Swanson of "Sunset Boulevard" memory. Peter Riegert was most suitable in the role of her manager, the guy she loved dearly, but couldn't marry due to her stubborn belief that the careers of her girls came first.
The woman who played Louise, who is eventually drawn into the burlesque world, reminded me of the late Natalie Wood. Ironically, Wood played her part in the memorable film with the late Roz Russell.
A marvelous, endearing show with great performances by all concerned. I never saw Merman, not that I would have cared to though I would, had I lived in New York in , have gone in spite of my aversion to Merm, just for the score so that the first version I saw was Roz Russell in the movie. To me - and this is just one man's opinion - Merm was all brash and belt with no warmth so it's easy for me to believe she brought out the monster in Rose and just belted it across the footlights with about as much finesse as Sly Stallone would bring to figure skating, whereas Russell tempered the brashness with warmth and humanity.
As a great admirer of Tyne Daly I would have loved to have seen her take, she can do warmth standing on her head but much as I admire her it's hard for me to visualize her as the ruthless monster that is Rose.
Luckily I only paid 50p in a Charity shop for the Midler version and even then I feel robbed because all I got out of it was the score and as I already own the Broadway Cast CD albeit with Merm and the Russell movie I'm not exactly short in that department.
Midler came across as simply a freak, bloated face, shapeless figure, nothing in evidence to account for all the husbands she'd managed to snare or explain what Herbie found lovable. She even managed to make Jule Styne's melodies appear tuneless which is quite a trick. Today, in England, we're not allowed to call gypsies gypsies, we have to refer to them as travellers; that's jake with me in Midler's case, the father she travels the better.
Sylviastel 18 February I saw Tyne Daly in the Broadway revival of this classic and timeless musical. Tyne was fantastic so I hesitated to see the television movie with Bette Midler. Every actress has interpreted Mama Rose in their own way. This television adaptation is faithful to the musical production. I don't recall any outdoor scenes here and that's the only flaw. Bette Midler soars in the role. Peter Riegert was perfect as Herbie.
The director was the late Emile Ardolino Dirty Dancing and this film is dedicated in his memory. How he wins them, in the end, forms the rest of the story.
He makes the audience understand how innocent people often become victims of political agenda. However, I feel it could have been a much better film. Gypsy ran into trouble with Censor Board as they recommended several cuts, after which the issue was taken up to the Tribunal.
Post-interval, Gypsy pees in the police station and asks for water. It is a killer scene and shows the police brutality against the common man. Raju Murugan is an abled-storyteller and pulls the audience into his universe of filmmaking. Again, you get why he named the white horse after the Marxist revolutionary Che Guevara. You get a painting of Bhagat Singh. Jiiva brings such fine depth to his character.
Natasha Singh comes off as an earnest Muslim woman. She is the portrait of quiet dignity and grace. She does well even with minimal dialogues, relying on her eyes.
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