The archetypal stage mother, Mama Rose was performed on Broadway for almost two years by Ethel Merman, who helped create the character for the stage after reading Gypsy Rose Lee’s memoirs. Yet when the film adaptation began production shortly after the play’s initial run ended, Merman was passed over. The reasons behind Rosalind Russell being given the plum role range from the pragmatic to the conspiratorial. Nevertheless, though she may have been no match for Merman musically (who was?), the film version immeasurably benefits from the performance of Russell, who sublimely ushers Rose away from the pitfalls of caricature.

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Blinded by her obsessive desire to make her youngest daughter a star, Mama Rose is not so much oblivious to the consequences of her actions in that she just doesn’t care! When June rebels and abandons the act, Rose’s attention turns to her other daughter, Louise. But vaudeville is dying, and Louise’s lack any discernible talent forces Rose to reluctantly concede that the curtain has finally come down on what she considers her showbiz career. Then an accidental booking at a burlesque theatre provides Rose with a stage that Louise may succeed on – much to the disgust of her long-suffering beau.

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Key to this film’s success was the seamless blending of Rosalind Russell’s vocals with that of songstress Lisa Kirk, who altered her singing to match the actress’ voice. Other modifications permitted by the adaptation was an onscreen narration to bypass some of the plays’ slower segments and exterior shots to open out the predominantly stage-bound piece. Marni Nixon was also used sparingly to augment Natalie Wood’s songs. Nothing could help Karl Malden though. His one contribution was cut from the final release.