ROSIE

US, 1967, 98 minutes, Colour.
Rosalind Russell, Sandra Dee, Brian Aherne, James Farentino, Audrey Meadows, Vanessa Brown, Leslie Nielsen, Margaret Hamilton, Reginald Owen, Juanita Moore, Virginia Grey.
Directed by David Lowell Rich.

Rosie! sounds a very cheerful kind of film – and it is. However, it is based on Shakespeare’s King Lear, adapted from a play by Philippe Heriat, and adapted by comic actress and writer Ruth Gordon. It was directed by David Lowell Rich who directed a number of films at this time but was mainly a director of television movies.

Rosalind Russell burst onto the cinema scene in the 1930s with a strong screen presence and vigorous performances – her 1941 His Girl Friday is a case in point. However, during the 1950s and 1960s she also portrayed strong women in such films as Picnic, Auntie Mame, Gypsy, A Majority of One.

She is the grandmother who is generous and lavish with her money. Her mean-minded daughters, Audrey Meadows and Vanessa Brown, fear she will be too extravagant and they will have nothing to inherit. They plan to put her awayi and a home. The plan is overheard by sympathetic granddaughter, Sandra Dee, who does her best to save her grandmother.

The film is genial – with sufficient edge because of the grounding in the King Lear story.

1. How enjoyable a comedy-drama? popular?

2. The quality of the film's glossy style, wide screen, colour, Los Angeles atmosphere, wealthy backgrounds? This type of popular film and the reasons for its appeal?

3. The film an a Rosalind Russell vehicle? Her qualities, the emphasis on her and its impact?

4. The importance of the King Lear background? A successful updating of the play? Rosie's own reference to the play? How cleverly adapted to modern situations was Shakespeare's play in terms of characters, themes? Audience's notional response to themes of parents and children and ambition for wealth?

5. How enjoyable was the plot? of the eccentric Rosie? The initial impact with the car, the theatre? The explanation of her background, her character and eccentricities, that this was possible because of her wealth? Her modern approach to life, her verve and vitality? Her wisdom or foolishness in the theatre and renovating it? her own theatricality, for example with the song ( and its ironic use later during the film?), was Rosie performing most of the time or was she authentic?

6. How well did the film show her relationship to her daughters? Her fear of them, their lack of love for her? The contrast with Daphne in terms of love and companionship? The loyalty of the maids and the house staff? Oliver and his support? How wise was Rosie? How foolish?

7. How attractive a character was Daphne? A modem young American girl? Devotion to her grandmother, her suspicions of her mother and father? her involvement? Her horror at the plans? The Cordelia character from King Lear? How well was her character developed?

8. Oliver as the Duke of Kent character? The wise and devoted adviser? His explanation of his own marriage, friendship for Rosie's husband, devotion to Rosie? his involvement in her escape? The authenticity of the marriage proposal?

9. Audience response to the daughters and their scheming and manoeuvring? The strong daughter, the foolish daughter, the greedy son-in-law? the details of their plans, the nature of their evil (was this stressed sufficiently for the film?), the detail of their characterization and plans, getting detectives to follow Rosie, the use of photographs, lies, greed? Their being unmasked at the end and audience satisfaction with this? insight into greed and hypocrisy?

10. David as hero? An ambitious young lawyer, his rashness in entering into the case, Oliver's supporting him, his love for Daphne, help for Rosie, with its comic aspects? His involvement in rescuing Rosie? Inevitably the happy ending?

11. The atmosphere of the concert and its enjoyment, the transition to the hustle and bustle outside the theatre, the money, the kidnapping, the change of mood in the rest? how? The effect emotionally of this transition?

12. How well handled were the scenes in the house? The effect of imprisonment? The overtones of madness? Facing of reality? of wealth? Rosie's confrontation with the doctor, the nurse? her being confronted by Cabot and wanting something to wear? The importance of the escape?

13. The impact of the court sequences? The ordeal for Rosie, her disillusionment with people? Oliver's proposal, her changing her mind to become involved? The dramatic act with its effect? Audience supporting the judge in wanting her to reveal the truth?

14. The necessary happy ending for this kind of film? Would Daphne grow into a Rosie?

15. How well developed were the transitions of moods? For audience involvement and entertainment? How much wisdom in this kind of comedy? Truth and madness?