Rydell’s 1979 rock ‘n’ roll drama, The
Rose, made Bette Midler a star. While she had already done theatre, some
television, and live musical acts, as well as uncredited or tiny bits in some
films, Midler broke through to the mainstream with this picture and earned a
Best Actress Oscar nomination. There were many who felt that Midler should have
won the statue (Sally Field snagged the award for Norma Rae). The point is arguable, for Midler indeed displayed top-notch
acting chops as well as singing prowess. She also proved she could rock out.
project was originally intended to be a biopic about Janis Joplin, entitled Pearl. When Joplin’s family refused
permission, the producers morphed the script to feature a Joplin-like character
known as “The Rose”—but it wasn’t Joplin—and turned the story into fiction.
That said, the movie is very truthful about rock ‘n’ roll divas, touring, and
the heavy toll that this business takes on an artist.
the project was about a fictional character and not Joplin, director Rydell
signed on, and he was able to convince Midler to star. This was inspired
casting. Midler struts her stuff and oozes sexuality in the concert sequences in
front of audiences, explodes with violence in the scenes of conflict with her
manager or boyfriend, and she delivers vulnerability and insecurity in the
quiet moments. Addicted to alcohol and other drugs, the Rose is on a fast path
to self-destruction, and Midler brings the tragedy to life with aplomb.
Bates plays her British manager with the appropriate adoration of and frustration
with his talented, but flawed, client. Frederic Forrest turns in an
Oscar-nominated performance for Best Supporting Actor as the somewhat clueless
guy The Rose picks up after a disastrous meeting with a songwriter (Harry Dean
Stanton) who refuses to give her any more of his tunes. Forrest is terrific as
he takes a tremendous amount of shit from the stormy rock star, but then turns
around and gives it back to her with the same intensity.
music is dynamite—the end title song “The Rose” became a standard for not only
Midler, but other torch singers. Rydell’s direction is assured as he stages
both huge, arena-sized rock concerts with thousands of extras, along with
small, intimate scenes between a couple of actors.
Midler and Bates: sheer perfection.
new 4K digital restoration, supervised by director of photography Vilmos
Zsigmond, has a 5.1 surround DTS HD Master Audio soundtrack that will punch
holes in your eardrums (that’s a good thing for a rock music movie). Rydell
provides an audio commentary. Other extras are new, enlightening interviews
with Midler, Rydell, and Zsigmond. There are also archival interviews with
Midler and Rydell and footage from the set. The booklet contains an essay by
critic Paula Mejia.
The Rose is a brilliant, but sad,
look at the trials of rock ‘n’ roll stardom and the dark side of fame and