CALIFICACIÓN DE IMDb
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TU CALIFICACIÓN
Agrega una trama en tu idiomaAn incognito opera singer falls for a policeman who has been assigned to track down her fugitive brother.An incognito opera singer falls for a policeman who has been assigned to track down her fugitive brother.An incognito opera singer falls for a policeman who has been assigned to track down her fugitive brother.
- Premios
- 3 premios ganados en total
David Niven
- Teddy
- (as David Nivens)
Rinaldo Alacorn
- Dancer in Totem Tom Tom
- (sin créditos)
Ernie Alexander
- Elevator Operator
- (sin créditos)
Max Barwyn
- Servant
- (sin créditos)
Agostino Borgato
- Opera Fan
- (sin créditos)
Leonard Carey
- Louis
- (sin créditos)
Argumento
¿Sabías que…?
- TriviaHunted killer Robert Miller Barr--whose companion was lynched in Yreka, California, the year before for killing two cops while he himself escaped--got a job as an extra in this movie while on the run. He appears in eight scenes. See "The Spokesman-Review", Sept 16, 1936.
- ErroresWhen the Sgt. returns to the room to find Rose Marie gone, he wakes the manager for entry, when the manager enters the room he has a noticeably different night shirt on than before he entered, one has vertical stripes the other horizontal.
- Citas
Marie de Flor: That's the worst orchestra and the worst conductor I've ever sung with!
[To the tenor]
Marie de Flor: And what was the idea of holding every high A longer than I did?!?
- ConexionesEdited into Hollywood: The Dream Factory (1972)
- Bandas sonorasRoméo et Juliette
(1867) (uncredited)
Music by Charles Gounod
Libretto by Jules Barbier and Michel Carré
Excerpts from the opera Sung by Jeanette MacDonald, Allan Jones, Olga Dane and Chorus
Opinión destacada
Jeanette MacDonald is "Rose-Marie" in this 1936 film also starring Nelson Eddy, James Stewart and Allan Jones. The movie borrows its title from the Rudolf Friml operetta, but it does not use the plot or many of the songs. MacDonald plays a famous opera singer named Marie de Flor whose brother (Stewart), going by the last name of Flower, has escaped prison and killed a Mountie. She leaves at once for Quebec and winds up meeting - who else - Nelson Eddy, a Mountie who recognizes her immediately and believes at first that he is helping her get to a rendezvous with a man. Meanwhile, he's falling for her himself.
Nelson and Jeannette were one of the great screen teams, and even now, they have fans all over the world. Jeanette was beautiful, a good singer and a fine actress, and Nelson, while not being much of an actor, was an attractive man with a magnificent voice. Their big hit, in fact, their signature song, "Indian Love Call," is from this film, as is, naturally, "Rose-Marie." Because of the recording devices used back then and the way female singers were taught, Jeannette's lyric-coloratura suffers somewhat. Like all female singers of that era, she has a back placement for her high notes, though the middle part of her range is quite beautiful. Her obsession with Tosca - one of the opera scenes shown, and a role she also performed on stage in real life - is a curious one. She had no business singing it, and neither did the tenor, Allan Jones, who was a lyric tenor. It's for a dramatic soprano and a spinto tenor. The Gounod "Romeo et Juliette," which she sings with Jones in the beginning of the movie is much more appropriate for both of them. Eddy, on the other hand, had operatic roots, and his baritone has survived very well. They sounded wonderful together, and there was something about them that just worked, even if he was somewhat wooden. She was spitfire enough for both of them, and it made a nice contrast. My favorite part of the film is when, after her guide steals her money, Marie goes looking for the job as a singer in a honky tonk café and tries to do "Some of these Days," which she sings operatically while attempting to copy the hoochie-coochie movements of the café's resident singer.
Stewart was slowly ascending the scale to stardom, getting better and better roles - he has a couple of big scenes in this film. He's boyish, good-looking and very effective.
Today I suppose these films seem very campy, and they've surely been parodied over and over again. However, the music is enjoyable, Nelson and Jeanette are treasures, and one can't help but marvel, amidst the insanity of today, what a much simpler time it was. People were able to be lifted out of themselves for a little while with fantasy and beauty. These movies must have been doing something right. Seventy-plus years later, we're still enjoying them.
Nelson and Jeannette were one of the great screen teams, and even now, they have fans all over the world. Jeanette was beautiful, a good singer and a fine actress, and Nelson, while not being much of an actor, was an attractive man with a magnificent voice. Their big hit, in fact, their signature song, "Indian Love Call," is from this film, as is, naturally, "Rose-Marie." Because of the recording devices used back then and the way female singers were taught, Jeannette's lyric-coloratura suffers somewhat. Like all female singers of that era, she has a back placement for her high notes, though the middle part of her range is quite beautiful. Her obsession with Tosca - one of the opera scenes shown, and a role she also performed on stage in real life - is a curious one. She had no business singing it, and neither did the tenor, Allan Jones, who was a lyric tenor. It's for a dramatic soprano and a spinto tenor. The Gounod "Romeo et Juliette," which she sings with Jones in the beginning of the movie is much more appropriate for both of them. Eddy, on the other hand, had operatic roots, and his baritone has survived very well. They sounded wonderful together, and there was something about them that just worked, even if he was somewhat wooden. She was spitfire enough for both of them, and it made a nice contrast. My favorite part of the film is when, after her guide steals her money, Marie goes looking for the job as a singer in a honky tonk café and tries to do "Some of these Days," which she sings operatically while attempting to copy the hoochie-coochie movements of the café's resident singer.
Stewart was slowly ascending the scale to stardom, getting better and better roles - he has a couple of big scenes in this film. He's boyish, good-looking and very effective.
Today I suppose these films seem very campy, and they've surely been parodied over and over again. However, the music is enjoyable, Nelson and Jeanette are treasures, and one can't help but marvel, amidst the insanity of today, what a much simpler time it was. People were able to be lifted out of themselves for a little while with fantasy and beauty. These movies must have been doing something right. Seventy-plus years later, we're still enjoying them.
- blanche-2
- 17 jun 2008
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- How long is Rose-Marie?Con tecnología de Alexa
Detalles
- Fecha de lanzamiento
- País de origen
- Idioma
- También se conoce como
- Rose Marie
- Locaciones de filmación
- Emerald Bay State Park, Lake Tahoe, California, Estados Unidos("Totem Tom-Tom" dance and Indian camp scenes)
- Productora
- Ver más créditos de la compañía en IMDbPro
- Tiempo de ejecución1 hora 53 minutos
- Color
- Relación de aspecto
- 1.37 : 1
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By what name was Rose-Marie (1936) officially released in India in English?
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