Ann Blyth appears in the above publicity photo with Fernando Lamas. The film is Rose Marie (1954), a glorious CinemaScope color movie that casts a new spell on an old-fashioned hit.
From my book, Ann Blyth: Actress. Singer. Star.:
Ann
Blyth was twenty-four going on twenty-five when she played the title role in
this musical, and one is impressed by her ability to appear so young, so
naturally and effortlessly a teenager when in her teen years she often played
characters who were older, or least more poised and sophisticated. Very
light, natural-looking makeup, a tan, and her loose woodsman’s buckskins
covering her shape help to create this illusion, but two things she does
herself complete the picture—her animated expressions which, with the innocence
of youth, do not mask her emotions, but let us see every flickering thought
passing through her mind, and also the way she moves. With an animal-like
ease and strength, she lives the outdoor life like someone completely at home
in the woods, not stomping about in her buckskin with exaggerated mannishness
like Doris Day in Calamity Jane, but hiking, climbing on rocks, and
running with the grace of an athlete.
The
picture of her seeming physical change was overshadowed in the press of the
day, which took greater notice, with greater surprise, at her singing
voice. This was her first big singing role after her one song in The Great Caruso. A review in the St.
Petersburg (Florida) Times:
The surprise in Rose Marie is Ann Blyth’s singing
voice, which is gloriously pitched, full, and strong.
The
“new Ann Blyth” of the headline “New Ann Blyth Emerges in Classical Rose
Marie,” (in pretty much every film she did she was always “new”),
emphatically declares herself with her first song, the exhilarating “Free to Be
Free.” Just like the character Rose Marie, who wants to live life in the
wild without being forced into a “ladylike” life of restricted freedom in town,
Ann Blyth is declaring her freedom in a way that says, “Look at me. I can
really sing. This is my movie.” Her range is quite demonstrably
large in this song, even drifting down into the mezzo area, and her control is
stunning, bang-on notes with no vibrato or trilling. It’s a magnificent
delivery and a great song to come charging out of the gate in this movie, as if
to make the audience take notice—this is Rose Marie, the old chestnut
you thought you knew, but didn’t.
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