The Rose


2h 14m 1979

Brief Synopsis

Bette Midler plays "Rose", an artist strikingly similar to Janis Joplin. The film follows Rose's career during her last tour. Her rock and roll lifestyle of Drugs, Sex, and Rock and Roll and constant touring lead her to an inevitable breakdown.

Film Details

Also Known As
Rose
MPAA Rating
Release Date
1979
Location
New York City, New York, USA

Technical Specs

Duration
2h 14m
Sound
Dolby
Color
Color (DeLuxe)
Theatrical Aspect Ratio
2.35 : 1

Synopsis

Loosely based on the life of iconic rocker Janis Joplin, the film follows a superstar called The Rose on her last tour. The extroverted performer is actually lonely and insecure, and being exploited by her greedy manager. Rose falls in love with a limousine driver named Houston and he believes he can save her from self-destruction. But her "drugs, sex and rock 'n' roll" lifestyle and exhausting touring schedule overwhelm her and Rose dies onstage from a drug overdose at the beginning of her homecoming concert.

Crew

Theoni V. Aldredge

Costume Designer

Jeff Angell

Makeup

Betty Atkinson

Production Coordinator

Toni Basil

Choreographer

Bonnie Bruckheimer

Production Assistant

Bobby Byrne

Photography

John Carter

Song

Hazel Catmull

Hair

William Elliott

Song

April Ferry

Costume Supervisor

Leo Friedman

Song

William Joyce Gazecki

Music

Bo Goldman

Screenplay

Anthony Goldschmidt

Titles

Jerry Graham

Props

Sammy Hagar

Song

Conrad Hall

Photography

Kenny Hopkins

Song

Stephen Hunter

Song

Mo Jaffe

Song

Bill Kerby

Screenplay

Bill Kerby

From Story

Jan Kiesser

Photography

Laszlo Kovacs

Photography

Don Kruger

Location Manager

Calvin Lewis

Song

Carol Locatell

Song

Ira Loonstein

Unit Production Manager

Steve Lydecker

Photography

Richard Macdonald

Production Designer

Michael Margolies

Photography

Godfrey Marks

Sound Editor

Amanda Mcbroom

Song

Chris Mclaughlin

Sound

Nick Mclean

Camera Operator

Robert O Moore

Key Grip

David Myers

Photography

C Timothy O'meara

Editor

Gene Pistilli

Song

Greg Prestopino

Song

Jerry Ragavoy

Song

Anthony Ray

Executive Producer

Owen Roizman

Photography

Kay Rose

Sound Editor

Paul A Rothchild

Music Arranger

Aaron Russo

Producer

Victoria Rose Sampson

Sound Editor

James Schoppe

Art Director

Bob Seger

Song

Chester L Slomka

Sound Editor

Theodore Soderberg

Sound

Chris Soldo

Assistant Director

Peter Sorel

Photography

Lynn Stalmaster

Casting

Henry Tobias

Song

Julia Tucker

Script Supervisor

Larry Vincent

Song

Hanny Wajshonig

Assistant Editor

James E Webb

Sound Mixer

Bruce Weintraub

Set Decorator

George David Weiss

Song

Paul Wells

Sound

Haskell Wexler

Photography

Beth Slater Whitson

Song

Charley Williams

Song

Douglas O. Williams

Sound

Robert L Wolfe

Editor

Marvin Worth

Producer

Andrew Wright

Song

William Zsigmond

Director Of Photography

Film Details

Also Known As
Rose
MPAA Rating
Release Date
1979
Location
New York City, New York, USA

Technical Specs

Duration
2h 14m
Sound
Dolby
Color
Color (DeLuxe)
Theatrical Aspect Ratio
2.35 : 1

Award Nominations

Best Actress

1979
Bette Midler

Best Editing

1979

Best Sound

1979

Best Supporting Actor

1979
Frederic Forrest

Articles

Sir Alan Bates (1934-2003)


Sir Alan Bates, the versatile British actor, who held a distinguished career on both stage and screen, via a string of outstanding roles in both classical (Shakespeare, Chekhov, Ibsen) and contemporary (Pinter, Osborne, Stoppard) drama, died of pancreatic cancer on December 27th in London. He was 69.

Born Alan Arthur Bates on February 17th, 1934 in Derbyshire, England, Bates was the son of amateur musicians who wanted their son to become a concert pianist, but the young man had other ambitions, bluntly declaring to his parents that he had his sights set on an acting career when he was still in secondary school. He eventually earned a scholarship to the Royal Academy of Dramatic Arts in London, but had his career briefly interrupted with a two-year stint in the Royal Air Force. Soon after his discharge, Bates immediately joined the new English Stage Company at the Royal Court Theatre and by 1955 he had found steady stage work in London's West End theatre district.

The following year, Bates made a notable mark in English theatre circles when he starred as Cliff Lewis in John Osborne's charging drama about a disaffected, working-class British youth in Look Back in Anger. Bates' enormous stage presence along with his brooding good looks and youthfulness (he was only 22 at the time of the play's run) made him a star and promised great things for his future.

Four years later, Bates made a solid film debut in Tony Richardson's The Entertainer (1960) as the son of a failing seaside entertainer, played by Sir Laurence Olivier. Yet it would be his next two films that would leave an indelible impression in '60s British cinema; Bryan Forbes' Whistle Down the Wind (1961) and John Schlesinger's A Kind of Loving (1962). Bates' performances as a murderer on the lam who finds solace at a farm house in the company of children in the former, and a young working-class husband who struggles with his identity in a loveless marriage in the latter, were such finely nuanced portrayals of loners coping with an oppressive social order that he struck a chord with both audiences and critics alike. Soon, Bates was considered a key actor in the "angry young men" movement of the decade that included Albert Finney and Tom Courtney.

For the next ten years, Bates simply moved from strength to strength as he chose film roles that both highlighted his range and raised his stock as an international celebrity: reprising his stage role as the brutish thug Mick in the film adaptation of Harold Pinter's The Caretaker (1963); starring alongside Anthony Quinn as the impressionable young writer Basil in Zorba the Greek (1964); the raffish charmer Jos who falls in love with Lynn Redgrave in the mod comedy Georgy Girl; the bemused young soldier who falls in love with a young mental patient (a radiantly young Genevieve Bujold) in the subdued anti-was satire King of Hearts (both 1966); reuniting with director Schlesinger again in the effective period drama Far from the Madding Crowd (1967); a Russian Jew falsely accused of murder in John Frankenheimer's The Fixer (1968, remarkably, his only Oscar nomination); as Rupert, the freethinking fellow who craves love and understanding in Ken Russell's superb Women in Love (1969); playing Vershinin in Sir Laurence Olivier's underrated The Three Sisters (1970); opposite Julie Christie in Joseph Losey's tale of forbidden love The Go-Between (1971); and his moving, near-tragic performance as Bri, a father who struggles daily to maintain his sanity while raising a mentally disabled daughter in the snarking black comedy A Day in the Death of Joe Egg (1972).

Bates would slow down his film work, concentrating on the stage for the next few years, including a Tony award winning turn on Broadway for his role in Butley (1972), but he reemerged strongly in the late '70s in three good films: a conniving womanizer in The Shout; Jill Clayburgh's love interest in Paul Mazursky's hit An Unmarried Woman (1978); and as Rudge, Bette Midler's overbearing manager in The Rose (1979).

By the '80s, Bates filled out somewhat physically, but his now burly presence looked just right in some quality roles: as the notorious spy, Guy Burgess, in John Schlesinger's acclaimed mini-series An Englishman Abroad (1983); a lonely homosexual who cares for his incarcerated lovers' dog in the charming comedy We think the World of You (1988); and a superb Claudius in Franco Zeffirelli's Hamlet (1990).

Tragically, Bates lost his son Tristan to an asthma attack in 1990; and lost his wife, actress Victoria Ward, in 1992. This led to too few film roles for the next several years, although he remained quite active on stage and television. However, just recently, Bates has had some choice moments on the silver screen, most notably as the butler Mr. Jennings in Robert Altman's murder mystery Gosford Park (2001); and scored a great comic coup as a gun-toting, flag-waving Hollywood has-been in a very broad satire about the Canadian movie industry Hollywood North (2003). Also, theatre fans had a treat when Bates appeared on Broadway last year to critical acclaim (and won a second Tony award) for his portrayal of an impoverished 19th century Russian nobleman in Fortune's Fool (2002). Most deservedly, he was knighted earlier this year for his fine contributions as an actor in all major mediums. Sir Alan Bates is survived by two brothers Martin and Jon, son Benedick and a granddaughter.

by Michael T. Toole
Sir Alan Bates (1934-2003)

Sir Alan Bates (1934-2003)

Sir Alan Bates, the versatile British actor, who held a distinguished career on both stage and screen, via a string of outstanding roles in both classical (Shakespeare, Chekhov, Ibsen) and contemporary (Pinter, Osborne, Stoppard) drama, died of pancreatic cancer on December 27th in London. He was 69. Born Alan Arthur Bates on February 17th, 1934 in Derbyshire, England, Bates was the son of amateur musicians who wanted their son to become a concert pianist, but the young man had other ambitions, bluntly declaring to his parents that he had his sights set on an acting career when he was still in secondary school. He eventually earned a scholarship to the Royal Academy of Dramatic Arts in London, but had his career briefly interrupted with a two-year stint in the Royal Air Force. Soon after his discharge, Bates immediately joined the new English Stage Company at the Royal Court Theatre and by 1955 he had found steady stage work in London's West End theatre district. The following year, Bates made a notable mark in English theatre circles when he starred as Cliff Lewis in John Osborne's charging drama about a disaffected, working-class British youth in Look Back in Anger. Bates' enormous stage presence along with his brooding good looks and youthfulness (he was only 22 at the time of the play's run) made him a star and promised great things for his future. Four years later, Bates made a solid film debut in Tony Richardson's The Entertainer (1960) as the son of a failing seaside entertainer, played by Sir Laurence Olivier. Yet it would be his next two films that would leave an indelible impression in '60s British cinema; Bryan Forbes' Whistle Down the Wind (1961) and John Schlesinger's A Kind of Loving (1962). Bates' performances as a murderer on the lam who finds solace at a farm house in the company of children in the former, and a young working-class husband who struggles with his identity in a loveless marriage in the latter, were such finely nuanced portrayals of loners coping with an oppressive social order that he struck a chord with both audiences and critics alike. Soon, Bates was considered a key actor in the "angry young men" movement of the decade that included Albert Finney and Tom Courtney. For the next ten years, Bates simply moved from strength to strength as he chose film roles that both highlighted his range and raised his stock as an international celebrity: reprising his stage role as the brutish thug Mick in the film adaptation of Harold Pinter's The Caretaker (1963); starring alongside Anthony Quinn as the impressionable young writer Basil in Zorba the Greek (1964); the raffish charmer Jos who falls in love with Lynn Redgrave in the mod comedy Georgy Girl; the bemused young soldier who falls in love with a young mental patient (a radiantly young Genevieve Bujold) in the subdued anti-was satire King of Hearts (both 1966); reuniting with director Schlesinger again in the effective period drama Far from the Madding Crowd (1967); a Russian Jew falsely accused of murder in John Frankenheimer's The Fixer (1968, remarkably, his only Oscar nomination); as Rupert, the freethinking fellow who craves love and understanding in Ken Russell's superb Women in Love (1969); playing Vershinin in Sir Laurence Olivier's underrated The Three Sisters (1970); opposite Julie Christie in Joseph Losey's tale of forbidden love The Go-Between (1971); and his moving, near-tragic performance as Bri, a father who struggles daily to maintain his sanity while raising a mentally disabled daughter in the snarking black comedy A Day in the Death of Joe Egg (1972). Bates would slow down his film work, concentrating on the stage for the next few years, including a Tony award winning turn on Broadway for his role in Butley (1972), but he reemerged strongly in the late '70s in three good films: a conniving womanizer in The Shout; Jill Clayburgh's love interest in Paul Mazursky's hit An Unmarried Woman (1978); and as Rudge, Bette Midler's overbearing manager in The Rose (1979). By the '80s, Bates filled out somewhat physically, but his now burly presence looked just right in some quality roles: as the notorious spy, Guy Burgess, in John Schlesinger's acclaimed mini-series An Englishman Abroad (1983); a lonely homosexual who cares for his incarcerated lovers' dog in the charming comedy We think the World of You (1988); and a superb Claudius in Franco Zeffirelli's Hamlet (1990). Tragically, Bates lost his son Tristan to an asthma attack in 1990; and lost his wife, actress Victoria Ward, in 1992. This led to too few film roles for the next several years, although he remained quite active on stage and television. However, just recently, Bates has had some choice moments on the silver screen, most notably as the butler Mr. Jennings in Robert Altman's murder mystery Gosford Park (2001); and scored a great comic coup as a gun-toting, flag-waving Hollywood has-been in a very broad satire about the Canadian movie industry Hollywood North (2003). Also, theatre fans had a treat when Bates appeared on Broadway last year to critical acclaim (and won a second Tony award) for his portrayal of an impoverished 19th century Russian nobleman in Fortune's Fool (2002). Most deservedly, he was knighted earlier this year for his fine contributions as an actor in all major mediums. Sir Alan Bates is survived by two brothers Martin and Jon, son Benedick and a granddaughter. by Michael T. Toole

Quotes

Where is everybody going?
- Rose

Trivia

Loosely based on the life of Janis Joplin.

When Rose (Bette Midler) asks Dyer (Frederic Forrest) where he came from, he says "Waxahachie, Texas", which is Frederic Forrest's real home town.

Miscellaneous Notes

Released in United States 1979

Released in United States 1979