Rose of Washington Square (1939) User Reviews

Alice Just Shines

[bkoganbing · 8/10 · 9 October 2005]

In this early version of the Funny Girl story, Alice Faye as Rose Sargent simply shines in her performance. Alice's warm contralto voice was one of the easiest to take of any musical star from the Thirties. She's helped her by a collection of post World War I standards and a new song written by the 20th Century Fox songwriting team of Mack Gordon and Harry Revel, I Never Knew Heaven Could Speak.

Other than the names were changed to make them ethnically neutral, Alice, as Fanny Brice, sings a lot of ballads in her own style. Fanny Brice as a performer was nothing if not ethnic. Other than her famous standard My Man, in which Faye reprises her well, Brice's repertoire consisted of comedy numbers mostly with an accent to identify her Lower East Side of New York Jewish origins.

Still Alice in her goyish version of Fanny was real enough so that Fanny sued 20th Century Fox to stop the film. She and Darryl Zanuck reached an out of court settlement.

Tyrone Power is Hobart DeWitt Clinton(Nicky Arnstein), a name certainly waspy enough to disguise any ethnicity. It's Ty's third and final film with Alice Faye. Whether played by Power or Omar Sharif, the husband's role is a tricky one. He's a charming con man and you can't make him to weak or the audience will never understand why Faye is even bothering with him. Of course if you have the looks of Tyrone Power, it's easy. But you do have to have the talent to match which Power does. In the storyline at the beginning, Power is identified as having served in the American Expeditionary Force in France in World War I. Deliberately put there to make the audience empathetic with him. After all in 1939 there were certainly a lot of moviegoers who were veterans or in the families of World War I veterans.

Al Jolson was here and shares the spotlight with Faye in singing some of his old standards from that period. He was very good in his part as Faye's confidante and fellow performer. But Jolson with his ego did not like sharing the spotlight with anyone. His three 20th Century Fox roles were supporting or guest star roles and he hated it. Equally I might add that Alice Faye couldn't stand him.

Irony of ironies, back in the day Jolson himself got into a famous feud with Walter Winchell who was the creative genius behind Broadway Through a Keyhole. That film was a disguised version of his own courtship and marriage to Ruby Keeler and Jolson was the one doing the suing then.

Alice Faye is not Fanny Brice in the film, but I'm happy with her just being Alice Faye.

any similarity to real people is purely coincidental

[blanche-2 · 7/10 · 21 December 2005]

Despite this disclaimer at the beginning of "Rose of Washington Square," Fanny Brice realized the film was about her and quickly sued 20th Century Fox. Gee, wonder what the kicker was...the good-looking con man husband who goes to jail on a bond fraud? The lead character headlining with the Ziegfield Follies? Or was it the song "My Man"? Alice Faye is very pretty as Rose in this somewhat politically incorrect film which also stars Tyrone Power and Al Jolson: There's the man who is paid to drink so he can heckle Al Jolson as part of his act, and there's Al himself in blackface with white lips up on stage singing. Nevertheless, the real story concerns the codependent relationship between Rose and Bart, her crooked husband. But it's Tyrone Power, and what woman wouldn't have loved him - in fact, what woman didn't love him in 1939? He was the number 2 box office star. He portrays the likable but sleazy character very well. In the beginning of his career a few years earlier, he did romantic comedy, then did a string of films where he was a cad, then played soldiers, and after the war, did everything - he was a young man who found himself in "The Razor's Edge," played against type in "Nightmare Alley," and period-pieced his way through Fox until his contract finally ended. In 22 years as a star, he really did every genre, and did them beautifully.

There's lots of music in this movie and a HUGE build-up to the song "My Man" before Faye ever sings it. When she does, it's not the Streisand version, but rather a torch song, sung in Faye's low, rich voice. Jolson was a terrific performer though apparently extremely egomaniacal and difficult to work with. He sings his standards: "Mammy," "California Here I Come," "Toot-toot-Tootsie," "Rockabye Your Baby," etc., and he's great. Power and Faye make a wonderful couple. And by the way, they shared the same birthday, a year apart.

This is an okay film, but it's no Alexander's Ragtime Band, which is far superior.

American Beauty Rose

[lugonian · 7/10 · 30 May 2003]

ROSE OF WASHINGTON SQUARE (20th Century-Fox, 1939), directed by Gregory Ratoff, a nostalgic musical, is a worthy follow-up to Fox's previous success, ALEXANDER'S RANGTIME BAND (1938), both starring the up-and-coming Tyrone Power and Alice Faye, making their third and final screen appearance together (their initial being IN OLD CHICAGO in 1937). While this production belongs to Alice Faye and Tyrone Power in that order, it's Al Jolson, assuming third billing in a secondary role, who comes off best. His fine acting and song delivery remain the film's major asset, which makes one wish he were given more to do. ROSE OF WASHINGTON SQUARE is also the most musical of all the Jolson, as well as Faye films.

In a story that opens circa 1919, Ted Cotter (Al Jolson) and Rose Sargent (Alice Faye) partners who specialize in singing, struggling to achieve success, are both working separately, he in a burlesque house singing while passing out theater programs, and she at amateur nights singing for nickels and dimes tossed to her. Disappointed, Rose breaks away from theater life to a Long Island resort accompanied by her friend, Peggy (Joyce Compton). While there she encounters Barton DeWitt Clinton (Tyrone Power), a handsome war veteran who happens to be a petty thief. A smooth operator, Clinton immediately wins Rose's affections. After his latest theft involving an expensive stolen necklace backfires, and under the watchful eye of Detective Mike (Charles C. Wilson), Clinton quickly leaves without any notice to Rose. In the meantime, Harry Long (William Frawley), a booking agent, has arranged for Ted to appear in a tryout. Thanks to the unintentional interruptions by the intoxicated loud-mouth patron (Hobart Cavanaugh) sitting up in the box, the act proves favorable and hired to boost up attendance. successful. As for Rose, she's singing in a basement speakeasies until she she once again encounters Clinton who saves her from a police raid. This time the two become inseparable and eventually marry, much to the dismay of Ted, who sees through Clinton for what he really is, but agrees to remain neutral for Rosie's sake. After Rose achieves her long delayed success in the Ziegfeld Follies, her personal life turns to heartache as Clinton, in desperate need of money, gets himself deeper and deeper in debt, leading to arrest and prison term.

With a handful of old-time Broadway songs from the 1920s era, Alice Faye sings them in her usual manner, although several of them, including "My Man," are reportedly long associated with the legendary Fanny Brice. As for Al Jolson, he reprises many of his most celebrated hits in his traditional black-face manner. He is one for the memory book of legendary bygone entertainers. The musical program includes: "Pretty Baby" (sung by Al Jolson); "I'm Sorry I Made You Cry" (sung by Alice Faye); "Ja-Da" and "Vamp" (both sung by Faye); "Rock-a-Bye Your Baby With A Dixie Melody" and "Toot-Toot Tootsie, Goodbye" (both sung by Jolson); "I'm Just Wild About Harry" (Alice Faye); "California, Here I Come" (Al Jolson); "I Never Knew Heaven Could Speak" and "Rose of Washington Square" (both sung by Faye); "Mammy" (Al Jolson); "My Man" and "My Man" (reprise, both sung by Faye). While the majority of the tunes are mainly sung by the principal players, with the camera giving them full focus, only the title tune is given the full production number treatment running nearly ten minutes.

Also seen in the cast are: Moroni Olson playing Buck Russell; E.E. Clive, Louis Prima, Ben Weldon, Harry Hayden, Charles Lane and John Hamilton.

According to an well documented, "HIDDEN Hollywood: FROM THE VAULTS OF 20th CENTURY-FOX" narrated by Joan Collins, which premiered on American Movie Classics in 1997, ROSE OF WASHINGTON SQUARE was originally planned as a two hour presentation, but was then cut to 86 minutes. Included in this documentary are numerous outtakes, featuring Jolson's rendition of "April Showers" and "Avalon," and Alice Faye's version to the film's theme song, "I'm Always Chasing Rainbows." Another added bonus was the guest appearances of the comedy team of Weber and Fields doing a stage act, as observed in the audience by Jolson and William Frawley. It's also been noted somewhere that actress Winifred Harris appeared as Broadway legend Lillian Russell (a role Alice Faye would portray in 1940), whose scenes were also cut. The documentary does explain as to why certain scenes didn't make it to the final print. As with other 20th Century-Fox musicals attempting to recapture the days of old Broadway, ROSE OF WASHINGTON SQUARE is historically inaccurate in the hairstyle and fashion department being 1939 modern. Although the opening titles credit this movie to be entirely fiction, there's no doubt that it's suggested on the career of Fanny Brice.

In spite of these shortcomings, ROSE OF WASHINGTON SQUARE, as a musical, is entertaining as well as involving in plot. As mentioned before, Al Jolson nearly steals the limelight from his leading players. Sadly, this would mark an end of a era for this legendary singer whose legacy remains with THE JAZZ SINGER (Warner Brothers, 1927),Hollywood's "first talkie," while Power and Faye would continue their fame and fortune for the duration of their careers.

ROSE OF WASHINGTON SQUARE, distributed to home video in the 1990s, unseen on cable TV since it's American Movie Classic days, made its Turner Classic Movies premiere May 5, 2013. The home video edition contains "April Showers" and "Avalon" outtakes, along with its theatrical trailer. Of her musicals, ROSE OF WASHINGTON SQUARE has become one of the most remembered and admired of all her movies. (***)

That's Entertainment...really!

[GManfred · 24 May 2010]

This is an excellent movie musical from the 20th Fox studio, which made excellent movie musicals. Fox made all those great musicals with John Payne and Alice Faye, until she got supplanted by Betty Grable. It's all here - storyline, music, production values and a Who's-Who cast of memorable character actors from the Golden Age of Hollywood.

"Rose" is actually a revue with only one or two songs written for the movie; "I Never Knew Heaven Could Speak" is one and is the best song in the picture. The rest are songs from pre and post WW1 and are old standards - there are 20 songs in all. Then there is the Cigarette Dance which contains some trick photography and is very clever indeed.

It stars Tyrone Power and Alice Faye who handle acting chores, but the singing duties belong to Al Jolson, who at one time was considered the best entertainer of the 20th century on either coast. He comes alive when he sings his signature numbers but has a very limited acting range. This picture is seldom seen today because, for reasons rooted in the early part of the last century, Jolson sang in blackface. Apparently this worked for him but the film is no longer in the good graces of the PC crowd and those intimidated by them. The plot is based (loosely) on Fanny Brice and her husband/problem child Nicky Arnstein. As we know too well, Hollywood feels fiction is stranger than truth and punches up many stories that were good to begin with. Plus, they were true, and what fun is that.

Do yourself a favor; if you can find this picture watch it and see how Hollywood used to do it in the good old days. As I stated in the summary, that's entertainment in the purest sense of the term. I gave it a well-deserved rating of 8.

A rose by any other name...

[jotix100 · 7/10 · 10 June 2009]

This 20th Century release was a vehicle for Alice Faye, one of the most popular actresses in Hollywood musicals, plays Rose Sargent. Ironically, this is no musical per se, it is a melodrama with music inserted in the narrative. The story takes us to the vaudeville days in which Rose, a beautiful woman is trying to make it in show biz. Ted Cotter, also a singer, admires Rose in a platonic way. Even after he makes it big, Ted will always try to get her an opportunity in which to shine. Rose, unfortunately, falls in love with Barton Clinton, a man that will prove he is not worthy of her. Barton, a con man, has good connections with people of higher living. Their love affair is doomed from the start. Barton keeps falling lower and lower, but Rose, who loves him, sticks by him no matter what.

The story is in reality a disguised take on the real life of Fanny Brice and her husband Nick Arnstein. Ms. Brice saw with horror what the studio had done to her, exposing her intimate life to a great audience and sued for damages. The case settled out of court, but it was a well known fact people guessed who the real Rose was.

Gregory Ratoff directed the film. It was obviously a vehicle for both Alice Faye and Al Jolson, who sings most of the songs the public associated him with. Alice Faye and Tyrone Power, who played Barton, made an engaging couple in the films they were featured and it's easy to see why. Both actors were at the prime of their careers. Others in the cast include William Frawley, Joyce Compton. Veteran actor Horace McMahon appears briefly, as well as Louis Prima.

This film is entertaining and light. It will not disappoint viewers.

Jolson...in great voice, but disappointing actor

[vincentlynch-moonoi · 7/10 · 6 May 2013]

It's almost as if you have two separate movies here. There's Rose of Washington Square and her love affair...and there's Al Jolson reaching for the top of Broadway. The two stories do come together, but they almost seem like separate plots.

The great thing about this film is that you see Al Jolson singing a few of his greatest hits...although he's not playing himself...sort of. The good news is that Jolson is in particularly fine voice here. More mellow and with a lower key than his early 78s, but clearer and purer than the Jolson on his recordings of a decade later, around the time of his bio-pics. The bad news is, ironically, that the father of sound films is a pretty stiff and lousy actor. Twentieth Century Fox thought so, too. This was his last starring role! And then you have the romance and drama between a Fanny Brice-like character and a Nicky Arnstein-like character. A coincidence? No, Fox just changed the names, and Brice sued them...and settled. But it's all very interesting. I can't say that Alice Faye had the best songs in this film, but she does do "My Man". If there's a problem here with this film it's that you have its other star (Tyrone Power) playing the bad guy...and we so want to like Tyrone Power.

There was definitely screen chemistry between Tyrone Power and Alice Faye, but, unfortunately, their two other pairings -- "In Old Chicago" and "Alexander's Ragtime Band" -- are simply more compelling films.

This is a film supremely worth watching for the singing performances of Al Jolson; too bad his acting wasn't as good! The drama of Rose...it's okay. Recommended, but it may not end up on your DVD shelf...unless Jolson tempts you!

"You Ain't Heard Nothin' Yet!"

[jhclues · 9/10 · 5 December 2001]

The history of the cinema is filled with great movies; but more than that, there are special `moments,' from the great and even the not-so-great films that thanks to the magic of the movies have been preserved for all time, and now thanks to video and DVD are readily accessible for the viewing pleasure of audiences in living rooms everywhere. These movies are treasures to be cherished and savored, because they're not simply entertainment, but time capsules in which history has in some cases been inadvertently gathered and stored for posterity. And one of the jewels in this vast treasure chest that is the cinema is `Rose of Washington Square,' a 1939 picture from 20th Century Fox, filmed in glorious B&W, directed by Gregory Ratoff and starring Tyrone Power, Alice Faye and Al Jolson.

Power is Bart Clinton, a charismatic petty thief and con man whose charm and good looks keeps him one step ahead of the law as he moves from one scam to another. He's not such a bad guy, but more like a salesman without a product who utilizes his natural abilities to put a buck in his pocket. Faye is Rose Sargent, a struggling vaudeville singer, teamed up with Ted Cotter (Jolson), who together have hopes and dreams of making it to the big time. But worlds collide when Bart and Rose meet and fall in love. Ted sees Bart for what he is, but his advice to Rose falls on deaf ears, blinded as she is by her unconditional love for a man who stands in the way of not only her success as an artist, but her happiness, as well. And in the grandest tradition of Hollywood, their story plays out amid the excitement of that most famous of all avenues of aspirations, Broadway, and that town of towns, New York.

It's a good story, but with a plot that's far from unique, which in the grand scheme of things doesn't make any difference. This is solid and involving entertainment that affords the viewer the opportunity of seeing three bona fide stars together, and all doing what they do best. And just seeing them together on the screen is a moment all it's own; Power, Faye and Jolson, captured forever and immortalized through the magic of the motion picture. And at the time, who knew? To Darryl F. Zanuck this was no doubt just another picture that hopefully would produce a profitable bottom line for the studio. Did any of them have any idea what this would mean to audiences sixty years later, or what kind of legacy they were creating for future generations?

One of the best looking actors ever to grace the silver screen, Tyrone Power had a dominating presence and commanded attention in any role he played, from light, romantic fare like `Thin Ice,' to bringing the anti-hero, `Jesse James,' to life or the swashbuckling title character in `The Mark of Zorro.' He could play a heel like Bart Clinton and make him believable, or a guy soul searching for something better, as he did in `The Razor's Edge.' And if there's any doubt as to how good an actor Power was, one only has to look as far as his performance in `Nightmare Alley' to realize that he was so much more than just another pretty face. He was the man women wanted and the one other men envied because he seemed to have it all. He did; and it showed in every character he ever created for the screen.

Power, however, did not corner the market on talent and charisma in this film, but was matched every step of the way by his absolutely beguiling co-star, Alice Faye. Beautiful and gifted, Faye could sing and interpret a song in a way that was nothing less than transporting. Her vocal expressions and the emotion that dances in her eyes and plays across her face while she sings created a number of those special moments in a number of films. In this one, when she sings the heart-felt `My Man' while an incognito Power (Bart's on the lam at this point) sits huddled in the audience at the back of the auditorium, it'll grab you by the throat and send chills down your spine. And that is truly one of those memorable `Moments' that have made movies such an everlasting part of our lives and culture. When Faye turns those eyes of hers, fraught with emotion, to the camera as she sings, it's mesmerizing-- a moment that will hold you transfixed and sweep you away to another time and another place.

Which is exactly what happens when Al Jolson takes the spotlight as Ted Cotter. Jolson was perhaps the entertainer of his time, a man who entertained millions from the footlights of the most famous stages around the world. And what a treasure it is to have even part of his act preserved here on film. Some of the songs he made famous, like `Rock-a-bye-Your-Baby With A Dixie Melody,' and the one that became his trademark, `Mammy,' are seamlessly integrated into this story. Although this kind of entertainment may not be readily embraced by younger viewers-- those raised on hard rock and grunge, for example-- there is a magic in Jolson and his songs that defines an era, and with his unique voice and magnetic personality, it is riveting to watch him now in this film.

The supporting cast includes William Frawley (Harry), Joyce Compton (Peggy), Hobart Cavanaugh (Whitey), Louis Prima (Bandleader), Horace McMahon (Irving) and Moroni Olsen (Buck). It may not be the greatest musical-- or movie-- ever made, but nevertheless, `Rose of Washington Square' is a treasure, for all the reasons discussed here and more. It's a film that will be enjoyed and appreciated on any number of different levels by anyone who watches it; pure entertainment, with a particular magic all it's own. This one's a keeper. It's the magic of the movies. I rate this one 9/10.

Tribute To Vaudeville

[Lechuguilla · 7/10 · 13 March 2013]

Entertainment careers, romance, and petty crime mix together to create a reasonably good film, based on the real life story of Ziegfeld star Fanny Brice and her attraction to gambler Nicky Arnstein. The script changes the names, and the two leads become Rose (Alice Faye) and Bart (Tyrone Power). "Rose Of Washington Square" is a thin story connected by numerous musical numbers.

The film has the look and feel of a long-ago era, specifically Vaudeville, with its eclectic mix of self-contained acts: singing, dancing, magic, and comedy. One lengthy segment features Rose singing in Washington Square, but interrupted by an unrelated act called "Igor and Tanya", an acrobatic performance not connected to anything else in the film. And then there's the stage performance wherein Rose and various dancers perform a dance that includes a magic act. As the dancing proceeds, each person brings forth a lit cigarette out of thin air, smokes it, then fetches another cigarette from out of nowhere.

This tribute to Vaudeville goes into overdrive with the appearance of entertainer Al Jolson, as character Ted Cotter. This character has little or nothing to do with Fanny Brice. I think the reason he's in the script is that he represents Brice's historical era. Jolson's inclusion ignites the plot, generating real pizazz into an otherwise lazy, dreary story. All bug-eyed and in black-face, and wearing white gloves, Jolson electrifies at the plush Winter Garden Theater, with his standard songs: "Rock-A-Bye Your Baby", "My Mammy", and "California, Here I Come".

Casting is mixed. Tyrone Power is surprisingly good. And I enjoyed William Frawley as a talent agent. But glamorous Alice Faye is not convincing as a stand-in for Brice. Faye does sing quite well, but I didn't care for any of her songs, with the exception of "My Man", Brice's signature number.

Costumes, hairdos, and prod design all seem to reflect well the early twentieth century era. B&W cinematography, sound effects, and editing are all competent, and pleasantly unobtrusive.

Without Jolson, the film would be average at best. But Jolson alone ups the entertainment value several notches, and that Vaudeville atmosphere is wonderfully nostalgic.

A great musical; Faye and Jolson are in great voice.

[none-85 · 9/10 · 19 December 1998]

Very entertaining- a thinly disguised bio-pic of Fanny Brice. Power and Faye- at their acting peaks- are great as the leads. Faye is in great voice. However, Jolson steals the movie. At the age of 54, he was in the best voice of his career. His Rock- a Bye and California Here I Come are thrilling. I own the video, which also contains clips of several Jolson and Faye songs which were edited out of the final movie. a must for fans of the three stars.

You might swear that you've seen this before...

[planktonrules · 6/10 · 21 July 2009]

WARNING: This is a politically incorrect film. Deal with it and understand the context or just skip it altogether--I could certainly understand why you might skip it. Just know ahead of time that through much of the film, one of the stars performs in black-face (yikes!!). However, it IS a part of our history and is a pretty good film, so I would hate to see everyone just disregard it completely.

The film begins with Alice Faye working with partner Al Jolson. They are both struggling singers and have hopes of making it big on Broadway. The path for Jolson is pretty smooth, and he's soon discovered and becomes the toast of the town. As for Faye, in the meantime, she falls for a no-good pretty boy (Tyrone Power) and her route to the top is a bit slower and filled with pitfalls.

Both Faye and Jolson sing a huge number of songs. Jolson's act may surprise and offend a lot in the audience, after all his shtick was singing in black-face! But despite his politically incorrect act, he was in top form here--singing many of his all-time great songs that are still pretty enjoyable today. As for Faye, with her rather husky voice, she is a bit of a surprise, as today it's a bit harder to see her appeal. I mean that while she isn't bad at all, she also isn't all that great when she sings--though she was a huge box office star in her day.

You might swear that you've seen this before...especially if you've seen FUNNY GIRL. While many of the details have been changed, the plot of ROSE OF WASHINGTON SQUARE is essentially the story of Fanny Brice and her scum-bag lover, Nicky Arnstein. However, Twentieth-Century Fox decided to do this without the permission or royalties to Ms. Brice--resulting in a lawsuit and subsequent settlement. The most egregious bit of "literary license" is having Faye sing a close variation of Brice's hit song "My Man". While much of this information is on IMDb about the background for the film, I could clearly see the similarities....and differences. While Alice Faye looks and acts nothing like Fanny Brice, Tyrone Power is much closer to Arnstein--though, like in FUNNY GIRL, he's a bit sanitized. In ROSE OF WASHINGTON SQUARE, he's more of a man who unsuccessfully juggles and connives--not an outright crook like the real Arnstein, but more like a lovable schemer who essentially means well. As for the rest of the film, it's a Vaudeville extravaganza--leading to Alice Faye and Al Jolson going to work for Mr. Ziegfeld. Brice, as you may know, was a huge star with Ziegfeld despite (or perhaps because of) her very ethnic singing and "unconventional looks" (a nice way of saying ugly). She sure didn't look or sing like Faye, but otherwise there sure are a lot of similarities--except that in the end, Faye waited for her lover to return from prison, whereas after already serving a stretch in Sing Sing and bound for Leavenworth, Ms. Brice thankfully divorced Arnstein.

Very watchable and enjoyable but also a rather sleazy exploitation of Ms. Brice AND a disturbing case of minstrel-itis!

Notable for the Wrong Reasons

[LeonardKniffel · 5/10 · 8 April 2020]

Controversial for two reasons: First, Fanny Brice won a court settlement after she sued 20th Century Fox for basing the film on her life story, even to the point of using her signature song, "My Man." Second, Al Jolson, once the most popular entertainer in America, does his blackface routine ad nauseam, singing "My Mammy," "Toot Toot Tootsie," "Rock-a-bye Your Baby with a Dixie Melody," and other songs he somehow made palatable to the racist white audiences of the time. Alice Faye stars and sings a number of old standards, such as "I'll see You in My Dreams," " I'm Just Wild about Harry," and the title song, while handsome Tyrone Power as her con artist boyfriend-then-husband does a lot of smiling and lying. The highlights for me, however, are the acrobatic specialty dance by "Igor and Tanya" that follows the title song and watching the great trumpeter Louis Prima perform with Faye, who shines for all the right reasons. --Musicals on the Silver Screen, American Library Association, 2013

Alice as Rose, and Al a Mammy-Lovin' Boy

[JLRMovieReviews · 8/10 · 15 June 2010]

The title refers to Alice Faye as Rose of Washington Square, in this film that is loosely based on the life of Fanny Brice. You may not recognize it or realize that, if you didn't see "Funny Girl" just prior to it or knew certain facts about her and Nick Arnstein. But, Fanny and Nick filed a lawsuit against the movie, because songs that were included would have made it obvious to the current moviegoers just who it was all about. So, the executives had to edit or take out songs which were too closely identified with Fanny Brice.

But, the film stands on its own merits without knowing anything about them. Alice Faye may be the star (and she has some good songs, too), but it's Al Jolson that almost outshines her with some great show-stopping numbers: "Rock-a-Bye Your Baby with Dixie Melody" and "California, Here I Come."

The only qualm I have is that, the song "Rose of Washington Square" that is sung here doesn't have the same verses that singer Ann Dee sings in "Thoroughly Modern Millie." It is the same song; that I know. The different movies just decided to sing different verses of it. I personally like the slow presentation in "Millie", where Ann Dee is sitting on top of a piano in the smoke-filled room in "Thoroughly Modern Millie". If only a movie had the song in its entirety for posterity.

That notwithstanding, this movie is out on an Alice Faye DVD collection (the edited version), so it has a chance of being discovered, which is good, because the music is too good to be buried away somewhere.

Fanny Brice thinly veiled

[TheLittleSongbird · 7/10 · 24 November 2016]

'Rose of Washington Square' is notable for being the third, and last, film with Tyrone Power and Alice Faye starring together. The previous two being 'In Old Chicago' and 'Alexander's Ragtime Band'.

Comparing the three, 'Rose of Washington Square' is better than 'In Old Chicago', which had a number of impressive elements but generally left me lukewarm, but is not as good as 'Alexander's Ragtime Band', which is not perfect but a must watch for particularly Irving Berlin's glorious songs.

Oddly enough, 'Rose of Washington Square' is just as notable for being a loose and thinly disguised biopic of Fanny Brice and for being a vehicle for Faye and Al Jolson. Generally, while it is never going to be one of my favourites, it's good fun.

The story is very flimsy, and sometimes with Jolson's involvement it does disconcertingly at times feel like two different films. The characterisations are often undercooked, Power's character in particular is so severely underwritten that it was amazing that he was even able to get anything out of it. Power does have a roguish charm and has good chemistry with Faye, but due to his character and how he's written he's also a little bland compared to everything else. The direction by Gregory Ratoff does sometimes lack the necessary zip and is a bit too staid in places.

However, 'Rose of Washington Square' is an attractive-looking film, with lavish set and costume design and beautifully shot in black and white. The music is similarly terrific, Faye and Jolson getting the lion's share. Faye sings beautifully and with heartfelt emotion and enthusiasm in her numbers, of which "My Man" is the most memorable, but Jolson's songs (some of which are among his biggest hits) make even more impact.

The script is sweet and humorous, and there is a great vaudeville atmosphere throughout and scenes do have a nice energy especially Jolson's. Although there are reservations about Power, the rest of the cast do very well. Faye is luminous and sings a dream, singing every song like she knows what she's singing about and means it. Jolson is electrifying, with the film coming to life in his musical numbers. Entertaining support from William Frawley and Hobart Cavanaugh, Ben Weldan and Louis Prima are also fun to spot.

In summary, good fun if not great. 7/10 Bethany Cox

Slightly disappointing

[Kalaman · 12 October 2003]

I hate to be the sole spoilsport in this group of unanimous adulation, but I thought "Rose of Washington Square" was slightly disappointing. Perhaps I had high hopes for it since I'm one of Alice Faye's biggest fans and I love almost all of the classic Fox musicals, but "Rose" ranks with one of Faye & Fox's weakest musicals.

Exhaustingly directed by Gregory Ratoff, this wispy, half-tolerable biography of Fanny Brice turns out to be a less successful attempt by Darryl Zanuck to repeat the magic and splendor of Henry King's "Alexander's Ragtime Band" with Faye and her leading man Tyrone Power. What made King's classic memorable, aside from the luminous presence of Faye, was Irving Berlin's endlessly melodious music. Here, except Faye's singing of "My Man" and Al Jolson's "Mammy", the songs are not only unmemorable, but dismal.

See it only for the stars but don't expect anything as remotely magical as "Alexander's Ragtime Band".

The original to "Funny Girl"

[HotToastyRag · 6/10 · 28 April 2019]

If you liked Funny Girl, and what connoisseur of musicals didn't, you'll be interested to know it wasn't the first story inspired by Fanny Brice. Rose of Washington Square is a fictional-as advertised by the disclaimer in the credits-depiction of a Ziegfeld girl who falls in love with a gambler. Sound familiar? The names are totally different, so if you weren't looking for it, you might not immediately recognize the similarity to Funny Girl. Once Alice Faye started singing "My Man," hopefully you'd figure it out.

Tyrone Power plays the scoundrel, and he and Alice have as much sizzling chemistry as they always do in their movies together. Al Jolson, who spends more of his screen time in black face than out of it, plays Alice's devoted friend. Since this was the time period without video rentals, Al pleased audiences by repeating his signature numbers "Mammy" and "California Here I Come." In the story, Al's in love with her, but since he's up against Tyrone Power, he doesn't stand a chance. It's love at first sight for Ty and Alice, and even though he's no good, albeit incredibly shrewd, she can't let him go. Barbra Streisand couldn't let Omar Sharif go, could she? Make sure to go into this movie expecting a drama.

Autres Temps, Autres Moeurs

[JamesHitchcock · 6/10 · 22 September 2021]

The title "Rose of Washington Square" was taken from that of an American popular song which is used in the film. The story is ostensibly about a fictitious Broadway singer named Rose Sargent, but was obviously inspired by events in the life of the real-life entertainer Fanny Brice. (Her life was later to be dramatised in the sixties stage and film musical "Funny Girl"). Some details were changed; Brice was of European Jewish ancestry and (as the title of "Funny Girl" suggests) as much a comedienne as a singer, basing much of her comedy around Jewish life, while Rose is Anglo-Saxon and a pure singer rather than an all-round entertainer. Nevertheless, there was little doubt who the character was based upon, especially as, at a key point in the action, Rose gives a moving rendition of "My Man", a song which was originally of French origin but which had become particularly associated with Brice. Brice was not amused, and sued the studio, 20th Century Fox, for invasion of privacy, claiming $750,000. (The case was eventually settled out of court). We will never know what she would have thought of "Funny Girl", as she died several years before it appeared.

The film was made in 1939, but the action takes place in the 1920s. (A sign outside a theatre suggests that the year is 1919, but this cannot be correct because Prohibition, which did not take effect until the following year, is already in force). The clothes and hairstyles, however, are more suggestive of the late thirties than of the twenties; these things tended to change more quickly in the early twentieth century than they do today, but film-makers did not always strive for accuracy if their film was set in the relatively recent past.

The film has an unusual storyline for the 1930s, probably because it was based upon real-life events. It is the story of a girl who loves both a good man and a bad man. Now normally a film with this particular theme would end up with the girl recognising the good man's superior virtues and choosing him over his villainous rival, but in "Rose of Washington Square" the bad man wins. The girl, of course, is Rose. The good man is Ted Cotter, an established Broadway performer who discovers her and does all he can to advance her career. The bad man is boulevardier Bart Clinton, younger and more handsome than Ted, possessed of a good deal of charm and, seemingly, also of a good deal of money. In fact, Bart is a con artist who is less rich than he seems, and what money he does possess has been made dishonestly. Bart was based upon Brice's second husband Nicky Arnstein; like Arnstein, he eventually goes to prison for dishonest share dealing. In real life Brice divorced Arnstein shortly after his release from jail, but in the film Rose stands by her man, vowing to wait for him after he is sentenced.

Although Bart ends up with the girl, the real hero of the film is Ted, portrayed as sincere and unselfish. He is played by Al Jolson, which causes what is probably the greatest problem with this film for modern audiences. Jolson has been described as "the king of blackface", and Ted also blacks up for his act, singing Jolson's best-known song, "Mammy". Autres temps, autres moeurs. Today, of course, the whole blackface tradition is widely regarded as offensive to black people, and it is no answer to claim (inaccurately) that it was not so regarded in the first half of the last century. The truth is that many people did find it offensive at the time, but their objections were not listened to.

On the plus side, Tyrone Power was perhaps better known for playing dashing heroes, but here makes a convincing "handsome heel", charming enough to make us realise why Rose falls for him despite his obvious lack of moral fibre. Alice Faye is an appealing heroine and gets plenty of opportunity to demonstrate what a fine contralto voice she had. The film is dated, but much of it can still be watched for pleasure. I just wished that an actor without Jolson's cultural baggage had been cast as Ted. 6/10.

Hey, "Joly" could act, and Tyrone's first real heel

[theowinthrop · 8/10 · 24 April 2006]

It's a good film, but FUNNY GIRL is far better (and with it's sequel FUNNY LADY, more on target). At least Streisand plays the role of Fanny Brice as Fanny Brice - not like Alice Faye who plays her as Rose Sergent - the "Rose of Washington Square." This must have been a trend at 20th Century Fox when doing Faye - Power musicals. In ALEXANDER'S RAGTIME BAND, Power was the great ragtime conductor, "Mr. Alexander". I'm sure though Irving Berlin did not mind about that one way or the other.

Everyone knows that ROSE OF WASHINGTON SQUARE was a fictionalized account of the career of Fanny Brice (concentrating more on Brice's singing, rather than her gifts as a comedian). And Tyrone Power was (as Bart Clinton) playing her gambler husband Nicky Arnstein. But while the performance of Omar Shariff in FUNNY GIRL was well built up (his involvement in a stock fraud a desperate last attempt at retaking his self - respect as an independent bread winner, and not Fanny's leech-like husband), the performance of Power is far different. He does love Faye, but he is a rat from the start. Which is curious for fans of Power's career. Up to 1939 Power was always good, decent, heroic - he was Darryl Zanuck's "fair haired" (if dark haired) boy. Zanuck cast him only as great heroes. If he showed anger, it was directed against worst villains (even when he played Jessie James or a pirate). Zanuck must have been willing to allow this distinctly less likable part to Power, as he was opposite his usual screen lover (Faye) and he could really the role. And don't forget, at the end of the film Rose will remain faithful and wait for him to come back from prison.

Power's first heel part is only one interesting aspect of the film. Faye's singing is on top, especially when she does I'm Always Chasing Rainbows. But the reappearance (after a few years on the nightclub circuit) of Al Jolson is quite intriguing. Several of his standards (April Showers, California Here I Come, and Avalon) are sung in the film by Jolson, but he plays it straight and (given his tendency to grab the entire film frame in earlier films) with considerable restraint. It is like he finally realized that he was part of an ensemble, not the whole show. So he gives yeoman work as Ted Cotter, the man who loves Rose but can't compete in her eyes with Bart. But he does force Bart to consider what his behavior is doing to Rose. In some ways, while THE JAZZ SINGER is the film he's recalled for, and his best starring movie was HALLELUJAH, I'M A BUM, Joly's best performance on film is as strong, good natured Ted.

One final thing I like about this film. After their successful stealing of part of LILIAN RUSSELL from Faye, Edward Arnold, and Henry Fonda, it is nice that here again Weber and Fields showed up to give us a taste of their comic routines. A perfect cherry to the rest of this film sundae.

My Man

[guswhovian · 7/10 · 1 October 2020]

Thinly veiled bio-pic of Fanny Brice about Rose Sargent (Alice Faye), a singer who rises to fame on Broadway in the 20s, only to face the ruination of her career when her husband (Tyrone Power) is arrested.

Extremely entertaining musical from Fox; I don't even know much about Fanny Brice, but it was a pretty blatant filmization of her life. Faye is charming as usual, while Tyrone Power is dashing as usual. Faye doesn't get too many spectacular songs to sing, which is a shame.

However, the main pleasure of the film is Al Jolson. He plays Faye's former partner who's still in love with her, though Jolson can't compete with Tyrone Power in Te looks department. It was a nice surprise to see Jolson, as I wasn't aware he made any musicals after the early 30s. He's quite touching in his role, and steals the film.

Overall, none of the musical sequences all particularly astounding (although we're treated to Jolson reprising his breathtaking performance of "Mammy" from The Jazz Singer), but it's a very entertaining film thanks to the stars.

Tyrone a more handsome Nicky

[gkeith_1 · 10/10 · 5 May 2013]

Tyrone. So good to look at. I feel that he is much more handsome in this part than the actor who played the real Nicky in the Funny G. movie (also shown tonight). No offense meant, buttttttt Tyrone was hot-hot-hot. He would make your heart melt. Both actors did good jobs as scoundrels, however.

Tyrone, I hate to see you in these bad-guy/heel roles. You are much cuter in sympathetic roles, ala "Alexander's Ragtime Band".

Alice. Excellent singer. Heartfelt emotions. Head-over-heels (her character) over Bart. Maybe she should have known better, but who could ever resist Tyrone? I would not have been able to, if I had been around in those days.

Jolson. So wonderful to see him, and hear him perform his famous standards. The drunk in the balcony was an interesting addition to his (Ted's) act.

Frawley. He of "I Love Lucy". It was good to see him. I think he played a police detective in yet another movie, the name of which escapes me.

Viva the musicals.

10/10

An absolutely must-see movie!

[JohnHowardReid · 10/10 · 2 October 2017]

Copyright 12 May 1939 by 20th Century-Fox Film Corp. New York opening at the Roxy: 5 May 1939. U.S. release: 5 May 1939. U.K. release: July 1939. Australian release: 10 August 1939. 7,766 feet. 86 minutes. (Available on an excellent Fox DVD).

SYNOPSIS: Singer falls for a no-good gambler.

NOTES: Originally Faye sang "I'll See You In My Dreams" in a New York supper club sequence. Other deleted songs were "Avalon" and "I'm Always Chasing Rainbows". Fanny Brice sued the studio for damages. The matter was settled out of court. Remade in 1968 as Funny Girl.

VIEWER'S GUIDE: Difficult. Based on the career of Fanny Brice (and also partly on that of Al Jolson himself), so I would say suitable for all.

COMMENT: If Love Me Tonight is one of my favorite musical comedies, Rose of Washington Square is certainly one of my top choices for musical drama. Not that there is no comedy in this movie. Far from it. In fact Hobart Cavanaugh contributes the portrayal of his career as the unwitting if ultimately very willing stooge. And Jolson plays the scenes with Cavanaugh with such panache, it's hard to realize his screen career was virtually over. Of course he also has some of his trademark songs and these he puts over with such style, Jolie is worth the price of admission alone.

But despite his huge contribution to the movie's overall appeal, Jolson is only the support. It's Alice Faye's movie. And what a great performance she gives! And boy, does she knock over those songs! Power is magnetic too, giving a far more accurate and far more arresting interpretation of Nicky Arnstein than the bland and disappointingly colorless Omar Sharif. Power is a confidence man with persuasively shallow charm. Ideally cast. This and Nightmare Alley are Power at his absolute best.

Every other player in Rose is as forcefully cast from William Frawley's fix-it agent through Ben Welden's sarcastically menacing Toby and Charles Wilson's nemesis of a flatfoot to Harry Hayden's frightened victim ("I've got a gun!"). Armed with Nunnally Johnson's scintillating dialogue and taking every advantage of their dramatic opportunities, many of these character people likewise hand out some of the most memorable cameos of their lives. Welden, for example, must have been cast in hundreds of movies, but this is his finest hour ("I've got to hand it to you, Clinton...")

Johnson's script is a model of fine screen writing. Not only has he told the Fanny Brice-Nicky Arnstein story in a powerfully fast-paced 86 minutes (Funny Girl took a ponderous 155 to cover the same ground), but he has fleshed it out with an extraordinarily large gallery of fascinating subsidiary characters as well (aside from the swamped Streisand and soggy Sharif, I don't remember any other people in Funny Girl at all). And in addition to these miracles of arresting narrative construction, Johnson has still allowed plenty of time for some terrific standards from both Jolson and Faye, both of whom are in tip-top voice.

Director Gregory Ratoff has risen nobly to the occasion. I've remarked before in Hollywood Classics that Ratoff's directorial abilities seemed to swing violently yet unaccountably from the extremely banal to the inventively brilliant from one film to another. Fortunately, Rose finds him at his most stylishly accomplished. Not only has he drawn winning performances from his players, but he reinforces the drama and comedy in Johnson's script by inspired camera placements and deft cutting. Or maybe it's ace cinematographer Karl Freund's inspired camera placements and Louis Leoffler's smooth, forceful cutting. In any case, Freund's masterful lighting of course is a major asset. And I loved the sets and costumes. Production values are lavish — and there's that wonderful 20th Century-Fox sound!

Love for a cad

[WylieJJordan · 8/10 · 3 February 2020]

The musical film 'Rose of Washington Square' (1939), is a veiled biography of Fanny Brice in which Alice Faye plays 'Rose' and Tyrone Power is the cad in her life, along with Al Jolson in blackface too much of the time. Miss Brice sang the French classic 'My Man' in the 1921 Ziegfeld Follies, and Faye sings it near the end this film. Barbra Streisand's 1968 film 'Funny Girl' is a much closer biographical account is Miss Brice's life, and Streisand's rendition of "My Man" at the end of that film helped her win the Oscar for Best Actress.