Rambling Rose Reviews

  • Avatar
    Alec B Super Reviewer
    Apr 09, 2019

    Dern is great. However, the movie attempts to be a straightforward character study but that is undermined by it's consistent tone problems.

    Dern is great. However, the movie attempts to be a straightforward character study but that is undermined by it's consistent tone problems.

  • Feb 02, 2019

    The best movie ever made!

    The best movie ever made!

  • Sep 20, 2018

    Basking in Southern nostalgia, Martha Coolidge's adaptation of Calder Willingham's novel about a naïf domestic help whose promiscuity unbosoms her deep-seated sense of of insecurity and unlovability is a mellowly bittersweet story of sexual innocence and debonair springtime inevitably withered.

    Basking in Southern nostalgia, Martha Coolidge's adaptation of Calder Willingham's novel about a naïf domestic help whose promiscuity unbosoms her deep-seated sense of of insecurity and unlovability is a mellowly bittersweet story of sexual innocence and debonair springtime inevitably withered.

  • Sep 05, 2017

    Rambling Rose certainly has its individual moments. Rose unintentionally corrupting the two Hillyer men. Dern and Duvall's stellar performances. The point it makes about men controlling women. Unfortunately, Rose is an incredibly vexing character, and not is the way the movie intends. Are we supposed to be sad for her? Love her? The movie seems to want that, but I don't. Ultimately, it's a boring, sappy and pointless period drama.

    Rambling Rose certainly has its individual moments. Rose unintentionally corrupting the two Hillyer men. Dern and Duvall's stellar performances. The point it makes about men controlling women. Unfortunately, Rose is an incredibly vexing character, and not is the way the movie intends. Are we supposed to be sad for her? Love her? The movie seems to want that, but I don't. Ultimately, it's a boring, sappy and pointless period drama.

  • Jul 23, 2016

    La belleza retratada con precisión, además de una excelente historia, hacen de este filme una maravilla y un clásico de inicios de los años noventa. Otro acierto interpretativo del dueto Robert Duvall y Lukas Haas.

    La belleza retratada con precisión, además de una excelente historia, hacen de este filme una maravilla y un clásico de inicios de los años noventa. Otro acierto interpretativo del dueto Robert Duvall y Lukas Haas.

  • Mar 05, 2016

    Duvall is only worth seeing here, therefore the entire film is not worth the time.

    Duvall is only worth seeing here, therefore the entire film is not worth the time.

  • Jan 06, 2014

    great acting and an awesome premise! laura dern is to-die-for as always!

    great acting and an awesome premise! laura dern is to-die-for as always!

  • Sep 03, 2012

    An ingenue nymphomaniacâ(TM)s turbulent life rooted in the 1930s depression period of southern USA, served as a housemaid in a hotel owner's home, our heroine Rose, an uncultured but stalwart gal whose miserable past is the hidden wound cuts her deep and being unaware of her sex-addicted disposition, her path of looking for Mr. Right is rather bumpy and poignant. The film is narrated by Buddy, the eldest son of the hotel owner, Rose is his first love and always occupies a special place in his heart. Although Rose is the potent pillar of the film, female director Martha Coolidge has steadily integrates a handful of equally vivid characters (young Buddy, his Daddy and Mother) into a moderate template of chaneling and rescuing Rose from her self-destructive hazard, despite of wanting any laudable gambits in highlighting the narrative skills and the plot is always stuck into a hoary frivolousness, the complete work is at best satisfactory. The film is noteworthy by setting a record in the history of the academy by virtue of a real mother-daughter pair garners two Oscar nominations in the same film, Dern and Ladd (a second collaboration in a film after Lynch's WILD AT HEART 1990, 7/10) both showcase their stunning acting bent. Dern has nailed a quite innately delicate role since Rose is the damaged goods by nature, but her pure kindness and innocence hasn't been impaired and her female vulnerability is the real gem under the circumstance, even if she would mature gracefully later and give a more challenging and nail-biting performance in Lynch's INLAND EMPIRE (2006, 7/10), this film is among the crests of her filmography nonetheless. Ladd, after the pompous and lavish turn in WILD AT HEART, unexpectedly chooses a more positive and orthodox good-lady embodiment, her award-worthy moment confidently present itself in the latter part of the film, and single-handedly salvaging Rose from the misogyny from seedy male-predominance. But Duvall is also glittering in his category-fraud (I put him in leading) portrait of a man who is much wiser than he initially appears, and a juvenile Lukas Haas, almost being provocative while driven by curious sex impulse to take advantage of Rose, which might be the most contentious segment of the film per se, and at least he acts like a pro. My final conclusion is that regardless of its maternal inclination of female-skewing demography, it is indeed a thespian playing field with decent fodder.

    An ingenue nymphomaniacâ(TM)s turbulent life rooted in the 1930s depression period of southern USA, served as a housemaid in a hotel owner's home, our heroine Rose, an uncultured but stalwart gal whose miserable past is the hidden wound cuts her deep and being unaware of her sex-addicted disposition, her path of looking for Mr. Right is rather bumpy and poignant. The film is narrated by Buddy, the eldest son of the hotel owner, Rose is his first love and always occupies a special place in his heart. Although Rose is the potent pillar of the film, female director Martha Coolidge has steadily integrates a handful of equally vivid characters (young Buddy, his Daddy and Mother) into a moderate template of chaneling and rescuing Rose from her self-destructive hazard, despite of wanting any laudable gambits in highlighting the narrative skills and the plot is always stuck into a hoary frivolousness, the complete work is at best satisfactory. The film is noteworthy by setting a record in the history of the academy by virtue of a real mother-daughter pair garners two Oscar nominations in the same film, Dern and Ladd (a second collaboration in a film after Lynch's WILD AT HEART 1990, 7/10) both showcase their stunning acting bent. Dern has nailed a quite innately delicate role since Rose is the damaged goods by nature, but her pure kindness and innocence hasn't been impaired and her female vulnerability is the real gem under the circumstance, even if she would mature gracefully later and give a more challenging and nail-biting performance in Lynch's INLAND EMPIRE (2006, 7/10), this film is among the crests of her filmography nonetheless. Ladd, after the pompous and lavish turn in WILD AT HEART, unexpectedly chooses a more positive and orthodox good-lady embodiment, her award-worthy moment confidently present itself in the latter part of the film, and single-handedly salvaging Rose from the misogyny from seedy male-predominance. But Duvall is also glittering in his category-fraud (I put him in leading) portrait of a man who is much wiser than he initially appears, and a juvenile Lukas Haas, almost being provocative while driven by curious sex impulse to take advantage of Rose, which might be the most contentious segment of the film per se, and at least he acts like a pro. My final conclusion is that regardless of its maternal inclination of female-skewing demography, it is indeed a thespian playing field with decent fodder.

  • Avatar
    John B Super Reviewer
    Jul 05, 2012

    Rambling Rose is the definitive Laura Dern performance. I particularly like mother-daughter performances as there is often additional sizzle to fictional work and Dern and Diane Ladd don't disappoint.

    Rambling Rose is the definitive Laura Dern performance. I particularly like mother-daughter performances as there is often additional sizzle to fictional work and Dern and Diane Ladd don't disappoint.

  • May 17, 2012

    Laura Dern is exceptional in this film, bringing to life a character who wants to be loved so badly that your heart breaks for her. I found it interesting that Diane Ladd and Dern are mother and daughter and that they were both nominated for Academy Awards that year. I think both awards should have gone to these fine actresses who made me care about characters in a genre of film that I would usually avoid, that of the sentimental drama.

    Laura Dern is exceptional in this film, bringing to life a character who wants to be loved so badly that your heart breaks for her. I found it interesting that Diane Ladd and Dern are mother and daughter and that they were both nominated for Academy Awards that year. I think both awards should have gone to these fine actresses who made me care about characters in a genre of film that I would usually avoid, that of the sentimental drama.