Although feminism has been a continuing powerful cultural theme in the 21st century, Hollywood’s earlier treatments of its ideas and values are often seen to be dated, and therefore nowadays rarely seen. Films such as those from the late 1970s and early 1980s such as An Unmarried Woman, Julia, The Turning Point, Norma Rae, Coalminer’s Daughter, Gloria, Places in the Heart, Country. Although Nine to Five is still popular…
One of those neglected films is The Rose, set in the world of rock music. The lead character – a confident and assertive woman on and off stage, a white performer of black R&B influenced music, vulnerable to drink and drugs – was already something of a stereotype at the time of its release in 1979. However, she would probably still be a recognised type today, in the light of the death of Amy Winehouse. She was always presumed to be based specifically on Janis Joplin, who died in 1970.
The lead role was one of the first for singer Bette Midler. In some ways, she was an unusual choice for the character as her own music experience had been at the jazz/cabaret/Broadway end of the spectrum, such as with covers of “Boogie-Woogie Bugle Boy” and “The Big Noise from Winnetka”.
The most enduring part of the film is certainly its theme song. Written by someone who was and has remained relatively obscure, Amanda McBroom, it is in many ways a mainstream romantic ballad, played on piano and using familiar lyrical imagery. However, for me, it does its job with particular force and with a significant simplicity.
The first stanza offers four metaphors of love. Three of these suggest pain and difficulty and hardship: deep water, a sharp razor blade, the lack of food. The fourth, of a flower, offers potential and growth.
The second stanza is still using abstract nouns but is also clearly addressing individuals, and how people are often too shy and cautious and unambitious, and so will never exploit their full potential. Lack of effort and lack of courage, it bluntly states, will lead to failure.
The third and final stanza begins with more metaphors of physical suffering and difficulty – the long journey, the lonely night, the winter snow – to summarise life’s challenges, but then becomes more sympathetic and more encouraging that these difficulties can be overcome. It ends by repeating the first stanza’s metaphor of hope and potential, a flower, and now makes it more particular, a rose.
As the song progresses, the piano is supplemented , inevitably if not really necessarily, by other instruments and other voices. But it is a strong melody and in the last couplet it is again allowed to be on its own with solo piano and quieter vocals.
The song was a big hit in the USA but not at all in Britain, and my acquaintance and fondness for it was built solely on my then regular listens to the US Charts programme on BBC Radio 1 presented by Paul Gambaccini.
The song has been covered by many artistes, and I can well imagine some performances may have used primary colours rather than subtlety. Its lyrical ideas are not entirely radical or adventurous, but I found (and still find) the song powerful because of how the writer applies those ideas sparingly and simply and clearly. About happiness gained, preferably through intimate and compassionate partnership, but certainly through individual effort, resilience and courage. Many more famous songwriters have done less well.