The defence The Sentimental Softie
“Sincerity is not manipulation.”
The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.
Back to trending 
The Rose
Drama · Music · Romance · 1979
Rock-and-roll singer Mary Rose Foster's romantic relationships and mental health are continuously imperilled by the demands of life on the road.
Movie details
The Rose
“She gave and gave, until she had nothing left to give”
1979 Drama · Music · Romance 2h 5m
Critical arithmetic
One number, for now.
Scores change. Arguments endure.
TMDB
6.7 / 10
Community rating
Rock-and-roll singer Mary Rose Foster's romantic relationships and mental health are continuously imperilled by the demands of life on the road.
CriticWise case file
What this film says about your taste.
Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.
The archetype split
Who fights over The Rose?
For the defence
The Sentimental Softie
“You came to feel something, and you will.”
Read their case For the prosecution
The Cool Ironist
“Feeling things is a little embarrassing.”
Read their objectionThe split comes from the same five-axis model used by the test, not audience ratings or review sentiment.
Taste neighbourhood
Nearby on the taste map.
TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.
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Where it lives
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Names above the title
The people responsible.
Cast & crew
Directed by
Mark Rydell
Written by
Bo Goldman · Bill Kerby
Bette Midler
Mary Rose Foster
Alan Bates
Rudge Campbell
Frederic Forrest
Huston Dyer
Harry Dean Stanton
Billy Ray
Barry Primus
Dennis
David Keith
Mal
S
Sandra McCabe
Sarah
Court is in session
Put The Rose on trial.
Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.
The prosecution The Cool Ironist
“The strings are showing.”
Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.