The Strange Vengeance of Rosalie (1972)

hyped garbage

Good story, Not enough for a whole film

I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

The film never slows down or bores, plunging from one harrowing sequence to the next.

Whilst searching for the next slice of schlock for my B-movie collection, it's pretty much common knowledge, by now that I'm either gonna end up with something painfully bad, or if I'm lucky, something so bad it's good. But sometimes, on a one of those rare occasions, I'll unearth something unexpected. Something interesting. Dare I say something Incredible. If Stephen King got his idea for Misery from this movie, all I can say is that he sure could have done a lot worse. The Strange Vengeance Of Rosalie, at first centers on Virgil, who is passing through the New Mexico desert on his way to a Hawain vacation. Uh-oh, a hitchhiker. Unfortunately, this is the early 70's. A time when people thoughtlessly picked up hitchhikers. But really. This is a teenage girl we're talking about, here. Rosalie is a Native American, kinda hickish, like the beverly hillbillies, in the way of not knowing about stuff. But anyway, she's nice enough. Once Rosalie guilt-trips unsuspecting Virgil into hauling her miles upon miles out in her shack in the middle of the desert, she repays him by breaking his leg. The thing is, Since Rosalie's grandfather died, it's been awfully lonely around the desolate homestead, and loneliness can do strange things to one's mind. In other words, Virgil ain't going' nowhere. Other than the fact that she's half-crazy, kinda immature and perhaps a bit backwards, Rosalie is pretty easy to get along with. So, to be fair, ol' Virgil could do much worse in the way of captors. No torturing, or anything like that. Just somebody to talk to... also, maybe someone to control.Man, what a strong feeling of isolation. Poor Virgil might as well be on another planet. At least ten miles from anything. Car ain't workin', leg sure as hell ain't workin'. Reasoning with the captor is frustrating, and possibly hopeless. As the captor, Rosalie can be an unlikeable character, yet often pitiful, and occasionally endearing. As the viewer, I found myself rooting for Virgil to just give up and stay in that hell hole. This would be around the time that Rosalie shows that she's nothing but poison, perfectly willing to mame or murder, if it suits her. It just doesn't seem like it's because she's a bad person. Poor girl just don't know no better. Besides the breaking of the leg, for roughly the same reason, what this film has most in common with Misery is that constant feeling of dread, hopelessness and isolation all rolled into one. The Strange Vengeance Of Rosalie isn't quite as well-known or big budget. This film is from a different time, and is for a different audience. This film has that odd drive-in obscurity feel to it, as opposed to the early-90's made-for-TV feel of it's counterpart. I wouldn't say the character of Rosalie is anywhere as deep or complicated as that of Kathy Bates, but Rosalie is a different kind of animal. While still stubborn and set in her ways, Rosalie's needs are more primitive, if you will. All the girl wants is some company. Someone to talk to. Perhaps a husband, if it leads to that. Whatever Rosalie decides. Virgil has no say, he has a broken leg. I truly have not been this impressed with an obscurity like this in a long, long time. Most low budget films I get a hold of are of the Horror genre. Rosalie is more of a suspense-thriller. So, in closing. If you ever get tired of the same old so bad it's good, gory, schlocky grainy-screen goodness, perhaps you're in the mood for something different. Something that'll make you think. This is quality Drive-In cinema. 10/10

For the viewer who claimed Stephen King "ripped off" huge parts of this film for Misery: don't flatter yourself. Your insight simply isn't that sharp. Yes, it's apparent that the general scenario for Misery is indebted to this (vastly inferior) film, but that is where the resemblance ends. King is a profoundly original artist, and as is usually the case, his prodigious talent and inimitable vision transform the influences derived from his encyclopedic knowledge of the field into a finished product that transcends its sources. The Strange Vengeance of Rosalie is even less memorable than Starret's mediocre Race with the Devil. In fact, I am quite amused by the intellectual restrictions of these viewers and readers who fancy themselves sophisticated because they are able to spot the things that King has supposedly "ripped off": as if he's trying to get away with something. On the contrary, King is usually very forthright about his influences and urges his readers to check them out for themselves (unlike the creatively and ethically bankrupt James Cameron). That he didn't do so with Misery is likely due to a lack of cognizance of the influence. In short, those with developed critical skills assess the creative process at work. Those with a stunted artistic and intellectual capacity merely note that story scenarios and plot elements were lifted by King and yell "Rip Off!" And then they pat themselves on the back.

A true obscurity. Most of the user comments reference its unmistakable similarity to MISERY. In Stephen King's defense (not that I'm a huge King fan, nor is the author above "homages" to previous works), even ROSALIE can't be said to have broken new ground with its theme of a woman keeping a man "hostage" (Don Siegel's BEGUILED with Clint Eastwood came out just a year before, for instance). And, the film is OBSCURE. I had to find it on the dark corners of the internet to find an import VHS - with Dutch subtitles to boot (anybody who NEEDS to see this can email me). A virtual three person show with Bedelia and Howard on screen for virtually the entire running time (Anthony Zerbe shows is the 3rd main actor, though his part is much smaller). The odd perverse atmosphere helps a lot, but there is little in the way of action or psychological insight. Bedelia is not altogether convincing as a Native American, but she truly carries the film with her portrait of a deeply disturbed young woman. At times, the script doesn't seem consistent as to whether Rosalie is totally naive, or whether she is merely cunning. With some things, she appears to have NO understanding of the wider world, but at other times, she keeps up with the well bred Virgil. The twist ending works on one level, but carries little meaning.Considering that the indie film was originally distributed by 20th Century Fox and that all three of the stars are name actors, it remains a "strange" mystery why this film seems to have vanished. Perhaps, Rosalie's ultimate vengeance?

Richard (Ken Howard) is very clean and white in comparison to a brown and dusty landscape filled with brown, dusty people. He stands out like a cultivated plant in a wild desert garden. Rosalie is the girl you, at times, feel sorry for and, at times, are just simply disgusted with. Bonnie Bedelia does a wonderful job of playing her with a very hard stubborn edge that can drive you crazy. You will leave this movie feeling bewildered and frustrated to all hell.