THE REVOLT OF MAMIE STOVER

Jane Russell and Richard Egan

THE REVOLT OF MAMIE STOVER (1956). Director: Raoul Walsh. 

"When you talk about money you're slumming. When I talk about it, I'm just plain scared." -- Mamie. 

Mamie Stover, originally from a small town in Nebraska, is put on a steamer to Honolulu by the authorities in San Francisco and told never to return. Although Mamie has never been convicted of anything (or so she says), she apparently has some kind of unsavory and criminal history. On the ship she meets up with handsome author Jim Blair (Richard Egan of A Summer Place), who doesn't waste much time before making passes which are happily received by the initially distrustful Mamie. When the boat docks Mamie learns that her new swain apparently has a steady girl in Annalee (Joan Leslie), a much more respectable female. Not at all bashful in any sense of the word, Mamie asks if she can move in to Jim's beautiful Hilltop estate, but he says no, loaning her one hundred bucks instead. Mamie goes to work at a somewhat sleazy establishment run by Bertha (Agnes Moorehead), who employs the sadistic Adkins (Michael Pate of Curse of the Undead) to keep the girls in line --  with his fists if necessary. Despite whatever reservations he might have -- and in spite of Annalee -- Jim can't help dropping into the nightclub where Mamie has become a top headliner. But she has been told not to fraternize with men outside the club, a rule she gleefully breaks to be with Jim. Surprisingly well-paid at the club, Mamie is saving her money and intends to have her own hilltop estate someday. Then the attack on Pearl Harbor occurs, and Mamie hits on a way to enrich her coffers ... 

Russell with Agnes Moorehead

The entertaining Revolt of Mamie Stover is typical of movies in the fifties that feature decided "bad girls" but make certain not to delineate their alleged misdeeds with too much scrutiny. Scenes that made it clear that Mamie was a hooker were cut from the film. Born into comparative poverty, Mamie -- like the heroine of Bedelia -- is determined to rise from the gutter by any means she can, although one senses that Miss Stover is not really evil, just mercenary and a little desperate. The hard-edged Russell is perfect for the role of Mamie, and she gives a snappy performance. Although he has a couple of wooden moments, Egan is basically fine as Jim. Pate and Moorehead score, as expected, in the two major supporting roles, but Joan Leslie has the thankless part -- and very little screen time -- as Annalee. Richard Coogan of Vice Raid is given the opportunity to make an impression and does so as Captain Eldon Sumac, a married officer who tries his best to score with Mamie. Marilyn Monroe and Lana Turner were both considered for the role of Mamie -- the former would have brought more vulnerability to the role -- but passed on it. A good score by Hugo Friedhofer and top-notch cinematography from Leo Tover certainly help. Leon Lontoc, who plays Jim's servant and supposed friend, Aki, later wound up on Burke's Law in a similar role. Jean Willes, Margia Dean and Hugh Beaumont also appear in smaller parts. 

Verdict: If you take this flick with a grain of salt -- it's watered down and is sometimes quite improbable -- it is absorbing and fun. ***

GENTLEMEN MARRY BRUNETTES

Jane Russell and Scott Brady in Paris

GENTLEMEN MARRY BRUNETTES (1955). Director: Richard Sale.

Connie Jones (Jeanne Crain) is annoyed that her sister Bonnie (Jane Russell) can't stop herself from accepting one proposal after another from smitten gentlemen. The two flee from New York to Paris where they somehow become the toast of the town due to the efforts of Rudy Vallee (playing a kind of slimy variation of himself) and wannabee managers David (Scott Brady) and Charlie (Alan Young). The ladies are booked into several high-tone establishments but are always fired when they refuse to wear the highly immodest outfits that the managements propose. Ensconced in a hotel room and wondering how they'll pay the bill, they suddenly find they have a unknown benefactor who is plying them with gifts -- everything from gowns, diamonds and poodles to a luxury car complete with chauffeur. Wondering what their mysterious benefactor will expect when he finally introduces himself, they accept an invitation to perform in Monte Carlo in Monaco, where the truth will finally come out.

Jane Russell and Jeanne Crain

Gentlemen Marry Brunettes, a sort of sequel to Gentlemen Prefer Blondes, exists in a separate universe of its own that has absolutely no relation to reality. It is never explained how or why David even knows of the existence of the sisters, or why Charlie, who turns out to be very wealthy, shares a garret with David and has to resort to stealing newspapers and food. (Yes, there's something about his father's edict that he can't spend money on himself, but food?) For that matter, why is Rudy Vallee, who can't really sing a note if we're being honest, playing himself? 

Ain't Misbehavin': Alan Young in a gorilla suit!

Then there are the song numbers. The original songs are pretty awful and the versions of classic songs such as Rodgers and Hart's "My Funny Valentine" are poorly done. The absolute nadir of this film -- and possibly of virtually every musical that ever came out of Hollywood -- is Alan Young croaking "Ain't Misbehavin'" while wearing a gorilla suit. (This is during a so-called African number that is performed in Monte Carlo.) The performances are pretty much what you would expect, perfectly adept and professional, with Crain in an unusual role for her. Jane does her own singing, Brady and Crain are dubbed aside from one number, and I'm not sure about Young except that he or whoever dubbed him sings flat. 

Scott Brady and Jeanne Crain

Despite all of this Gentlemen Marry Brunettes moves along swiftly and is never especially offensive. Jane Russell is in her usual butch-femme mode throughout, and Young is more femme than butch. The film is greatly bolstered by obvious location filming in both Paris and Monte Carlo, although there is back lot work as well. My favorite line is quoted by Young as spoken by his rather horrible father: "Every time you enter a room it's like somebody left."

Verdict: At least there are great views of Paris and Monaco in CinemaScope and Technicolor! **1/2. 

THE FUZZY PINK NIGHTGOWN

Jane Russell and Ralph Meeker

THE FUZZY PINK NIGHTGOWN (1957). Director: Norman Taurog.

Movie star Laurel Stevens (Jane Russell of Foxfire) is planning to attend the premiere of her new film The Kidnapped Bride, when she's actually kidnapped by two, fortunately, nice guys named Mike (Ralph Meeker) and Dandy (Keenan Wynn). Mike spent four years in prison for a crime he didn't commit, which makes Laurel feel sympathetic towards him. It also doesn't hurt that he's a rather sexy man. While Laurel's assistant Bertha (Una Merkel) and agent (Robert H. Harris) try frantically to find her, studio head Arthur Martin (Adolphe  Menjou) wants to keep it out of the papers, afraid it is -- or at least everyone will think it is -- nothing more than a publicity stunt. If Laurel admits she was kidnapped Mike could go to jail, but if she doesn't, her public could turn on her.

Adolphe Menjou, Una Merkel, Robert H. Harris

The Fuzzy Pink Nightgown has an interesting premise and holds the attention, but the movie could only have worked if it was a riotous farce, which it isn't; the picture has only a few chuckles. Yet a scene wherein Laurel and Mike drive off in a police car is so ridiculous that even Ralph Meeker looks irritated. The performances are good enough on one level -- although Meeker would never make a deft comedian -- but the leads take a back seat to Robert Harris, who is quite funny as the agent. Although Russell did appear in a few more movies, this was her last starring role, and her age was beginning to show -- it didn't help that Fuzzy was a flop. Ralph Meeker [Jeopardy] was seen to good advantage in Paths of Glory that same year.

Verdict: Ironically, Jane Russell's swan song as a major movie star. **1/2. 

FOXFIRE

Jane Russell, Dan Duryea and Jeff Chandler

FOXFIRE (1955). Director: Joseph Pevney.

A wealthy young woman named Amanda (Jane Russell) gets a lift from a handsome half-Apache mining engineer [who seems to have mixed emotions about his heritage], Jonathan "Dart" Dartland (Jeff Chandler), and the two rapidly fall in love and get married. Amanda must deal with the culture shock of moving out of luxury to a comparative shack in a mining town, and Dart has to deal with jealousy and a certain void in his emotions, as well as some self-esteem issues. The movie doesn't bang you on the head with the characters' problems, which is all the better, and the leads give good performances. Chandler has a limited bag of tricks but he makes them work within the role, and Jane gives a vital, warm and appealingly feminine performance instead of playing it hooker-hard as she often does in other movies. She and Chandler work up a lot of chemistry, which the latter didn't have with all of his leading ladies [such as the unfortunate June Allyson]. Frieda Inescort [The Alligator People] is fine as Russell's high society mother, but Austrian Celia Lovksy is ludicrously miscast as Dart's Native American mother, especially with that thick Viennese accent! Dan Duryea scores as the alcoholic doctor in the mining camp as does Mara Corday as his nurse, Maria, even if it makes no sense that the doc is smitten with Amanda but can't see the even more gorgeous and buxom Maria for dust. "Foxfire" refers to an abandoned Indian mine that Dart suspects has hidden gold in it, and wants to work. When all is said and done, however, Foxfire can't quite rise above its minor melodrama-romance status, despite some unusual and interesting elements. Whether Foxfire is accurate as regards to Native American affairs and attitudes in the fifties is debatable. NOTE: Jeff Chander wrote the lyrics for the title tune (with music by Henry Mancini) and also did the vocal, quite creditably. Nice score by Frank Skinner.

Verdict: Nice technicolor and a solid cast never hurt. **1/2. 

FATE IS THE HUNTER

FATE IS THE HUNTER (1964). Director: Ralph Nelson.

When a plane crashes killing all aboard except a stewardess (Suzanne Pleshette), an investigator for the airline, Sam McBane (Glenn Ford), tries to determine what went wrong. You'd think this would make for a compelling film, but most of the running time has McBane delving into the character of the pilot [and old friend] Jack Savage (Rod Taylor), whose irresponsibility is being blamed for the tragedy, with lots of flashbacks. McBane discovers that there was much more to Savage than met the eye. Nancy Kwan and Dorothy Malone are two of the many ladies in Savage's life, and Wally Cox and Mark Stevens [in a fine turn] are pals of his whom he's helped over the years. Mary Wickes has an interesting cameo as a landlady. Constance Towers is McBane's secretary, Nehemiah Persoff is his rival, and Jane Russell appears as herself in a flashback scene entertaining the troops. This culminates in a fairly ridiculous courtroom sequence, and then in a climax in which McBane and others try to recreate the circumstances of the crash up in the air. The picture is contrived and illogical, has little tension or suspense, and is more talky and dull than anything else. Ernest K. Gann, who wrote the novel upon which the film is based, reportedly disavowed the whole production. Ford gives a fine performance but is saddled with the screwiness of his character; the rest of the cast is very good, and Pleshette is excellent although she has only a few lines.

Verdict: This kind of movie should not be a snooze-fest. **.

MACAO

MACAO (1952). Director: Josef von Sternberg.

Into Macao come three individuals: Julie Benson (Jane Russell), who wants to look for a singing engagement; Nick Cochran (Robert Mitchum), who lost his wallet and passport and also needs a job; and Lawrence Trumble (William Bendix) who at least seems to be a legitimate businessman. The trouble starts when casino owner Vincent Halloran (Brad Dexter) makes up his mind that Cochran is really a New York City police detective who's come to haul him past the three mile limit and back to the states to pay for his crimes. But has Halloran picked the right person? What could have been an intriguing bit of film noir -- and it holds the attention in a limited way -- is done in by a poor script and a meandering pace that doesn't create or sustain any tension. Mitchum and Russell are both in butch mode throughout the movie -- Russell's as hard as nails and about as appealing -- and Bendix is as good as ever. Brad Dexter makes little impression and it's easy to see why he did mostly TV shows in the future as he lacked that certain "big screen" presence. Gloria Grahame is wasted in a small role as one of Halloran's employees.

Verdict: A wasted trip. **.

YOUNG WIDOW

YOUNG WIDOW (1946). Director: Edwin L. Marin.

The very American hotsy totsy Jane Russell teamed in a romantic pairing with the veddy British and veddy cultured Louis Hayward? You wouldn't think of these two together, but somehow it works. Part of the reason is that this film features a more subdued, much less hard-bitten Russell, who gives a very nice performance as Joan Kenwood, who is dealing with her grief over losing her beloved husband in the war. She and an equally effective Hayward play quite well together, despite their obvious differences. But there are even more cast surprises in this film. Penny Singleton of Blondie fame plays a friend and roommate's of Joan's, but she's not the dingbat -- her other roommate Marie Wilson (My Friend Irma) takes that role, and Singleton is sensible! Kent Taylor of The Day Mars Invaded Earth is Joan's boss and Faith Domergue of It Came from Beneath the Sea is another colleague who is afraid to marry a serviceman. Norman Lloyd of Hitchcock's Saboteur [he falls from the Statue of Liberty at the end] is another serviceman, and Gerald Mohr of Angry Red Planet and Funny Girl is another reporter. Also in the cast are Louise Beavers, Connie Gilchrist, Cora Witherspoon, and James Burke, who plays a motorcycle cop in a funny sequence and was also in the classic "The Diner" episode of I Love Lucy. A bizarre moment occurs in a hospital room full of expectant dads where a middle-aged man tells of how he and his wife were trying for twenty years to have a baby. Their luck finally changed when a young serviceman took a room in their place. Hmmm.

Verdict: Entertaining drama has laughs and poignancy in equal measure. ***.

SON OF PALEFACE

SON OF PALEFACE (1952). Director: Frank Tashlin.

One of Bob Hope's best comedy vehicles, the sequel to his equally successful The Paleface, has “Paleface” Potter traveling from Harvard (where he took fourteen years to graduate) to the Wild West in his horseless carriage to claim his late father's fortune. Lying in wait for him are all of his father's creditors, angry Indians, and Jane Russell, a saloon owner who doubles as a highway robber known as “The Torch.” Roy Rogers amiably plays a Federal agent who just happens to act and sing like Roy Rogers. His horse Trigger, truly “the smartest horse in the West,” turns in one of the best performances as a wonder horse who can open doors, climb stairs, outfox Hope, and even steal the covers from him in a classic scene when the two wind up sharing a bed! Busty Russell is as hard and “butch” as ever in her own bizarrely feminine way and Hope is in top form throughout (he seems to go in and out of character at times but in a farce like this it hardly matters). Clever, inventive, and funny, Son of Paleface is full of director Tashlin's trademark cartoon-like humor. At the time of the film's release there were protests from Native Americans at the scenes of the rampaging Indians being shot down like tenpins even though the whole tone throughout is outlandish and not to be taken seriously. Still, you can see how it would bother them that the Indians are barely depicted as being human. NOTE: For a lengthy analysis of this film and of the career and life of Bob Hope, check out Lawrence Quirk's biography Bob Hope: The Road Well Traveled.

Verdict: Funny stuff. ***.