Bungalow pour femmes

Titre original : The Revolt of Mamie Stover

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6,4/10

1,1 k

MA NOTE

Jane Russell in Bungalow pour femmes (1956)

In 1941, prostitute Mamie Stover has no choice but to flee San Francisco when the police turn on her and want her out of town. However, when the ship reaches Hawaii, Stover soon falls back into her old ways and begins working at a nightclub, much to Blair's dismay.

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Ajouter une intrigue dans votre langueShedding her dubious past Mamie comes to Hawaii and works in a club entertaining sailors. Ignoring the house rules she starts an affair with a writer and looks for ways to make big money and... Tout lireShedding her dubious past Mamie comes to Hawaii and works in a club entertaining sailors. Ignoring the house rules she starts an affair with a writer and looks for ways to make big money and escape the bad reputation of her profession.Shedding her dubious past Mamie comes to Hawaii and works in a club entertaining sailors. Ignoring the house rules she starts an affair with a writer and looks for ways to make big money and escape the bad reputation of her profession.

Réalisation
- Raoul Walsh
Scénario
- Sydney Boehm
- William Bradford Huie
Casting principal

Voir les informations de production sur IMDbPro

NOTE IMDb

6,4/10

1,1 k

MA NOTE

Réalisation
- Raoul Walsh
Scénario
- Sydney Boehm
- William Bradford Huie
Casting principal

Voir les informations de production sur IMDbPro

Vidéos1

Trailer 2:29

Trailer

Photos44

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7David-240

Russell is fine but the film goes nowhere.

Good Hawaiian locations, a strong performance by the gorgeous Jane Russell and a very sexy Agnes Moorehead - how could you want more? But there is also glorious colour and cinemascope, a pretty good recreation of the attack on Pearl Harbour, and Michael Pate as the baddie.

Sadly Richard Egan is dull as Russell's love interest and the whole film is ruined by a rushed and meaningless ending. I guess no-one really believed the film's feminist ideas.

gregcouture

Typical mid-Fifties 20th-Century Fox product.

This one came out when my cinema-going was pretty well supervised by my parents who, had they known the subject matter, would not have approved of my going to see it. So it wasn't until years later that I caught it on a TV broadcast. I'd missed the credit titles but it wasn't long before I recognized the distinctive style of the musical scorer, the incredibly prolific Hugo Friedhofer. Check out his credits on the IMDb site dedicated to him and you'll be amazed at the number of projects on which he worked, both credited and uncredited. This movie focussed on a love story with a fairly heavy emphasis on its sexual aspect, discreetly cleaned up for the presumably conservative audiences of the mid-Fifties. But Hugo's music leaves no doubt as to what's going on but isn't being graphically depicted. Twentieth produced and released a lot of product around that time that took full advantage of CinemaScope and color, as well as their own system of multi-track stereophonic sound. With the locations used for this one, it would be a treat to see a theatrical presentation of this film, despite its flaws. It's a genuine artifact of what the movie moguls foisted on the adult audiences of the day. And besides Jane Russell in a role especially tailored to her, ahem!, talents, it's got Agnes Moorehead, who always added a special frisson to every role she played.

65November

Oh My, Who, on Oahu

I'm not revolting when it comes to enjoying Mamie Stover. The GIs in 1940s Hawaii enjoyed her and so do I. OK, it's not even close to a cinematic masterpiece, but it's worth a gander on a rainy Sunday afternoon when the hubby has on his football. It has stunning Hawaiian locations, a fun if melodramatic script and 20th Century Fox gave it gorgeous Technicolor. It must have had studio head Buddy Adler's blessing because he took producer's credit. If you're a Jane Russell fan, forget "The Outlaw" and "Gentlemen Prefer Blondes" and "Underwater." The Russell you see here is smoldering...! She plays a down-on-her luck woman run out of San Francisco who lands on Oahu where she becomes a... a... a... dancehall hostess. (If they redid Mamie Stover today, it'd have a whole different look.) She makes lots of money and thumbs her pretty nose at her detractors. Maybe because she's called Flaming Mamie, Russell dyed her dark tresses to a shimmering red and natural redhead Agnes Moorehead, owner of the gin joint where Mamie works, has become a blonde. Aggie never made a film that she didn't elevate to a higher level. Michael Pate is wonderfully menacing as the gin joint bouncer/thug. Love interest Richard Egan is too bland and lovely Joan Leslie is wasted in a nothing supporting role. Tough-guy director Raoul Walsh, who had just finished directing tough-girl Russell in "The Tall Men," knew how to best display her acting chops and sultry good looks. Mmmmmm, whatever Mamie wants...

7ilprofessore-1

Hooker w/o Heart of Gold

Shot partially on location in Hawaii and at the Twentieth Century Fox studios in Los Angeles in 1956, this film recreates the atmosphere of the islands before and during the Second World War. Because of her Amazonian good looks and the notorious publicity associated with "The Outlaw" few critics have given Jane Russell her due as a dramatic actress. In this film, directed expertly by the old-hand Raoul Walsh, she plays a no-nonsense out-on-her-luck prostitute -here disguised in the usual Hollywood manner as a dance hall hostesswho falls for the rich guy on the hill. Unlike the other sex-goddesses of her time, foremost of all Marilyn Monroe who had been offered the part and turned it down, Jane shows none of that little-girl innocence and vulnerability of her sexy competitors; here she is as tough as nails, a big tomboy with a great body who knows exactly what she has and what it's worth. All business. Particularly memorable is a heated scene with Richard Egan in which she explains why she is obsessed with making money. It is probably one of the most convincing portrayals of a hooker without a heart of gold in film.

5bkoganbing

If the part called for a redhead

If The Revolt Of Mamie Stover had been done at Columbia Pictures Harry Cohn would have made this the big budget film of the year and had Rita Hayworth doing it. As it was 20th Century Fox had Susan Hayward under contract and I'll bet this was offered to her first.

With her tresses a flaming Arlene Dahl red, Jane Russell plays the title role in this film. She's a working girl who's been kicked out of San Francisco for her notoriety. But Jane's heard of job opportunities in Honolulu working in another den of iniquity run by Agnes Moorehead with Michael Pate as her enforcer. She also meets on the tramp freighter she's traveling on Richard Egan with whom it's on and off for the next few years from before World War II and after.

Jane's smart about money though and she saved her's and invested it in picking up cheap real estate from people leaving Hawaii after Pearl Harbor. She's rich post war, but hardly respectable.

It's what she craves most, respectability as she tells Egan about her white trash background from Mississippi. Funny that Russell doesn't have the slightest trace of southern accent or even attempts one.

Russell is good in the title role, but the plot really doesn't go anywhere. I can't begin to fathom what Richard Egan's character is all about the script is unintelligible where he's concerned. And the story has a sudden death ending that leaves you hanging.

Not her best film, but it does have some nice Hawaiian numbers one of which Bing Crosby recorded for a Hawaiian album he did, Keep Your Eyes On The Hands.

Anecdotes
The synopsis of "The Revolt Of Mamie Stover," which appears in the 20th Century Fox studio press book, suggests that some last minute changes and edits were made to tone down the true nature of the Mamie Stover character. The following scenes were described in the synopsis: (1) The film opens with a scene on a street corner in San Francisco in which Mamie (Jane Russell) is picked up by a middle-aged man (portrayed by Stubby Kaye), and then detained by police who suggest she get out of town. (2) A scene occurs between Mamie and Annalee (Joan Leslie), in which Annalee tells Mamie to stay away from Jimmy (Richard Egan). (3) Mamie buys her own house on the hill and decorates it in anticipation of Jimmy's return from the war. (4) While Jimmy is away at war, he receives letters from both Annalee and Mamie. Annalee's are more poetic and caring, while Mamie's tell of her increasing fortune from her real-estate properties. (5) The film ends with a scene in a room at the Bungalow Club in which Jimmy rejects Mamie and leaves. Mamie walks down the hall, wipes her tears away, composes herself and enters another room, greeting her latest customer with her tag line, "You waitin' for Mamie, honey?" This suggests that her life will continue in same fashion as it always had: motivated by money at any cost despite a less-than-respectable lifestyle. The final version of the film as released redeems Mamie by cutting out before she greets her next customer and adding a scene in which she returns to San Francisco only to tell the police, who meet her at the dock, that she gave up her fortune and is now returning to her hometown of Leesburg, Mississippi.

Gaffes
Although the story takes place in 1941-1942, all the women's fashions are from 1956.

Citations
Mamie Stover: Did you ever stop and think what's gonna happen when the war comes?
Jim Blair: Yes. People will die. Thousands and thousands of them.
Mamie Stover: Yeah, but some ll get rich.
Jim Blair: Look - there are dirty names for people like that.
Mamie Stover: I'm used to dirty names.