L'adescatrice

There's a persuasive argument to be mounted that the end of the so-called Golden Age of Hollywood movie-making can be ascribed not to the studios' divestiture of its theater chains but to the explosion, in the motorized society of the 1950s, of drive-in theaters, where the main attraction was not on the screen. Up to that point, even the lowliest second feature was apt to show at least a modicum of craft and plausibility. The exploitation movies changed all that, ushering in an era when just about anything goes – or, often, nothing.

American International Pictures was the outfit that pioneered fodder for the teenage popcorn-and-petting trade. In 1956, it released one of its few features that might be considered even marginally noir – Female Jungle (also called The Hangover). Neither title quite fits, though the second has a bit more claim to legitimacy than the first, which was simply a ploy to pack 'em in.

After the gala premiere of her debut film, a starlet leaves a seedy bar and meets her quietus at the hands of a strangler. For the next hour or so, Lawrence Tierney, John Carradine, Jane Mansfield and half a dozen other characters go racketing around through the night on a series of wild-goose chases. Tierney plays an off-duty policeman whose long evening bending his elbow resulted in a blackout; he thinks he might have been the killer. Carradine plays a gossip columnist whose helped the dead starlet's career, only to be jilted. Mansfield (in her screen debut) seems to be playing a call-girl who's in love with an out-of-work caricaturist whose wife might be the next victim of….

All that said, Female Jungle remains watchable, if barely. It was AIP's policy to engage a few actors on the way up and a few more on the way down, filling up the rest of the slots with whoever was handy (both the producer and director have parts in the movie). But Tierney, by this time seriously on the skids and persona-non-grata in the major studios, exudes some of his rough magic while Carradine, looking particularly suave, gives it his old-trouper's all. And Mansfield, of course, has her own morbid fascination. There's a peculiar allure to some of this late-50s sleaze; if you're into it, this is the movie for you.

Lawrence Tierney was given numerous low-life/tough-guy roles throughout the 40's in such noirs as BORN TO KILL (1947) and THE DEVIL THUMBS A RIDE (1948), until he gained himself a bad name in Hollywood for his constant bar-brawls and arrests. The Tierney architype was resurected in the 50's when minor studios decided to milk the one-time noir icon for what he was worth. His only 50's come-back films I know of are THE HOODLUM (1951-United Artists) and THE FEMALE JUNGLE (1956-ARC), directed by the very under-rated Bruno VeSota right after DAUGHTER OF HORROR.

Lawrence plays a bum alcoholic detective who investigates in the murder of an actress committed outside the same bar he was drinking in. The plot unfolds itself from flashbacks. Producer, Burt Kaiser plays an alcoholic and unemployed artist, married to waitress, Kathleen Crowley. Kaiser is asked one night by a mysterious gossip columnist (the wonderfully sinister John Carradine, looking suave as ever in white tie and tails) to have his characature painted. Kaiser and Tierney both have affairs with Candy, a deliciously slutty bombshell (Jayne Mansfield, looking stunning in her film debut). Other suspects include George, the black janitor, James Kodl providing some intentional laughs as Joe, the bar owner and Cornelius Keefe (billed as Jack Hill!) as the Chief.

During World War 2, anyone who went to the movies had no choice but to pay money and view low-budget black-and-white quickies beacuse of the restrictions. Bottom-of-the-barrel studios like PRC and Monogram were in their element turning 'em out faster than they ever did before. This also gave film noir (considered lowbrow entertainment back then) an opportunity to be shown to wider audiences. The 50's saw just about every cinema-goer heading for the 70mm CinemaScope epics and big-name blockbusters leaving all other kinds of films to be viewed by nonexistent crowds at either art-house or drive-in theatres. It also saw the very last of the film noir echoeing it's way through the minor studio system. FEMALE JUNGLE, a great noir by many standards, was sold to Sam Arkoff and James H. Nicholson for ARC (pre-AIP) in 1956 and was dumped on a drive-in double-bill with OKLAHOMA WOMAN, a western directed by Roger Corman! I still don't think that FEMALE JUNGLE has got the appreciation it deserves. It is a superior film noir full of interesting low-life characters and dimly lit side-streets which all of us noir-lovers crave for in a film.

In an interview, Jayne Mansfield said that FEMALE JUNGLE "was filmed in two weeks and led to nothing". She was paid $150 for starring and then returned to her job as a popcorn-girl in a cinema before returning to the screen again in WILL SUCCESS SPOIL ROCK HUNTER? Lawrence Tierney wound up driving a taxi cab in Central Park before being resurected again (!) to play his tough-guy role in John Huston's PRIZZI'S HONOR (1985) and again in Tarantino's RESERVOIR DOGS (1993). Bruno VeSota later directed THE BRAIN EATERS (1958) and INVASION OF THE STAR CREATURES (1962), starred in numerous drive-in features throughout the late-50's and 60's (TEENAGE DOLL, A BUCKET OF BLOOD, THE CHOPPERS...) before dying of a heart attack in 1976 aged 54.

Female Jungle is a fairly good and at times noteworthy low budget indie feature. Produced by star Burt Kaiser, who plays a down on his luck sketch artist with the longest 1950's hair this side of Elvis, the film also features Lawrence Tierney, who sleepwalks through his role as a drunken cop trying to win back the respect of his sergeant by helping solve a murder mystery. Tierney's career was entering crisis mode at this point thanks to his own drinking problem, and though he's obviously trying his best here, it shows. The story is fairly feeble, but the fine cast--which also includes John Carradine, Attack of the Giant Leeches man Bruno Ve Sota, an unglamorous looking Jayne Mansfield, and Davis Roberts--is worth watching. For a poverty row cheapie the film looks quite good--a testament, perhaps, to the effective work of DoP Elwood Bredell, who always did good work with little money on 'B' classics like Man Made Monster and Phantom Lady.

I imagine the sole reason for most people to want to see this movie is for the screen debut of 50s cinema sex goddess Jayne Mansfield. However, the film itself stands up reasonably well after fifty years.

The plot, as you are probably already aware, concerns the hunt for the killer of a Hollywood actress, murdered after she leaves a bar. An off-duty cop is in the frame as the killer and sets out to track down the real culprit.

This movie was obviously done on the cheap but has a gritty edge to it and more than enough action and suspense to fill its meagre running time. Shot entirely at night the film has an oppressive feel and has good performances from all concerned. Jayne Mansfield, in her film debut, is very impressive as a slutty broad and performs well without her trademark squeal. Although obviously very attractive she isn't at all glamorous here and acts very well. For anyone in doubt of her abilities then Female Jungle proves that she definitely had something.

Cheap, short and in the long term, forgettable, this is still an entertaining way to spend an hour. Don't break your neck to see it but if the opportunity arises, don't pass it by.

A Surprise, Grungy Watch Courtesy of the Iconic Cast of Hollywood B-Movie Legends.

Carradine Surprises the Most.

Almost Unrecognizable as a "Dandy" Newspaper Columnist, ala Waldo Lydecker.

But that Uncanny Voice is Forever Recognizable.

Tierney gives a Solid and Unwavering Turn as a Dipsomaniac Cop Trying to Get Off the Booze Wagon and Back Riding the Police Wagon.

Jayne Mansfield, in Her First Film, makes a what will Become Type She would Hug and Kiss for the Short Time Allowed in Life and in this Movie.

The Film is Held-Back from Grind-House Greatness because of one of the Most Irritating Bar-Tenders in the History of Movies. He Intrudes Incessantly.

Jack Hill and Bruno VeSota, two "Names" Associated with Drive-In and Exploitation Flicks Add some "Spice" to a Movie that Offers Fun and Sleaze on a Level that All Films on this Budget should Aspire.

It's a Murder Mystery, that Signals a Late Film-Noir with its Night Shoots and Quirky Characters.

Prostitutes, Movie-Stars, Cops, and Struggling Artists are Noir Fodder that's Ripe for the Exploiting and Exploit they do.

For Your Cheap Viewing Pleasure, this one Delivers.