AVALIAÇÃO DA IMDb
6,4/10
1,1 mil
SUA AVALIAÇÃO
Adicionar um enredo no seu idiomaShedding 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... Ler tudoShedding 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.
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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.
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.
At the time,the master of melodrama was Douglas Sirk;a film noir master,Walsh is not as talented as far as melodrama is concerned ;his movie looks sometimes like a poor man's "from here to eternity" .
The permanent features and the name of the game of melodrama are respected:Russell portrays the bad gal who got a raw deal when she was a child,rejected by the right-thinking ;and this is familiar ,she becomes a formidable ruthless (who said "war profiteer"?) businesswoman !from "only yesterday" in the early thirties to "imitation and life" or "writtn on the wind" ,the girl who is through with love makes a lot of money or becomes a big star.
Richard Egan is a curious choice for the lead,being too cerebral,too earnest for such an empty part but Mrs Moorehead steals every scene she is in ;it is one of her rare parts where she shows herself coquette. Melodrama buffs can have a look.
The permanent features and the name of the game of melodrama are respected:Russell portrays the bad gal who got a raw deal when she was a child,rejected by the right-thinking ;and this is familiar ,she becomes a formidable ruthless (who said "war profiteer"?) businesswoman !from "only yesterday" in the early thirties to "imitation and life" or "writtn on the wind" ,the girl who is through with love makes a lot of money or becomes a big star.
Richard Egan is a curious choice for the lead,being too cerebral,too earnest for such an empty part but Mrs Moorehead steals every scene she is in ;it is one of her rare parts where she shows herself coquette. Melodrama buffs can have a look.
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.
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.
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...
Jane Russell may be famous for singing in musical comedies, but she did get her start in a drama, and with The Revolt of Mamie Stover, she reminds the audience she's able to hold her own in that genre. She starts the movie literally getting escorted out of town by the police, forced to leave San Francisco because "her kind" is causing too much trouble. With the censorship board still in full force in 1956, it's amazing such a blatant show of prostitution made it into the movie.
Jane hops a boat to Honolulu, and it isn't long before she gets a job as a "hostess" in a dance club, run by the tough Agnes Moorehead. Part of what I really liked about this movie was the lack of the "hooker with a heart of gold" theme in Jane's character, or in any of the other girls in the club. Jane's primary motivation is money so she can return to her hometown and show everyone she made good, and she doesn't care how she earns it. Even when Richard Egan falls for her and asks her to give up her job, she can't do it. Jane has caught too many bad breaks to trust one man to make everything alright. She may make shrewd decisions, but you understand why she makes them.
If you liked From Here to Eternity, you'll love The Revolt of Mamie Stover. It's got nice music from Hugo Friedhofer, a solid performance from the beautiful Jane Russell, and plenty of scenes that show off her legs. The romance isn't exactly traditional, but it's sweet in its own way and just might cause a lump in your throat. Give it a watch!
Jane hops a boat to Honolulu, and it isn't long before she gets a job as a "hostess" in a dance club, run by the tough Agnes Moorehead. Part of what I really liked about this movie was the lack of the "hooker with a heart of gold" theme in Jane's character, or in any of the other girls in the club. Jane's primary motivation is money so she can return to her hometown and show everyone she made good, and she doesn't care how she earns it. Even when Richard Egan falls for her and asks her to give up her job, she can't do it. Jane has caught too many bad breaks to trust one man to make everything alright. She may make shrewd decisions, but you understand why she makes them.
If you liked From Here to Eternity, you'll love The Revolt of Mamie Stover. It's got nice music from Hugo Friedhofer, a solid performance from the beautiful Jane Russell, and plenty of scenes that show off her legs. The romance isn't exactly traditional, but it's sweet in its own way and just might cause a lump in your throat. Give it a watch!
Você sabia?
- CuriosidadesThe 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.
- Erros de gravaçãoAlthough the story takes place in 1941-1942, all the women's fashions are from 1956.
- Citações
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.
- ConexõesEdited into O Túnel do Tempo: The Day the Sky Fell In (1966)
- Trilhas sonorasWalkin' Home With The Blues (Main Title)
Written and performed by Hugo Friedhofer and his Orchestra
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- Orçamento
- US$ 2.000.000 (estimativa)
- Tempo de duração
- 1 h 32 min(92 min)
- Proporção
- 2.55:1
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