L'Esclave du souvenir

'if my tires hold out' er

According to the IMDb trivia section, it sure sounded like Jane Russell didn't like this film...saying "Young Widow should have died with her husband"! I just cannot understand this, as it's clearly one of her better films. Perhaps she was just self-conscious since it was one of her earliest performances...but I sure liked it. Much of this is because unlike most of her films where here characters have a hard edge to them, this one features a more vulnerable and likable character.

Joan Kenwood (Russell) is a newly widowed lady. Her husband was killed in the war and she is determined to make herself a miserable spinster instead of getting on with her life. However, try as she might, she becomes bored and wants to return to work...but still, she does NOT want another man in her life. Too bad that Lt. Cameron (Louis Hayward) is interested in her and thinks she needs him in her life.

This is a nice romance and I was happy that Lt. Cameron was insistent BUT not a boorish jerk who just wouldn't take no for an answer (a pretty common type of character in films of the day). No, instead he's just decent and kind...and the movie is likable and seems realistic and I enjoyed it throughout.

By the way, late in the film a male friend offered to give Joan a ride "...if my tires hold out". This is a reference to the fact that during WWII, tires were in very, very short supply and were often patched and re-patched and re-patched because almost all the tires were designated for the war effort.

Others here have already mentioned that Jane Russell was either miscast, or rose to the occasion playing this serious role. I was struck by how much she looked like an earlier obsession of Howard Hughes, Kate Hepburn.

If you think of Katharine playing Sylvia Scarlett, wearing a Fedora and kind of squint, it makes some sense. Jane has her hair pulled back and is barely made up. Her jawline is very similar too. Once I saw it, I couldn't unsee it. Is it an amazing portrayal? Not quite, but Jane is playing with some of Hollywood's best here, and she does pretty well. I'm fond of these "war at home" films, and this is good enough.

And Jane looks great. Too bad she didn't get more opportunities like this.

Jane is gorgeous in this her second film but wasn't ready for a part that required a haunted bruised quality like this does. Missing from her performance is the permeating sadness of a woman who has lost her true love, something that Barbara Stanwyck could have injected in the part without breaking a sweat, still she makes a good try and practically glows on screen. The real reason to watch this is for the supporting cast. Connie Gilchrist and Cora Witherspoon make a fun pairing as Jane's opposite sides of a coin aunts back on the farm. Marie Wilson is charming as her usual ditzy blonde but it's Penny Singleton of Blondie fame who really delivers the best performance as an old friend of Jane's character who provides a nest for her to recover from her heartbreak. She's funny and strong by turns and enjoyable throughout.

This is Jane Russell's one serious film, or at least it begins as such, on the brink of turning into a downrightr noir, but then Louis Hayward appears, a man was missing in her life, and here he is. But he doesn't come alone. Along there is a whole bunch of merry war pilots with their girls crowding into the apartment which she has to stay in with a friend for want of vacansies in all hotels in New York, and so it turns into a brilliant, ebullient and very enjoyable comedy.

Many have said that this is Jane Russell's best film, and it couldn't be otherwise. She is as beautiful as Hedy Lamarr and Linda Darnell, and her grief as a widow becomes her more than well and adds to the attraction - Louis Hayward's reactions are perfectly natural and logical.

Still, the serious background remains, many war pilots never return, and they still all have to return to battle. This was made towards the end of the war, but although it is closing on the finish (with bombings of Tokyo), it isn't quite over yet, and the Gerry Taylor subplot stresses the concerns. It's a wonderful film, the dialogue is like crossfire all through but positively witty all the way, and it will be a joy to once return to this film once more.

In Jane Russell's second movie, she once again shows off her dramatic talents and her beauty. She may not be up in a hayloft as she was in The Outlaw, but she shows depth of emotion she was never again given the chance to show off in her career. If you're a fan, give this one a shot!

Jane plays a young woman whose husband was killed in WWII. She's grieving, and no one, not her loving family or her well-intentioned friends, can help her move on faster than she's ready to. Except for Louis Hayward, a hotshot pilot who won't take no for an answer. His character is the biggest problem in the movie. It's made painfully clear that Jane is still in love with her husband and doesn't want to fall in love with anyone new; once, she hears their song playing in a nightclub and she goes home to cry into her pillow. Louis continually hits on her, even though every time she tells him she's not interested. Then, when he finally learns why she's not interested, he backs off for only a little while, then comes back full force on the woo wagon.

Still, I think this movie is worth watching, to see Jane in a beautiful hairstyle and in some tearful scenes. She didn't make that many movies, so it's nice to see her when I can.