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IMDbPro

Bungalow pour femmes

Original title: The Revolt of Mamie Stover
  • 1956
  • Tous publics
  • 1h 32m
IMDb RATING
6.4/10
1.1K
YOUR RATING
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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DramaWar

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... Read allShedding 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.

  • Director
    • Raoul Walsh
  • Writers
    • Sydney Boehm
    • William Bradford Huie
  • Stars
    • Jane Russell
    • Richard Egan
    • Joan Leslie
  • See production info at IMDbPro
  • IMDb RATING
    6.4/10
    1.1K
    YOUR RATING
    • Director
      • Raoul Walsh
    • Writers
      • Sydney Boehm
      • William Bradford Huie
    • Stars
      • Jane Russell
      • Richard Egan
      • Joan Leslie
    • 24User reviews
    • 13Critic reviews
  • See production info at IMDbPro
  • Videos1

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    Trailer 2:29
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    Photos44

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    Top cast47

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    Jane Russell
    Jane Russell
    • Mamie Stover
    Richard Egan
    Richard Egan
    • Jim Blair
    Joan Leslie
    Joan Leslie
    • Annalee Johnson
    Agnes Moorehead
    Agnes Moorehead
    • Bertha Parchman
    Jorja Curtright
    Jorja Curtright
    • Jackie
    Michael Pate
    Michael Pate
    • Harry Adkins
    Richard Coogan
    Richard Coogan
    • Captain Eldon Sumac
    Alan Reed
    Alan Reed
    • Captain Gorecki
    Eddie Firestone
    Eddie Firestone
    • Tarzan
    Jean Willes
    Jean Willes
    • Gladys
    Leon Lontoc
    Leon Lontoc
    • Aki
    Kathy Marlowe
    • Zelda
    Margia Dean
    • Peaches
    Jack Mather
    Jack Mather
    • Bartender
    John Halloran
    John Halloran
    • Henry - Club Bouncer
    Boyd 'Red' Morgan
    • Hackett
    Naida Lani
    • Hula Dancer
    Anita Louise Dano
    • Hula Dancer
    • Director
      • Raoul Walsh
    • Writers
      • Sydney Boehm
      • William Bradford Huie
    • All cast & crew
    • Production, box office & more at IMDbPro

    User reviews24

    6.41.1K
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    Featured reviews

    8Nazi_Fighter_David

    A clever framework for Jane Russell's spectacular physique!

    The fifties provided its share of World War II films... The super classics being David Lean's "The Bridge on the River Kwai" and Fred Zinnemann's "From Here to Eternity." Although Raoul Walsh's "The Revolt of Mamie Stover," a closely related minor film, also bears some consideration...

    The story, set in 1941, has Jane being escorted by the San Francisco Police to the entrance galley of a ship leaving town... She is advised not to return--ever!

    Aboard the Hawaii-bound vessel, she meets science fiction novelist Richard Egan who proves to be the first man in her versatile lifetime who respects her as a person... Naturally she is, at the proper time, impressed...

    Once they dock, she lands a job at the Bungalow Club, presided over by a domineering madam Agnes Moorehead...

    According to the movie, servicemen were lining up just for the opportunity to dance and talk (but definitely nothing more) with Moorehead's "hostesses," specially the ever popular Jane who makes a memorable impression as a cynical sleazy dance-hall hostess...

    Jane is seen avoided by the better element in town, who do not appreciate her patriotic contribution... Her conscience forces her to tell Egan: "No, Jimmy, I can't let you ruin your life... You can't lick the whole island-I've got a number on my back and they all know it."

    Egan was positive that some compromise can be worked out, but in the meantime he goes off to war... The aerial Pearl Harbor Attack, on December 7, 1941, by the Japanese is also seen...

    While he is away Jane is determined to make all the social abuse worth enduring and becomes the queen of the town's nightlife... Jane sees this as her only way to acquire wealth...

    When Egan returns on leave to Honolulu, he was filled with consternation to discover that Jane is the star attraction of the Bungalow Club... The shock of it all pushes him back into the refined arms of his society fiancée, Joan Leslie, who has that nice home high on the hill... And Jane? Well, definitely you have to see the picture to know what she does...

    Jane Russell wears a bright-red dress as the self-satisfied, eye-catching woman of "The Revolt of Mamie Stover," but she is definitely no screen substitute of Sadie Thompson as had been intended...

    In the middle of the ludicrous plot Jane sang "Keep Your Eyes on the Hands" and "If You Wanna See Mamie Tonight." The latter tune apt to call up memories of Rita Hayworth's "Put the Blame on Mame" from Charles Vidor's "Gilda."

    The CinemaScope format provides a clever framework for Jane Russell's spectacular physique...
    dbdumonteil

    Put the blame on Mamie.

    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.
    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.
    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.
    7Lejink

    No Taming Mamie

    Rather like her one-time co-star Marilyn Monroe, Jane Russell, it seemed to me, was often put to work in racy movies requiring her to be sexy and regularly disrobe. So it is here in Raoul Walsh's lurid melodrama set in Honolulu right at the time of the Pearl Harbour attack by the Japanese.

    How her title character got there is via San Francisco where her thinly-disguised call-girl activities attract a police ban and set her on a boat trip to Hawaii, on board which she encounters fellow-passenger Richard Egan, a successful writer. They have a fling and Egan's Jim Blair lends her some money until she gets started. Soon afterwards he learns she's effectively a prostitute and she that he's engaged raptor another woman,

    As their relationship ebbs and flows, the bombing takes place unsurprisingly causing a major panic and the film ends up with one of those cop-out endings which looks suspiciously like it was dreamed up in response to exit-cards handed out to preview audiences.

    Russell has to pretty much carry the whole film by herself and is rarely off screen. Indeed director Walsh sets the up the whole movie in the first shot when he sets her up walking away from the camera before abruptly turning around and facing down the viewer. She gets strong support from a blonde Agnes Moorhead as the brothel's tough-minded madam and Michael Pate as Moorhead's sadistic enforcer, just as happy bullying women as knocking out non-paying clients. I also thought that Egan did well in a tricky part as the principled writer-turned-soldier torn between his attraction for his clean-living society girl-friend and Russell's more carnal charms.

    For me the story took a lot of believing and I had an especially hard time accepting the depicted durability of Russell and Egan's affair, but filmed in rich Deluxe colour and making good use of location shooting, this almost proto-feminist movie on adult subject matter, for all its compromises within its storyline and characters, was another of those contemporary Hollywood films pushing the envelope right under the censor's nose.

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    Storyline

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    Did you know

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    • Trivia
      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.
    • Goofs
      Although the story takes place in 1941-1942, all the women's fashions are from 1956.
    • Quotes

      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.

    • Connections
      Edited into Au coeur du temps: The Day the Sky Fell In (1966)
    • Soundtracks
      Walkin' Home With The Blues (Main Title)
      Written and performed by Hugo Friedhofer and his Orchestra

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    Details

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    • Release date
      • August 29, 1956 (France)
    • Country of origin
      • United States
    • Official sites
      • Streaming on "Ayla Music" YouTube Channel
      • Streaming on "Kinopan0rama" YouTube Channel
    • Language
      • English
    • Also known as
      • The Revolt of Mamie Stover
    • Filming locations
      • Honolulu, O'ahu, Hawaii, USA
    • Production company
      • Twentieth Century Fox
    • See more company credits at IMDbPro

    Box office

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    • Budget
      • $2,000,000 (estimated)
    See detailed box office info on IMDbPro

    Tech specs

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    • Runtime
      • 1h 32m(92 min)
    • Aspect ratio
      • 2.55:1

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