Synopsis
Why Did Mamie Stover Have to Leave San Francisco?
In the early ’40s, a San Francisco prostitute is run out of town just as World War II has begun to intensify. She settles down in Hawaii, hoping to start a new life.
The Revolt of Mamie Stover
1956 Directed by Raoul Walsh
Cast
Jane Russell Richard Egan Joan Leslie Agnes Moorehead Jorja Curtright Michael Pate Richard Coogan Alan Reed Eddie Firestone Jean Willes Leon Lontoc Kathy Marlowe Margia Dean Jack Mather John Halloran Boyd 'Red' Morgan Naida Lani Anita Louise Dano Dorothy Gordon Irene Bolton Merry Townsend Claire James Sally Todd Margarita Camacho Richard Collier Max Reid Janan Hart John Caler
Director
Producer
Writer
Original Writer
Editor
Cinematography
Assistant Director
Art Direction
Set Decoration
Composer
Costume Design
Studio
Country
Language
Alternative Titles
Bungalow der Frauen, La rebeldía de la Sra. Stover, Bungalow pour femmes, Femmina ribelle, A Descarada, 舞国奇女子
Genre
Releases by Date
Premiere
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USA
Honolulu, Hawaii
Theatrical
11 May 1956
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USA
Releases by Country
USA
04 May 1956
- Premiere Honolulu, Hawaii
11 May 1956
- Theatrical
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O princípio adotado por Godard para decupar o espaço em planos é o mesmo de qualquer filme hollywoodiano dos anos 1930-40-50 (talvez não, e eu espero escrever sobre isso em breve, em Film socialisme e principalmente Adieu au langage). Já o princípio adotado para montar esses planos não.
Todo grande cineasta trabalha com uma disjunção, com algum princípio de deslocamento das premissas as quais toma como ponto de partida. Esse deslocamento entre a premissa e o trabalho concreto do cineasta, sua contribuição específica, seu "artesanato", é o que o torna moderno. Não é diferente com Godard.
Os maus cineastas geralmente são os acadêmicos, os que extraem das premissas das quais partem apenas tautologias, enfatizando até a uniformidade procedimentos pelos quais…
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Some spoilers ahead.
The best thing about Raoul Walsh's The Revolt of Mamie Stover — a film that it's hard to describe as anything but uneven — is its willingness to live with messiness.
Richard Egan's rich magazine writer, Jim Blair, carries on fairly serious relationships with two women at once, without it being a particularly big deal — he doesn't wink at us about it, and both women know about the other without it becoming a tearful drama for either, just something that's going to need to be settled eventually. Mamie Stover (Jane Russell, easily embodying a role once intended for Marilyn Monroe) lacks the moral objection to sex work that virtually all cinematic heroines in her position are…
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in some ways proto-scorsese, operatic near-camp get-rich exotica filmed in an eye-watering cinemascope idealization of hawaii with a great pearl harbor sequence that channels the spirit of eiji tsuburaya -- walsh was one of the original widescreen innovators, so it makes sense that his use of 'scope still feels unprecedented and fresh. even though he has this reputation as a masculine director, walsh has always carved out plenty of room for the women in his movies, and also for men to express feminine traits -- jane russell's mamie stover is born to lose, but she burns with life, will not be contained even by her own desire to be understood -- she returns to zero, falls from fortune, not without sadness, but still with a desire to move on and try again, sharing the proactive lust for adventure that walsh's hero(in)es all share.
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Not a bad film, but the romance rarely sizzles and the noir shadings never amount to much, and it’s all because they kept the real movie offscreen. Had this actually been able to focus on Mamie’s career as a sex worker, it likely would’ve had a lot more interiority and a lot more focus than the scattered, surface-level melodrama they settled on. As is, the most satisfying twists and turns are provided by Jane Russell herself. Paul Thomas Anderson should remake it with Christina Hendricks.
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I found the tone inconsistent. A little bit tawdry melodrama, a little bit musical morality play. I suspect the Hayes Code is responsible for this tonal ambiguity. Many plot points feel like watered down beats from a more sordid screenplay that went through some rewrites. Also the movie depends a little too much on Russell's performance. Gorgeous photography though.
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I can't exactly judge the faithfulness of the movie The Revolt of Mamie Stover compared to the book, because I've never read the latter. All I know is that the book contains plot points that the idiot censors would never allow, which is the likely reason why the movie feels off.
For example, at the beginning of the movie, the title character (Jane Russell, sporting red hair as opposed to her normal black) is dropped at the San Francisco pier and ordered to leave town. Why? The implication is that it's because she was a prostitute, but why would she be run out of town this time because of it? Were there times before this that she was caught for…
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Walsh doing a Ray which as much a Hollywood auteur whiplash as possible. Gorgeous shot, very expressive melodrama hampered some by Egan's hyprocrite character been allowed to be too much of the movie conscious. The remaining cast is terrific and Walsh finds a surprising good connection at the striving for more lead to downfall narrative.
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Red-headed Jane Russell, blonde Agnes Moorehead, beautiful Hawaii in DeLuxe Color and CinemaScope … what could go wrong? Well, plenty.
It’s not surprising that the novel by William Bradford Huie would be sanitized by the Hollywood of 1956, still under the grip of the Production Code, but the degree to which it was makes this film not only less interesting, but less intelligible. Huie’s book is about a prostitute who moves to Honolulu after being bounced out of San Francisco, and who gradually amasses a fortune by optimizing the efficiency with which she can service men via an assembly line technique she dubbed a “bullring.” She also profits on the war by buying up real estate at cheap prices. Her…
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They say don’t ever mix business with pleasure, maybe the same should be said about love and war, the two polar opposites from human quadroon reality that once mixed in the form of seductive temptations and flirting relationships that will inevitably meet unfulfillment.
The Revolt of Mamie Stover basic unraveling story is one of passion and wealth don’t mixing it up well as a stable relationship and how the same effect their two protagonists inner psychological and emotional individuality, resulting in a intimate tale told through pure cinemascope glory, elegantly shot, wonderfully written and performed by A quality department running in all fronts.
The center core of what’s trying to say may seem a bit confusing seeing the heavy luxurious…
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This is a strange Raoul Walsh film, to my mind.
Jane Russell plays a much desired prostitute living in Honolulu before the outbreak of WWII. She falls for a writer, even though the popular establishment she works for doesn't permit boyfriends. When the attack on Pearl Harbor occurs, she quickly buys up real estate and rents it out to Uncle Sam, making a tidy fortune. Inevitably, things go awry as a result of her pin-up notoriety.
When you consider Walsh's filmography, Russell as the social climber is the kind of role that would have been reserved for his leading men of years past, an admittedly not uninteresting development. That said, in Russell's case, we don't get the same electrifying (and…
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Some spoilers
I don't think I would have enjoyed The Revolt of Mamie Stover as much as I did if it weren't for how beautiful it looked. I always feel a bit silly when I compliment the visual aesthetic of a film, as with the moving picture medium it feels almost too obvious to highlight the element of cinema that makes it stand out from photography, literature, and painting, but when a film looks particularly beautiful, it's often worth a mention. The Revolt of Mamie Stover looks like a high budget melodrama, with beautiful Deluxe Color and CinemaScope showcasing the Hawaii location shooting, but the story feels seedier and more grounded than the typical melodrama, and less intense. It's a…
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Um assunto delicado para um pudor Hollywoodiano de 1956, principalmente retratando uma mulher forte que ganha a vida na prostituição.
Toda boa construção da personagem de Mamie, os seus motivos, a ambição, seu passado, as escolhas e decisões até conseguir o que sempre sonhou são jogadas no lixo no minuto final do filme, tudo para deixar mais palatável para uma audiência de 1956.