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The Bamboo Blonde (1946)

 -  Musical | War | Romance  -  15 July 1946 (USA)
5.9
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Ratings: 5.9/10 from 182 users  
Reviews: 7 user | 4 critic

A pilot of a B 29 meets Louise Anderson, a singer in a New York nightclub. He falls in love with her, but he had to leave next day for action in the Pacific. He lets paint her picture on ... See full summary »

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Title: The Bamboo Blonde (1946)

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Cast

Complete credited cast:
...
Louise Anderson
...
Eddie Clark
Russell Wade ...
Patrick Ransom, Jr.
Iris Adrian ...
Montana Jones
Richard Martin ...
Jim Wilson
...
Eileen Sawyer
Glen Vernon ...
Shorty Parker (as Glenn Vernon)
Paul Harvey ...
Patrick Ransom, Sr.
Regina Wallace ...
Mrs. Ransom
Jean Brooks ...
Marsha
...
Art Department (as Tom Noonan)
Dorothy Vaughan ...
Mom
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Storyline

A pilot of a B 29 meets Louise Anderson, a singer in a New York nightclub. He falls in love with her, but he had to leave next day for action in the Pacific. He lets paint her picture on his bomber, the "Bamboo Blonde" and becomes a hero with his crew sinking a Japanese battleship and shooting down a Japanese fighter wing. Back in New York, he leaves his fiancée and engages him to Louise. Written by Stephan Eichenberg <eichenbe@fak-cbg.tu-muenchen.de>

Plot Summary | Add Synopsis

Plot Keywords:

pilot

Genres:

Musical | War | Romance

Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

15 July 1946 (USA)  »

Also Known As:

The Bamboo Blonde  »

Company Credits

Production Co:

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Technical Specs

Runtime:

Sound Mix:

(RCA Sound System)|

Aspect Ratio:

1.37 : 1
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Did You Know?

Connections

Featured in Gauchos of El Dorado (1941) See more »

Soundtracks

I'm Good for Nothing but Love
Written by Mort Greene and Lew Pollack
Sung by Frances Langford
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User Reviews

 
Find out what Anthony Mann was up to before he became a genius.
15 March 2001 | by (dublin, ireland) – See all my reviews

As a masterclass in what a great auteur can do with trite, uncharacteristic material, 'The Bamboo Blonde' is a must see. With a bizarre mixture of war propaganda, romantic comedy and musical, Mann manages to offer a prototype of the frayed masculinity so familiar from his noirs, Westerns and historical epics (see the final third, the ritual humiliation of the amiable hero); as well as his subversive interest in signs (see especially the musical number where the heroine walks through a landscape of labelled props), and the gaping difference between their value and the reality they hide. All this AND Jane Greer, as duplicitous a nay-sayer here to American masculinity as she would be a year later in the greatest ever noir, 'Out of the Past'.


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