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The Revolt of Mamie Stover (1956)

Set in the early '40s, a San Francisco prostitute is run out of town just as the second World War has begun to intensify. Mamie settles down in Hawaii, hoping to start a new life. Though ... See full summary »

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Cast

Cast overview, first billed only:
...
Mamie Stover
...
Jim Blair
...
Annalee Johnson
...
Bertha Parchman
Jorja Curtright ...
Jackie
...
Harry Adkins
Richard Coogan ...
Captain Eldon Sumac
...
Captain Gorecki
...
...
Gladys
Leon Lontoc ...
Aki
Kathy Marlowe ...
Zelda
...
Peaches
Jack Mather ...
Bartender
John Halloran ...
Henry - Club Bouncer
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Storyline

Set in the early '40s, a San Francisco prostitute is run out of town just as the second World War has begun to intensify. Mamie settles down in Hawaii, hoping to start a new life. Though her prospects look good when she falls in love with a science-fiction writer who treats her with the respect she deserves, the dawning war and the fallacies of her previous lifestyle complicate their budding romance. Mamie cannot fully remove herself from her former profession, and provides some of her old services to the sailors stationed in town. Searching for another means of financial security, Mamie invests in several pieces of real estate and becomes quite wealthy, though her bad reputation has not been forgotten by the locals. Written by alfiehitchie

Plot Summary | Add Synopsis

Taglines:

Why Did Mamie Stover Have to Leave San Francisco?

Genres:

Drama

Certificate:

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Details

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Release Date:

22 June 1956 (Belgium)  »

Also Known As:

Bungalow der Frauen  »

Filming Locations:


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Technical Specs

Runtime:

| (FMC Library Print)

Sound Mix:

Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

The story synopsis of "The Revolt Of Mamie Stover," which appears in the 20th Century Fox studio press book, suggest that some last minute changes and edits were made the film 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 age 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 on 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 the Mamie character 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. See more »

Goofs

The red convertible that Jim drives is a 1946 model. See more »

Connections

Referenced in Norma Jean & Marilyn (1996) See more »

Soundtracks

(I've Got A Gal In) Kalamazoo
(uncredited)
Music by Harry Warren
Played when the bar opens up after Parchman addresses the girls
Also played when the hostess is playing cards with the sailor
See more »

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User Reviews

 
It skirts the edges of a bolder, more passionate product, and may have benefited from the new permissiveness just four year later...
10 November 2008 | by (las vegas, nv) – See all my reviews

Raoul Walsh directs Jane Russell in an adaptation of William Bradford Huie's sexy novel about a brunette bombshell of ill-repute who leaves San Francisco for Honolulu in 1941 and falls into successful career as a dance-hall hostess. The heroine, mercenary and not above some cunning ruthlessness, is an interesting creation, and Russell does her justice. While her wisecracks and general air of condescension are unlikely ingredients for a woman who makes her fortune as a quasi-prostitute, Russell has the hard, salty armor for a role like this. Playing star-crossed lovers with wealthy novelist Richard Egan, Jane is nearly all business, and her witticisms are a hoot. Unfortunately, 1956 was too early for Hollywood to begin revealing the layers of the wanton female mind, and the picture seems too timid, too clean and luxurious as a result. Strictly as a big studio soaper, it has its pleasures. **1/2 from ****


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