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 ...
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Ellen is a free spirited young woman in love with Doug. Sadly he must leave America for a two year job in Belgium. Ellen and Doug decide to spend their last weekend together in a tourist ... See full summary »
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
The author of the novel, The Revolt of Mamie Stover, William Bradford Huie, also wrote the novel The Americanization of Emily. In the foreword to the second novel, he wrote: "The Americanization of Emily, like The Revolt of Mamie Stover, is from the war memoirs of Lieutenant Commander James Monroe Madison, USNR. All characters are fictitious." The protagonist of both novels, Jimmie Madison, is called Jim Blair in this movie and is played by Richard Egan. He is called Charlie Madison in The Americanization of Emily and is played by James Garner. See more »
Although the story takes place in 1941-1942, all the women's fashion styles are from 1956. See more »
Shot partially on location in Hawaii and at the Twentieth Century Fox studios in Los Angeles in 1956, this film recreates the atmosphere of the islands before and during the Second World War. Because of her Amazonian good looks and the notorious publicity associated with "The Outlaw" few critics have given Jane Russell her due as a dramatic actress. In this film, directed expertly by the old-hand Raoul Walsh, she plays a no-nonsense out-on-her-luck prostitute -here disguised in the usual Hollywood manner as a dance hall hostesswho falls for the rich guy on the hill. Unlike the other sex-goddesses of her time, foremost of all Marilyn Monroe who had been offered the part and turned it down, Jane shows none of that little-girl innocence and vulnerability of her sexy competitors; here she is as tough as nails, a big tomboy with a great body who knows exactly what she has and what it's worth. All business. Particularly memorable is a heated scene with Richard Egan in which she explains why she is obsessed with making money. It is probably one of the most convincing portrayals of a hooker without a heart of gold in film.
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