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The Story of Molly X (1949)

Approved | | Crime, Drama, Film-Noir | November 1949 (USA)
Molly's husband Rick was a gang leader in Kansas City. When he's shot, the tough woman moves to San Francisco with a couple of the gang to start anew. Disguised as a rich woman, she and her... See full summary »

Director:

Crane Wilbur

Writer:

Crane Wilbur
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Cast

Complete credited cast:
June Havoc ... Molly X
John Russell ... Cash Brady
Dorothy Hart ... Anne
Connie Gilchrist ... Dawn
Cathy Lewis ... Jan
Sara Berner ... Amy
Sandra Gould ... Vera
Katherine Warren ... Norma Calvert (as Katharine Warren)
Charles McGraw ... Police Capt. Breen
Elliott Lewis Elliott Lewis ... Rod Markle
Wally Maher Wally Maher ... Chris Renbow
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Storyline

Molly's husband Rick was a gang leader in Kansas City. When he's shot, the tough woman moves to San Francisco with a couple of the gang to start anew. Disguised as a rich woman, she and her gang rob security transports. But when one day Rod confesses to her that he killed Rick out of jealousy, she shoots him down immediately. In lack of proof she can't be convicted for the murder, but she goes to jail for the robberies. It's a new and very open female prison, where she learns a profession for the first time in her life. Written by Tom Zoerner <Tom.Zoerner@informatik.uni-erlangen.de>

Plot Summary | Add Synopsis


Certificate:

Approved | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

November 1949 (USA) See more »

Also Known As:

A Mulher Gangster See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Recording)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

Film debut of Richard Egan. See more »

Goofs

During the supposedly vicious catfight between Molly and another inmate in laundry room, it's painfully obvious the actresses are barely even making physical contact with one another, mainly because the filmmakers neglected to dub in sound effects normally added to heighten reality of staged slugfests. See more »

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User Reviews

 
Offbeat, often arresting women's prison noir gives underused Havoc a chance to shine
25 July 2004 | by bmacvSee all my reviews

Why wasn't June Havoc in more movies? She's probably best remembered, biographically at any rate, as young vaudeville star Baby June Hovick, in Gypsy, who ran off to elope, breaking Mama Rose's heart and leading her to push her shrinking violet of a sister into the spotlight. That wall-flower became society `ecdysiast' Gypsy Rose Lee, who wrote the book for the hit musical and its various compromised film versions. Lee's version of their lives caused a long-lasting rift between the siblings.

But Havoc had talent of her own, and plenty of it. She brought style and panache to her role in Chicago Deadline, for instance, and proved a welcome foil to the humorless Alan Ladd. That same year she took the title role in Crane Wilbur's The Story of Molly X, one of the better instalments in the noir cycle that time seems to have lost track of.

The Story of Molly X is a surprising work on many counts. It's one of the few (and one of the first) crime dramas to feature a woman as head of a mob (true, Dame Judith Anderson did it in Lady Scarface, but hers was a secondary role). Widow of a Kansas City gangster who was slain (assailant unknown), she's set herself up in fancy San Francisco digs. There's some resentment against her when she summons her gang west to knock over a jewelry-store vault, most virulently from Dorothy Hart, who serves as moll to one of the other gang members (Elliott Lewis). Resentment turns to hatred when Havoc seduces Lewis into admitting he killed her husband, then plugs him for revenge.

The planned burglary goes awry, and despite Havoc's belief that the cops couldn't find `a pair of pajamas in a bowl of soup,' she's apprehended (the detective in charge is Charles McGraw). She's sent to Tehachapi for only a short stretch, knowing , however, that if the revolver she ditched is ever found, she'll end up in the gas chamber at San Quentin.

Here the script takes an unexpected turn. A year before John Cromwell would make the Sistine Chapel of women's-prison movies, Caged, Havoc enrolls into a Correctional Institution for Women that's as comfy and cozy as the campuses of the Seven Sisters colleges for the brainier daughters of the well-to-do. At first, Havoc plays hard case, refusing even the light work details assigned to her. But confinement to her room summons up some demons from her past: She confides a history of sexual abuse by her stepfather.

Now, this may be so much dollar-book Freud in explaining her career in crime, but, in 1949, it was something of a breakthrough. The exploitation of children for sexual purposes was then barely acknowledged, even in most of the psychiatric establishment. Movies like Bewitched or The Three Faces of Eve or Lizzie that dealt with Multiple Personality Disorder – which is widely thought to have its origins in severe physical or sexual abuse in childhood – fastidiously avoided its roots (Joanne Woodward, who won an Academy Award as Eve, contracted it by being forced to kiss grandma goodbye in her coffin). So on that point alone, Molly X deserves credit (as does another movie of the same year that more gingerly hinted at similar shenanigans: Abandoned).

Escaping her memories by gratefully returning to work, Havoc shows unexpected spunk and fellow-feeling by rescuing other inmates caught in a laundry-room steam explosion. She turns into a model prisoner, at least until the arrival of a shipment of `new fish' proves to contain none other than her nemesis Hart.. Remember, the murder weapon still remains unfound....

Wilbur, both as scriptwriter and director, showed an attraction for stories that dealt with the realities or the aftermath of prison life: Canon City, Outside The Wall, Inside The Walls of Folsom Prison, Women's Prison. In Molly X, he argues the thesis that the penal system is progressive, even enlightened, supplying the rehabilitation that inmates at heart crave. (The antithesis was advanced with dark and persuasive brilliance in the following year's Caged.) He bolsters his argument by means of a none-too-plausible twist at the end. But along the way, especially in the pre-Tehachapi sequences, he shows a real flair for the volatile moodiness of film noir. And in Havoc, who runs the gamut from hard-boiled defiance to contrition as convincingly as the confines of the script allow, he found a star who, for once, got to show just how good she could be.


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