Jane Russell Movies

One of the first recognizable "vigilante" films in American cinema, The Born Losers tells the story of Billy Jack (writer-director Tom Laughlin), a half-breed ex-Green Beret and Vietnam veteran who makes it his business to rescue a cute mod girl from a crew of vicious bikers. Much to his chagrin, however, he finds his lethal training gets him in as much trouble with the racist cops as with the bikers, and he soon becomes embroiled in a violent struggle against all parties involved. There is blood-letting and bone-breaking to burn in The Born Losers, not to mention lots of preaching on the part of Laughlin. However, it still tops the more famous sequel, Billy Jack, and it qualifies writer-director-star Laughlin for the status of true auteur. ~ Jeremy Beday, All Movie Guide

In this western, a gunfighter is hired to clean up the chaotic streets of Emporia, Wyoming. The gunfighter arrives and finds that his ex-lover is there and is married to the town preacher. Though the two are still attracted, they resist temptation. When he sees how violent the town really is, the gunman sends for help. As soon as his friend gets there, the two begin cleaning up the town. ~ Sandra Brennan, All Movie Guide

Coproduced by actress Jane Russell and her husband Robert Waterfield, The Fuzzy Pink Nightgown represented Russell's final starring film of the 1950s--and her last movie appearance until 1964. Decked out in an unbecoming blonde wig, Jane is cast as Hollywood starlet Laurel Stevens. On the eve of her latest picture,"The Kidnapped Bride", Laurel is kidnapped for real by Runyonesque crooks Mike (Ralph Meeker) and Dandy (Keenan Wynn"). She assumes it's a publicity stunt staged by her studio, but soon figures out what's what. When the kidnappers fall for Laurel and decide to set her free, she insists that they go through with their ransom demands, lest she be accused of faking the abduction for publicity purposes. Based on a much funnier novel by Sylvia Tate, The Fuzzy Pink Nightgown was an enormous flop which not even the combined comic expertise of supporting players Fred Clark, Una Merkel and Benay Venuta could salvage. Thanks to constant TV showings in the 1960s, however, the film finally posted a profit. ~ Hal Erickson, All Movie Guide

If Hot Blood is remembered at all today, it is for its ludicrous advertising blurb "Jane Russell shakes her tambourines and drives Cornel Wilde!" Set in the gypsy community of contemporary Los Angeles, the film stars Wilde as aspiring dancer Stephen Torino, who is tricked by his brother Marco Luther Adler into an arranged marriage with tempestuous Annie Caldash Jane Russell. Annie is willing to give the union a go, but Torino wants none of it. Several risque complications and lively musical numbers later, Torino changes his mind. Nicholas Ray imbues Hot Blood with the same erotic/neurotic energy he brought to such earlier cult favorites as Johnny Guitar and Rebel without a Cause, but the magic just isn't there this time. ~ Hal Erickson, All Movie Guide

In this tuneful, romantic sequel to the classic Gentlemen Prefer Blondes, two gorgeous brown-haired Broadway chorines head for the City of Light to escape their ardent, predatory fans and find true love after having many adventures. The story is paralleled by that of their mother and aunt who did the same thing during the 1920s. ~ Sandra Brennan, All Movie Guide

Clark Gable and Jane Russell star in this rugged widescreen western, exquisitely photographed by Leo Tover and directed by veteran action expert Raoul A. Walsh. Gable plays Ben Allison, who with his brother Clint (Cameron Mitchell) journeys to Montana in search of gold. They come upon wealthy businessman Nathan Stark (Robert Ryan), whom they try to rob of $20,000. Instead, Stark talks Ben and Clint into becoming partners with him on a cattle drive to Montana. As the group travels to Texas, they come upon a party of settlers being attacked by Indians. They save the saucy Nella Turner (Jane Russell) and she joins with Ben, who has been made trail boss, and Clint on the cattle drive. Ben and Nella are attracted to each other but after an initial fling, Nella rejects him -- Ben just wants enough money to buy a small ranch and Nella won't settle for slim pickings. Arriving in Fort Worth, Nella takes up with Stark, whose desire to make as much money as possible coincides with Nella's money-hungry ambitions. But when, at Stark's insistence, she accompanies him on the final trek to Montana, the seething friction between Ben and Stark erupts as the drive heads into dangerous Indian country. ~ Paul Brenner, All Movie Guide

This sixth entry in the Crosby-Hope-Lamour "Road" series was the first (and last) in Technicolor. This time, Bing Crosby and Bob Hope play George Cochran and Harold Gridley, American vaudevillians stranded in Australia. To avoid a dual shotgun wedding, George and Harold sign on as deep-sea divers for sinister South-Sea-island prince Ken Arok (Murvyn Vye). After a contretemps with an octopus (courtesy of stock footage from Reap the Wild Wind), our heroes sail to the prince's Balinese homeland, where they meet and fall in love with gorgeous Princess Lalah (Dorothy Lamour). Though Lalah favors George, she feels obligated to Harold, because he resembles her childhood best friend -- a chimpanzee (this must be seen to be believed). When Ken Arok attempts to usurp Lalah's throne, she and the boys escape to a tropical island, where they meet the inevitable slapstick-comedy gorilla. More adventures await the intrepid trio on another island, this one dominated by an active volcano. Who gets the girl in this one? A hint: the loser tries to physically prevent the "The End" title from flashing on the screen during the final fadeout. Though not as fresh and spontaneous as earlier "Road" endeavors, Road to Bali has its fair share of non sequitur gags, inside jokes and unbilled guest appearances (including Martin and Lewis, Bing's brother Bob Crosby, Humphrey Bogart and Jane Russell). Best bit: when Crosby feels a song coming on, Hope turns to the camera and hisses "He's gonna sing, folks. Now's the time to go and get your popcorn." ~ Hal Erickson, All Movie Guide

A sequel to Bob Hope's 1948 box-office success The Paleface, 1952's Son of Paleface is a superior product in every way, thanks largely to the spirited, creative direction of Frank Tashlin. Hope is cast as Junior Potter, a Harvard-educated dude who heads West to claim the inheritance left him by his gunslinger father. Much to his chagrin, Junior discovers that his dad has left him nothing but debts. To stave off Potter Sr.'s angry creditors, Junior pretends that his father has salted away a fortune somewhere in the hills. This arouses the attention of curvaceous saloon owner Mike (Jane Russell), who doubles as a mysterious masked bandit known as The Torch. Meanwhile, Roy Rogers (playing a federal agent named Roy Rogers) keeps tabs on Junior, hoping that he'll lead him to The Torch and her gang. True to form, ex-cartoonist Tashlin fills the screen with a wealth of inventive sight gags and inside jokes: Cecil B. DeMille shows up as a photographer in one scene, while in another, Hope, about to embark on the film's wild climactic chase sequence, shoos away a couple of vultures wearing bibs, warning them that "You'll make the whole thing look impossible." Our favorite scenes: Hope's Wile E. Coyote-like reaction to a particularly potent drink, and his bedroom scene with Roy Rogers' wonder horse Trigger. And don't forget the film's slightly risque punch line "Let's see them top that on television," (you have to be there). Songs in Son of Paleface include "You Are My Valley of Sunshine," "Four-Legged Friend," "Wing Ding Tonight," "What A Dirty Shame," and a reprise of The Paleface's Oscar-winning "Buttons and Bows," performed by Hope, Russell and Rogers. ~ Hal Erickson, All Movie Guide

Originally filmed at Republic in 1948, Montana Belle was purchased by producer Howard R. Hughes, who'd loaned the services of the film's star, Jane Russell. After laying on the shelf for three years, Montana Belle was finally released by Hughes' RKO Radio Pictures in October of 1952. Russell plays notorious western outlaw Belle Starr, who after being saved by the Dalton Gang from the hangman's noose, falls in love with Bob Dalton (Scott Brady). This doesn't stop Belle and Dalton from trying to stab one another in the back for the next 8 reels. It is gambler Tom Bradfield (George Brent) who finally offers Belle a new start in life--and, incidentally, a new romance. The film's high point of imbecility arrives when Jane Russell disguises herself as a man. In other words, Montana Belle is lots of fun so long as no one takes it too seriously (it is clear that the people who made the film didn't!) ~ Hal Erickson, All Movie Guide

One man's good luck leaves a very bad impression in this comedy. Johnny Dalton (Frank Sinatra) and Mildred Goodhug (Jane Russell) are two tellers working at the same bank who have fallen in love and want to get married. However, neither is making much money, and Johnny doesn't want to set a date until he has some savings in the bank. Emil J. Keck (Groucho Marx), a pal of Johnny's who waits tables at a diner, suggests that it can't be that difficult to "find" some money in a bank, but Johnny prefers to stay on the straight and narrow. However, Johnny enjoys a sudden windfall after he happens upon "Hot Horse" Harris (Nestor Paiva), a racetrack tout being beaten up by ne'er-do-wells, and breaks up the fight. Grateful Harris places a bet on a "can't lose" horse in Johnny's name, and suddenly Johnny is $60,000 richer. But before Johnny and Mildred can enjoy their good fortune, word leaks out that someone has embezzled $70,000 from the bank, and the suddenly prosperous Johnny seems a likely suspect. Double Dynamite was produced under Howard Hughes' supervision at RKO, but bad blood between Hughes and Sinatra led to "Ol' Blue Eyes" receiving third billing for the film's leading role; the film also spent over a year on the shelf before finally hitting theaters. ~ Mark Deming, All Movie Guide

With The Outlaw still being withheld from general release, Young Widow represented the first time that most filmgoers ever saw Jane Russell on the screen. Unfortunately, she was hardly at her best in this lachrymose tale of a woman named Joan Kenwood, who can't get over her husband's death in WW II. A journalist by profession, Joan is reminded in large ways and small of her late husband during every one of her assignments. Sympathetic ex-soldier Jim Cameron (Louis Hayward) follows Joan around throughout the picture, hoping against hope that she'll eventually forget her husband and pay some attention to him. Featured in the supporting cast is Faith Domergue, who like Jane Russell was a well-endowed Howard R. Hughes "discovery." Young Widow was based on the four-hanky novel by Clarissa Fairchild Cushman. ~ Hal Erickson, All Movie Guide

The tendency is to scoff at Macao as just another example of Josef von Sternberg's late-career exercises in exoticism; true, it has its problems, including a weak plot and a slightly hasty pace, but it is still an extraordinary film for its time and its personnel. The real sparkplug for the movie is Jane Russell as out-of-work singer Julie Benson, who inadvertently gets the plot rolling when she ends up in a cabin with a lout who won't take no for an answer. Her plight, and a flying shoe, brings in laconic, slightly mysterious traveler Nick Cochran (Robert Mitchum), who seems to have something to hide and manages to get his wallet (including passport) lifted by the opportunistic Julie. Crossing paths with them is Lawrence Trumble (William Bendix), a good-natured lunkhead salesman coming to Macao for the gambling. And gambling, among other less legal activities, is what local hood Halloran (Brad Dexter) is all about. He's just hot enough in international crime circles to attract the authorities, who can't touch him in Macao; he's already had one New York detective killed and expects another to arrive, and he's keeping an eye on any suspicious, unfamiliar Westerners arriving, which leads him to Julie, Cochran, and Trumble. Halloran has other, obvious plans for Julie, especially when obliging corrupt police chief Thomas Gomez points her to a singing job at his club, much to the distress of his one-time girlfriend (Gloria Grahame); he dismisses Trumble as a lovable clown. But Nick has cop written all over him and is hiding something. All of the pieces fit together neatly in the end, and everyone is keeping at least one secret that will surprise viewers.

What makes Macao truly special are the performances, beginning with Jane Russell, who, with the possible exception of Gentlemen Prefer Blondes, was never better. Her ample physical assets are on display as usual, but she also never gave a sharper, more naturalistic or purely sensual acting performance. Russell had clearly found her talent and her center with this film. Whether she's shooting a suspicious glance at larcenous police chief Thomas Gomez, singing a sultry torch song in a seductive white strapless outfit, or striding forward in an exquisite dolly-out shot, she commands every scene in which she appears. And it's not just her imposing physique that does it, but a boldness of nuance; Russell had learned a lot since The Outlaw. Brad Dexter, the odd man out in The Magnificent Seven, makes an excellent villain, like a more pathological version of Steve Cochran. Meanwhile, Robert Mitchum, in his portrayal of a neurotic, perhaps shell-shocked veteran, shows a vulnerable side that seldom came out so convincingly or touchingly in his RKO movies; and even William Bendix found a new wrinkle to his screen persona as the seemingly larcenous commercial traveler. The audience will be beguiled and surprised throughout this movie -- an underrated noir classic -- and not just by the stories that unravel. The last line and wrap shot create an amazingly lusty, censor-challenging denouement for an early '50s film. ~ Bruce Eder, All Movie Guide