{"id":18256,"date":"2018-08-25T01:31:39","date_gmt":"2018-08-25T05:31:39","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=18256"},"modified":"2018-08-25T01:32:54","modified_gmt":"2018-08-25T05:32:54","slug":"uncovering-the-fuzzy-pink-nightgown-1957-the-revolt-of-mamie-stover-1956","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=18256","title":{"rendered":"Uncovering The Fuzzy Pink Nightgown (1957) + The Revolt of Mamie Stover (1956)"},"content":{"rendered":"

Summer may be the season for vacationing, but for others it’s reorganizing the office in a post-spring cleaning, spring cleaning thing, which includes trying to get a breakout box to recognize analogue RGB video. Apparently it’s not easy, hence more than a few days (more like 1.5 weeks of intermittent head-smacking) trying out all kinds of variations with zero success.<\/p>\n

While I attempt to theorize the next phase of How to Make It All Work, I’ve posted a set of reviews tied to Jane Russell’s final two films prior to a 7 year feature film hiatus.<\/p>\n

 <\/p>\n

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Jane Russell WEARS a Fuzzy Pink Nightgown (but this isn’t it).<\/p><\/div>\n

 <\/p>\n

There’s much irony within her last picture, the indie-produced\u00a0The Fuzzy Pink Nightgown<\/strong><\/a> (1957), in which a big star’s live-in house assistant used to be a big star herself before taking too much time off from film, and failing to make a comeback.\u00a0There’s also some sly bitter observations on stardom in the film, but Nightgown<\/strong>\u00a0is interesting for its flaws and the portents of Russell’s own career that slowed down shortly thereafter.<\/p>\n

Her modest late-career phase in the 1960s may be the result of Hollywood and producers focusing on the next & newest & youngest star, and the lack of quality roles for an actress built up as a sexpot in Howard Hughes very weird western\u00a0The Outlaw<\/strong> (1943), then a musical comedienne in\u00a0Gentlemen Prefer Blondes<\/strong> (1953), and genre tryouts rather than finding custom roles to fit the strengths of a maturing actress.<\/p>\n

 <\/p>\n

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Jane Russell IS Mamie Stover!<\/p><\/div>\n

 <\/p>\n

Nightgown\u00a0<\/strong>isn’t her best work – it’s a self-deprecating gamble – whereas\u00a0The Revolt of Mamie Stover<\/strong><\/a> (1956) is slickly designed to emphasize Russell’s harder screen persona. It’s a film I’d rather revisit more than\u00a0Blondes<\/strong> because there’s very little fluff, and Russell maintains strong chemistry with Richard Egan.<\/p>\n

Whereas\u00a0Stover\u00a0<\/strong>is out on Blu (via Twilight Time),\u00a0Nightgown<\/strong> is nowhere – another orphan film in need of a home, and better transfer. My source was a poor VHS tape with Spanish subs, so given it’s a MGM title, maybe KINO’s KL Studio Classics might attempt a HD transfer and special edition on Blu, using the film as a launching pad for commentators to assess Russell’s place in Hollywood and impact in film. I mean, they just announced her prior film\u00a0Foxfire<\/strong> (1955) is due on Blu this fall, which is\u00a0great<\/em> news for fans of Russell, co-star Jeff Chandler, and Technicolor fans curious to see a fresh HD transfer of the last studio film to be shot in 3-strip Technicolor.<\/p>\n

Coming shortly is a revised review of James Cameron’s directorial debut,\u00a0Pirahna 2: The Spawning<\/strong> (1981), new on Blu from Scream Factory, after which I will attempt one more time to solve the RGB to digital headache. Hopefully I won’t need a bigger band-aid.<\/p>\n

Cheers,<\/p>\n

 <\/p>\n

 <\/p>\n

Mark R. Hasan<\/strong>, Editor
\nKQEK.com<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Uncovered are Jane Russell’s last major films of the 1950s: The Fuzzy Pink Nightgown (1957) + The Revolt of Mamie Stover (1956) from Twilight Time on glorious Blu.<\/p>\n","protected":false},"author":1,"featured_media":18259,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[6],"tags":[2562,2563,5793,5791,5797],"jetpack_featured_media_url":"https:\/\/kqek.com\/mobile\/wp-content\/uploads\/2018\/08\/RevoltMamieStover_featured.jpg","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-4Ks","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/18256"}],"collection":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=18256"}],"version-history":[{"count":8,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/18256\/revisions"}],"predecessor-version":[{"id":18295,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/18256\/revisions\/18295"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/media\/18259"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=18256"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=18256"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=18256"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}