Jane Russell delivered a cinematic answer to her 1953 hit Gentlemen Prefer Blondes when she inaugurated her production company with the 1955 musical, Gentlemen Marry Brunettes. With location shooting in Paris and on the Riviera, vintage songs from the '20s and '30s and a surprisingly sexy performance by girl-next-door Jeanne Crain, the film offered fans a pleasant surprise.

Russell's contract with eccentric tycoon Howard Hughes and RKO Studios was due to end in 1954, and she wasn't sure if they'd be asking her to stay around. RKO wasn't doing that well, and speculation was that Hughes was about to get out of the picture business. So she got together with her husband, former football star Robert Waterfield, her agents at MCA and attorney Sam Zagon to form her own production company, Russ-Field. She wasn't blazing any trails. Several other stars were doing the same thing in the '50s. But she did succeed in creating a hedge for herself against RKO's fading fortunes. As it turned out, Hughes offered her a contract she couldn't afford to turn down -- $1 million for five films, with payments made over the next 20 years. And the terms were so loose that she could still work for other production companies, including her own.

Zagon sold Russ-Field's services to United Artists, which agreed to six pictures if the first was Gentlemen Marry Brunettes. Although based on a story by Anita Loos, who'd written the original Gentlemen Prefer Blondes, the only thing it retained was the title and the Loos name, in the person of Anita's niece Mary, who had written the script for Russell's latest film, The French Line (1954). That should have been a warning to Russell -- The French Line would be the worst film she ever made if she hadn't followed it with Underwater! (1955). Russell didn't care for the story of a sister act who flee the U.S. for Paris to escape their ardent suitors. Even the chance to play a double role during flashbacks depicting how her mother and aunt had taken Europe by storm didn't sell her. She finally gave in to the studio's assurances that it was a sure thing. The large budget concerned her, too, as did plans to shoot entirely in Europe.

Many of her concerns turned out to be well-founded. Although she traveled with a friend, she was desperately homesick. She had left her children at home to spare them the prying eyes of the British tabloid press, but the move backfired when her son developed a stutter in her absence (it vanished when she finally came home). Her husband visited for a few months, but then went home to spend Christmas with the children. He also embarked on an affair that would lead to a decade of marital problems. On top of that, Russell was horrified at the mounting expenses. When she saw how quickly her expense allowance was depleted, she told the chef hired to cook for her during studio shooting in London that she was on a diet. As a result, her weight fluctuates throughout the film.

On the plus side, shooting was going well. Russell's leading man, Scott Brady, had been a friend since they co-starred in Montana Belle in 1952. Twenties heartthrob Rudy Vallee was on hand to play himself as Russell's modern-day protector and one of her mother's suitors. The costumes were top of the line, designed by couturier Christian Dior and Hollywood veteran Travilla. And Jack Cole, who had choreographed and directed the musical numbers in Gentlemen Prefer Blondes, returned to create some unique routines, highlighted by a lavish interpretation of "Ain't Misbehavin'."

Best of all, however, was Jeanne Crain's surprising performance as Russell's sister. Having just finished her contract with 20th Century-Fox, Crain had fought for the role, hoping it would help her shake the squeaky clean image fostered by the studio. Shake it she did, as she dropped wisecracks and shimmied her way through the provocative dance numbers. Her singing was dubbed by Anita Ellis, best known for supplying the steamy vocals for Rita Hayworth's rendition of "Put the Blame on Mame" in Gilda (1946). Crain reveled in the chance to break free and also enjoyed the fans' attention during location shooting. "There's nothing bigger than a Hollywood star in Europe," she said. "One day of being followed through the city by screaming fans is enough to cure any star of an inferiority complex."

Crain got the film's best reviews, with the New York Herald Tribune's critic commenting, "[She] has been hiding her light under a pinafore far too long. She turns out to be a fine song and dance girl from head to toe." Unfortunately, Russell's fears about the film's extravagant budget proved correct. It was too expensive to turn a profit.

Producer: Richard Sale, Robert Waterfield
Director: Richard Sale
Screenplay: Richard Sale, Mary Loos
Based on the Story "But Gentlemen Marry Brunettes" by Anita Loos
Cinematography: Desmond Dickinson
Music: Robert Farnon
Principal Cast: Jane Russell (Bonnie/Mimi Jones), Jeanne Crain (Connie/Mitzi Jones), Alan Young (Charlie Biddle/Mrs. Biddle/Mr. Biddle, Sr.), Scott Brady (David Acton), Rudy Vallee (Himself), Guy Middleton (Earl of Wickenware).
C-99m. Letterboxed.

by Frank Miller