I would recommend it to those interesting in Jane or going through her filmography, it's probably one of her better performances and movies. I mean, it is a basic, predictable story but it's enjoyable and never boring.
It's not a movie that I instantly think of as one of her best, FOXFIRE is a pretty solid film. It's very atypical of her movies, being a somewhat grounded drama and dealing with, in a surprisingly frank way for the mid-50s, an interracial relationship.
I'm not wild about her short hair in the film, but she still looks beautiful; cinematography was by William Daniels (who had filmed Greta Garbo a number of times).
I've not read the book, nor do I necessarily intend to, but that's quite a beautiful picture of Jane they've used.
It's not a movie that I instantly think of as one of her best, FOXFIRE is a pretty solid film. It's very atypical of her movies, being a somewhat grounded drama and dealing with, in a surprisingly frank way for the mid-50s, an interracial relationship. I'm not wild about her short hair in the film, but she still looks beautiful; cinematography was by William Daniels (who had filmed Greta Garbo a number of times).
The movie came at an interesting time in her career. She was still under contract to Hughes, but he had disinterested himself in the industry. This left Jane with more freedom than she ever had before, and she sought out a few roles beyond her norm. THE REVOLT OF MAMIE STOVER is a better movie, but both show Jane could have been a good actress if she had better material to work with.
RKO was falling apart in the 50s and it showed in their product. Hughes destroyed the studio and Jane's career, even though she had a lucrative contract with him.
I'm one of these loonies who believes Technicolor ---- old style Technicolor -- is actually more natural color! It didn't make those fuchsias and crimsons look that way -- it was simply able capture it.All of these movies look glorious in Technicolor,
Although technically under contract to Hughes, Jane was the de facto Queen of the RKO lot in the 50s; but it wasn't much of a reign, with Hughes' meddling hastening the downfall of that studio. Hughes' tastes were puerile and vulgar; his management style was chaotic. HIS KIND OF WOMAN and MACAO probably would have been good -- maybe even great -- films, if Hughes hadn't tinkered with them endlessly. The rest of his films with Jane were terrible.
to be fair, it's also likely Jane wouldn't have had a career at all without Hughes. By her own admission, she lacked ambition and was even lazy. I suspect she would have married Bob Waterfield and been a footballer's wife, without Hughes' promoting her career.
Now this one can't be blamed on Hughes! This is from THE FUZZY PINK NIGHTGOWN (1957), which Jane produced after Hughes had ceased directly managing her career. It's a comedy about a publicity prone movie star who gets kidnapped for real, and the studio assumes its a stunt. This should have been a fun film -- a spoof of the Jayne Mansfield-style publicity hunting stars of the 50s -- but Jane and the director disagreed on the style. The director wanted a Technicolor comedy, while Jane wanted it as a B&W romantic mystery. They met in the middle and the end result worked on neither level. This was also pretty much the end of her Hollywood career.