Jane Russell is the title character, a B-girl in a Honolulu dance hall who makes a killing on real estate after the bombing of Pearl Harbor and turns the tables on the men who’ve kept her down. This 1956 melodrama couldn’t have been nearly as startling in its day as the similarly themed Baby Face (1933), with Barbara Stanwyck, was during the Depression. But it’s a fascinating entry in the oeuvre of he-man director Raoul Walsh; as Dave Kehr wrote in his original Reader review, the movie “examines the themes of Walsh’s male-oriented action films—self-definition, the need to transcend the past—from a woman’s point of view.” Anyone coming to it with less than scholarly interest, however, will find it pretty dreary stuff: male lead Richard Egan is so wooden he manages to make even Russell seem spontaneous. The sole bright spot is Agnes Moorehead, in fine reptilian form as the cynical dance hall owner.