I think what especially deserves acknowledgement and is really underrated about 'Jeanne Eagels' (George Sidney, 1957) is the luscious black and white camerawork of four-time Oscar-nominated Robert H. Planck (1902-1971). This was his second-last film after working nearly thirty years as a photographer and director of photography for films. Interestingly, he also began his career in Hollywood in 1929 which is the same year that the real-life Jeanne Eagels (1890-1929) would sadly die of a heroine overdose. It can be argued that Planck's experience working in Hollywood in 1929 and his lived experience of growing up in the earlier part of the twentieth century allowed him to illustrate the visual textures of a nostalgic atmosphere in this film in a very sensory way.
What is especially gorgeous is the scene where Sal Satori (Jeff Chandler) is wrestling in bed, trying to sleep, and hears Jeanne Eagels (Kim Novak) arriving at their Brighton Beach house after a night of Jeanne meeting with the press. Instead of entering the house, Jeanne immediately runs across the beach to take a dip in the ocean. The dark silhouette of Jeanne taking off her dress in the ocean breeze contrasted against the bright moonlight is a breathtaking cinematic image. This scene also includes shots of Jeanne and Sal laughing playfully and innocently amidst the glittering and glistening crests of the ocean waves. Visually, the scene is otherworldly as if in a dream that might only occur in the mind of one, like Planck, who could illustrate a different time because of the consciousness of one's memories of living through it. The camera cuts to a long and wide shot of the horizon, panning away from the shoreline with Jeanne's and Sal's dark silhouettes walking toward the beach house with the water sparkling on their wet skin and hair. It's no surprise that the majority of the most beautiful cinematography occurs in the scenes with Novak and Chandler, as their acting chemistry appears very strong and sensual throughout most of the film.
In addition to the lighting, there is one scene where Sal is washing the grease off his face in Jeanne's Washington Hotel bathroom while she is speaking to Al Brooks (Larry Gates) in another room. She's telling Al that Elsie Desmond (Virginia Grey) wants Jeanne to star in her play, which is a lie that Jeanne is telling Al in hopes that she gets the lead role. A scene with less imagination would allow us, as the viewer, to only hear the voices of Jeanne and Al as Sal washes his face. However, the viewer gets to see the action between Jeanne and Al take place in a mirror on the opened bathroom door while Sal washes his face and listens along with us. It's a nice camera choice to keep the viewer engaged with the actions and reactions of all characters present in the scene.
Another scene that has some interesting camerawork is when Jeanne arrives back at Sal's Coney Island carnival to tell him that she plans to marry John Donahue (Charles Drake). They stand in front of a large rollercoaster foundation, which dwarfs the two, and is comprised of a typically complicated structure of hundreds of crisscrossing wooden posts. The rollercoaster and its crisscrossing wooden foundation juxtapose nicely with the ups and downs and entanglement, respectively, of Jeanne and Sal's romance.
I'd also like to acknowledge the elegant wardrobe tailoring of the cast, particularly of Jeff Chandler. I especially loved the elegant tuxedo ensemble with the sheen of the satin and silky fabrics of the lapels, handkerchief, buttons, bowtie, cuffs, and vest that he wears during the Kansas City Beauty Contest scene where Sal and Jeanne encounter each other for the first time. Jeff Chandler has a scrumptious physique and fills his wardrobe nicely!
Although I do agree with some user reviews that Kim Novak was better in starring roles that require acting subtilties of "being" rather than "larger-than-life" starring roles that require specialized acting techniques, her performance in this film is still enjoyable to watch. My personal favourite Kim Novak films include 'Strangers When We Meet' (Richard Quine, 1960), 'Picnic' (Joshua Logan, 1955), 'Pushover' (Richard Quine, 1954), and 'Middle of the Night' (Delbert Mann, 1959), in that order, which are films that really provide a chance for her to showcase a natural style of acting and suits her very well. Fans of the film 'Jeanne Eagels' will also likely enjoy 'Pal Joey' (1957) and 'The Eddy Duchin Story' (1956) which also star Novak, are also directed by George Sidney, and also focus on themes and lives of those in the performing arts and entertainment industries. Also included in 'Jeanne Eagels' are some fine supporting roles from Agnes Moorehead and Virginia Grey. If you can focus on the visual beauty of Planck's cinematography and actor chemistry between Novak and Chandler, without getting too wrapped up with the facts of the life of the real Jeanne Eagels, then I'm confident you'll be able to enjoy this film.
What is especially gorgeous is the scene where Sal Satori (Jeff Chandler) is wrestling in bed, trying to sleep, and hears Jeanne Eagels (Kim Novak) arriving at their Brighton Beach house after a night of Jeanne meeting with the press. Instead of entering the house, Jeanne immediately runs across the beach to take a dip in the ocean. The dark silhouette of Jeanne taking off her dress in the ocean breeze contrasted against the bright moonlight is a breathtaking cinematic image. This scene also includes shots of Jeanne and Sal laughing playfully and innocently amidst the glittering and glistening crests of the ocean waves. Visually, the scene is otherworldly as if in a dream that might only occur in the mind of one, like Planck, who could illustrate a different time because of the consciousness of one's memories of living through it. The camera cuts to a long and wide shot of the horizon, panning away from the shoreline with Jeanne's and Sal's dark silhouettes walking toward the beach house with the water sparkling on their wet skin and hair. It's no surprise that the majority of the most beautiful cinematography occurs in the scenes with Novak and Chandler, as their acting chemistry appears very strong and sensual throughout most of the film.
In addition to the lighting, there is one scene where Sal is washing the grease off his face in Jeanne's Washington Hotel bathroom while she is speaking to Al Brooks (Larry Gates) in another room. She's telling Al that Elsie Desmond (Virginia Grey) wants Jeanne to star in her play, which is a lie that Jeanne is telling Al in hopes that she gets the lead role. A scene with less imagination would allow us, as the viewer, to only hear the voices of Jeanne and Al as Sal washes his face. However, the viewer gets to see the action between Jeanne and Al take place in a mirror on the opened bathroom door while Sal washes his face and listens along with us. It's a nice camera choice to keep the viewer engaged with the actions and reactions of all characters present in the scene.
Another scene that has some interesting camerawork is when Jeanne arrives back at Sal's Coney Island carnival to tell him that she plans to marry John Donahue (Charles Drake). They stand in front of a large rollercoaster foundation, which dwarfs the two, and is comprised of a typically complicated structure of hundreds of crisscrossing wooden posts. The rollercoaster and its crisscrossing wooden foundation juxtapose nicely with the ups and downs and entanglement, respectively, of Jeanne and Sal's romance.
I'd also like to acknowledge the elegant wardrobe tailoring of the cast, particularly of Jeff Chandler. I especially loved the elegant tuxedo ensemble with the sheen of the satin and silky fabrics of the lapels, handkerchief, buttons, bowtie, cuffs, and vest that he wears during the Kansas City Beauty Contest scene where Sal and Jeanne encounter each other for the first time. Jeff Chandler has a scrumptious physique and fills his wardrobe nicely!
Although I do agree with some user reviews that Kim Novak was better in starring roles that require acting subtilties of "being" rather than "larger-than-life" starring roles that require specialized acting techniques, her performance in this film is still enjoyable to watch. My personal favourite Kim Novak films include 'Strangers When We Meet' (Richard Quine, 1960), 'Picnic' (Joshua Logan, 1955), 'Pushover' (Richard Quine, 1954), and 'Middle of the Night' (Delbert Mann, 1959), in that order, which are films that really provide a chance for her to showcase a natural style of acting and suits her very well. Fans of the film 'Jeanne Eagels' will also likely enjoy 'Pal Joey' (1957) and 'The Eddy Duchin Story' (1956) which also star Novak, are also directed by George Sidney, and also focus on themes and lives of those in the performing arts and entertainment industries. Also included in 'Jeanne Eagels' are some fine supporting roles from Agnes Moorehead and Virginia Grey. If you can focus on the visual beauty of Planck's cinematography and actor chemistry between Novak and Chandler, without getting too wrapped up with the facts of the life of the real Jeanne Eagels, then I'm confident you'll be able to enjoy this film.