jlphotos14 Oct 10, 2014The moment Jane Russell appears with short dark hair in this movieI saw her as an actress who could marvelously play in any picture in the last 50 yearsJane Russell looks and acts as good as it gets.Just seeing her as a real girl with a contemporary hair cut is worth the price of admission.Jane Russell as a real woman will capture your heart.She is charming, adorable and so beautiful as a real woman.I love her so much after seeing her in this pictureJohn Longenecker / Academy Award Winner

Jay Raskin The general consensus seems to be that the movie is watchable, but not wonderful. I would have to agree.It plays like an extended episode of a smart 1950's sit-com, something like "Love that Bob" (Robert Cummings).Jane Russell is fine as a tough but vulnerable sexy Hollywood star (is there any other kind?). It is terribly sad that at age 36, this was her last real starring vehicle.She's surrounded by a lot of fine actors, including Adolf Menjou, Ralph Meeker, Keenan Wynne, Una Merkel, and Fred Clarke. Unfortunately, they all just walk through their roles without much enthusiasm. It seems just another day at the office for all of them. Menjou and Meeker starred in Stanley Kubrick's "Paths of Glory" that same year, both giving extraordinary performances.Norman Taurog started off directing silent films, made some excellent movies in the 1930's ("Boys Town", "Big Broadcast of 1936"), did good work with Dean Martin and Jerry Lewis in the 1950's, and ended his career in the 1960's by directing nine (good to mediocre) Elvis Presley movies. He knows how to keep things moving and get some laughs, but he doesn't involve the audience enough in his stories or characters to make himself a great director.One problem in script is that the good guys are lovable kidnappers. It is hard to accept Meeker or Wynn as lovable kidnappers, lovable, yes, but kidnappers, no. The script intimates that Meeker has turned kidnapper to get revenge for an unjust manslaughter conviction for which he spent four years in jail. Yet, this seems just a plot device as Meeker does not seem vengeful, but only taciturn over his four lost years.In one scene Russell mention the fact that Meeker smokes a pipe instead of a cigar and attributes it to him not knowing his part (a kidnapper) very well). It is really the script that doesn't know how to bring the romance in, after the kidnapping. It really is a problem that the acting and direction doesn't solve. Giving Meeker's character a real and specific need for the kidnapping - raising money to save his dying child, for example - could have explained the action better.The movie could also have been better if Jane had acted more sexy in more scenes. She does in a few scenes in the first half only and they are the funniest in the movie.There's a lot of talk in the opening scenes about the cutting of a bathtub scene in the movie that Laurel Stevens (Jane Russell) is starring in. She demands that the censored too sexy scene be put back in or she's quitting. "The Fuzzy Pink Nightgown" needed that bathtub scene. If I ever get a chance to remake this movie, I will put it in.

hooligan5 I recently saw this film for the first time, and thoroughly enjoyed it! I'm a big Ralph Meeker fan, so that's what motivated me to watch it, since I can't find many films in which he played leads. I liked how Jane Russell's movie star character who is in control of her career (who happens to be a smart business "girl") interacted with his angry man character! It's not the best movie ever made, but it is very entertaining...I can't believe it 'flopped' when it came out! Maybe it was ahead of its time, or maybe the idea of kidnapping isn't funny to moviegoers! Anyhoo, it's great fun, has a great score by Billy May (who worked with Frank Sinatra). One of my favorite scenes in the movie is towards the beginning, when "Laurel Stevens" (Jane Russell) is trying to charm/seduce the Ralph Meeker/"Mike" character: While they are talking to each other, he avoids looking at her the whole time, and he turns his body away from her every time she gets closer - through the entire scene! All the while, she is using every feminine wile she can on him to get her way! Very funny!

max von meyerling I remember seeing this picture as a kid but recall only the title. It now resembles nothing so much as a high fifties artifact. The unexplained super deluxe beach house complete with private beach is done up in fieldstone and knotty pine, in other words, fifties heaven. The music is by Billy May, the heir apparent to irrelevant big band music jazzed up in fifties fashion. Then there's the reliable fifties trope whereby the feisty bitchy woman is tamed by the alpha male who it is agreed upon will be "the boss". In fact the pairing is the typical one whereby the designated "good looking" guy (just check out the impermeability of what was considered "good looking" in any other period) gets the girl. We have to go through the whole story to arrive at the obvious, predestined ending. To go deeper, the limited cast of three, (and a few others) captured mostly on one set, functions as a sort of fifties commedia dell'arte. We have the hero (Ralph Meeker), his dumb guy assistant (Keenan Wynn) and the beautiful lady (Jane Russell) who must be tamed. There's even a policeman (Fred Clark) to play straight and a denouement based on switching suitcases.I hadn't remembered that the title, obviously used to lend the picture an undeserved prurient aspect, is a terrible misnomer considering its in black and white. Is that '57 T-Bird being drive at the beginning of the picture fire engine red? Who knows. It just seems odd in the extreme for a film with a color in the title to be made in black and white but it is understandable that in that it was a low budget affair produced by Jane Russell and her husband, former football hero Q back (Cleveland and Los Angeles Rams) Bob Waterfield. Not only was FUZZY shot in black and white, but also in academy ratio and not wide screen. There aren't that many sets either so it resembles independent productions of today. However the crafts people, cameraman, editor etc. were first rate. This picture was a flop when it came out, the last picture that Russ-Field made and really the last starring role for Jane Russell, save for a couple of those weird A. C. Lyles nostalgia fests where vintage actors go through the motions in generic scripts as if it were 20 years earlier and they still had careers.The central character, a spoiled brat ego maniac female star, is relevant today, but the whole thought about kidnapping isn't funny or even amusing anymore, even though the kidnapee turning the tables on the kidnappers story has had a long and honorable history since at least O'Henry and maybe existed in 4th century B.C. Greece. Not recommended except for decoration, fashion, design and American Studies students who need inspiration to do a paper for school.