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From the late 1930's until well after World War Two was over, the stories of women left behind as their men went off to war has been told. The best of the bunch "A Guy Named Joe" with Spencer Tracy, Irene Dunn, and Van Johnson, "Young Widow" isn't one of the best but it's not at the bottom either. Jane Russell broadens her acting range beyond playing the tough broad who has no time for male advances, in adding a soft vulnerable side. Louis Hayward plays her stalker/Love Interest doing all he can to break open the hard shell. It's just a tad ackward in having a British guy in a US Army Air Force uniform and flying a B-24, poor casting that doesn't work well. Dindbat Marie Wilson, Penny Singleton and Faith Domerque play housemates to Russell's character and they are the best, more comical, part of the film. It's not a bad film, it's watchable but it drags in places, the dialogue isn't great, and Russell's character broods far too much. It's as if the director and playwright regard the viewer are terribly slow forcing them to keep up the sad, moody and sour characterization for 3/4's of the picture or the folks won't understand. Check out Van Johnson in "The Miracle of the Rain" or "A Guy Named Joe" first, and then look for "Young Widow".

I was 9 years old when I first saw this movie. I am 64 years old now and I have never forgotten the feeling I had when I saw Young Widow. I was too young to understand the feeling of Love, but it effected me enough that I have never forgotten the movie or the actors and I have not seen Young Widow since 1946.

This is Jane Russell's one serious film, or at least it begins as such, on the brink of turning into a downrightr noir, but then Louis Hayward appears, a man was missing in her life, and here he is. But he doesn't come alone. Along there is a whole bunch of merry war pilots with their girls crowding into the apartment which she has to stay in with a friend for want of vacansies in all hotels in New York, and so it turns into a brilliant, ebullient and very enjoyable comedy.

Many have said that this is Jane Russell's best film, and it couldn't be otherwise. She is as beautiful as Hedy Lamarr and Linda Darnell, and her grief as a widow becomes her more than well and adds to the attraction - Louis Hayward's reactions are perfectly natural and logical.

Still, the serious background remains, many war pilots never return, and they still all have to return to battle. This was made towards the end of the war, but although it is closing on the finish (with bombings of Tokyo), it isn't quite over yet, and the Gerry Taylor subplot stresses the concerns. It's a wonderful film, the dialogue is like crossfire all through but positively witty all the way, and it will be a joy to once return to this film once more.

Jane is gorgeous in this her second film but wasn't ready for a part that required a haunted bruised quality like this does. Missing from her performance is the permeating sadness of a woman who has lost her true love, something that Barbara Stanwyck could have injected in the part without breaking a sweat, still she makes a good try and practically glows on screen. The real reason to watch this is for the supporting cast. Connie Gilchrist and Cora Witherspoon make a fun pairing as Jane's opposite sides of a coin aunts back on the farm. Marie Wilson is charming as her usual ditzy blonde but it's Penny Singleton of Blondie fame who really delivers the best performance as an old friend of Jane's character who provides a nest for her to recover from her heartbreak. She's funny and strong by turns and enjoyable throughout.

In Jane Russell's second movie, she once again shows off her dramatic talents and her beauty. She may not be up in a hayloft as she was in The Outlaw, but she shows depth of emotion she was never again given the chance to show off in her career. If you're a fan, give this one a shot!

Jane plays a young woman whose husband was killed in WWII. She's grieving, and no one, not her loving family or her well-intentioned friends, can help her move on faster than she's ready to. Except for Louis Hayward, a hotshot pilot who won't take no for an answer. His character is the biggest problem in the movie. It's made painfully clear that Jane is still in love with her husband and doesn't want to fall in love with anyone new; once, she hears their song playing in a nightclub and she goes home to cry into her pillow. Louis continually hits on her, even though every time she tells him she's not interested. Then, when he finally learns why she's not interested, he backs off for only a little while, then comes back full force on the woo wagon.

Still, I think this movie is worth watching, to see Jane in a beautiful hairstyle and in some tearful scenes. She didn't make that many movies, so it's nice to see her when I can.