Smoulderingly beautiful and a fetching, exotic-eyed vision on the American screen during the 1950s and early 1960s, dark-maned Lisa Montell impressed more, especially to male filmgoers, as a lovely diversion amidst all the rugged terrain and tropical South Sea hazards than as a formidable actress. Similar in beauty and allure to the stunning Debra Paget and France Nuyen, the "Starlet of Many Faces" had a strong knack for ethnic accents and managed to play a variety of foreign types over her relatively brief time before the camera (Peruvian, Mexican, French, Italian, Burmese, Polynesian). Her film resume, which would include such cult-oriented classics as Daughter of the Sun God (1962), World Without End (1956) and the Roger Corman cheapies Naked Paradise (1957) and She Gods of Shark Reef (1958) were nearly all "B" and "C" grade (or worse) in scope and she eventually tired of the lack of challenge. She abandoned her career at the height of her beauty (around 1962) but found immense personal rewards in later decades as a spiritual exponent of the Bahá'í faith.
Although Lisa was born Irena Ludmilla Vladimiovna Augustinovich in Warsaw, Poland, on July 5, 1933, she was not raised there and did not keep her given name for long. Of Russian-Polish descent, she was born to privilege. She and her family managed to flee safely to the United States just months before the Nazi invasion of Poland on September 1, 1939. Her father, a successful businessman, changed the family name to Montwill and Irena's name was adjusted to Irene. The family moved into a spacious Fifth Avenue apartment in New York City and generously took in Polish refugees (both friends and family) as needed during WWII.
Lisa studied art, voice and dance in Forest Hills and eventually was accepted into the High School of Music and Art in Manhattan. She later transferred to the High School for the Performing Arts where she developed an interest in acting. Following graduation, she attended the University of Miami (Florida) for a semester before her father, whose business involved iron mines in Peru, relocated the family to Lima. While there Lisa again studied drama in American-based acting workshops that were set up there She received her first professional break in 1953 after being noticed and cast by Hollywood producers searching for local female leads for a film they were shooting in Peru.
The film was called Daughter of the Sun God (1962) and it was set in the Peruvian jungles. Lisa plays a young adventurous blonde explorer on an expedition who is not only threatened by raging waters, desert heat and native ritualistic practices, but by various wildlife as well (crocodiles, pumas and gigantic snakes, to name a few). The film had financial problems and was so poorly made that it was held up nearly a decade before it was finally bought and released to the American market in 1962.
While enjoying a South American jet-set life in Peru, Lisa went on to appear in a handful of other local films before learning of Hollywood's interest in her despite the unsuccessful marketing of her debut film. Following her father's untimely death, Lisa and her mother moved to Los Angeles where the ethnic-looking wannabe found work cast on TV as Eurasian, Latina and Native-American types.
Billed as Irene Montwill, Lisa's first Hollywood film was Warner Bros.' Jump Into Hell (1955), a French Indochina (pre-Vietnam) war picture in which she played a French love interest to European soldier 'Peter Vn Eyck'. The studio then put her under a temporary contract and she changed her name to the more exotic moniker of Lisa Montell. Despite more second-lead exposure in the RKO films, Les rubis du prince birman (1955), a tea plantation drama starring Barbara Stanwyck and Robert Ryan, and Pearl of the South Pacific (1955), a tropical South Seas adventure with Virginia Mayo and Dennis Morgan, Lisa was not able to up her status in Hollywood.
After filming the minor western, The Wild Dakotas (1956), she appeared in one of her better-remembered pictures, the cult sci-fi film, World Without End (1956), with Hugh Marlowe and Rod Taylor, which takes place on Earth in the 26th century. She went on to play a small role as a ballet dancer in the Leslie Caron MGM drama, Gaby (1956), and was also one of the Italian Martelli sisters (the others being Anna Maria Alberghetti, Eva Bartok and Lisa Gaye) in the musical comedy, Dix mille chambres à coucher (1957), starring Dean Martin. On the western front, she appeared, with Chuck Connors, as an Indian maiden in Tomahawk Trail (1957). Things moved in a cult-like direction for Lisa with her tropical female roles in Roger Corman's Naked Paradise (1957) and She Gods of Shark Reef (1958), both filmed in the same spot in Hawaii. If nothing else, she got to show off her great figure and underwater swimming skills. Over the years, scores of adventurous guest roles came Lisa's way on TV, notably westerns, including the popular series as The Gene Autry Show (1950), La flèche brisée (1956), Tales of Wells Fargo (1957), Colt .45 (1957), Have Gun - Will Travel (1957), Sugarfoot (1957), Cheyenne (1955), Bat Masterson (1958) and Maverick (1957). Outside the western genre, came a few varied performances in everything from comedy (The Ann Sothern Show (1958)) to hip action adventure (Surfside 6 (1960)).
Once wed to fellow actor David Janti, Lisa's last film was the minor "B" western, The Firebrand (1962), starring Kent Taylor. She retired soon after and devoted herself, exclusively, to educational pursuits as well as her Bahá'í religion. She was elected to the Bahá'í Local Spiritual Assembly of Los Angeles and served as Chairperson. Often a public speaker, she has been outspoken on such issues as poverty and discrimination. She was also quite active in the early stages of the civil rights movement and has spent active time with youth arts programs. She later wrote a book (as Lisa Janti) about her spiritual sojourn and, more recently, became the program director of the Center for Education at the Desert Rose Bahá'í Institute. In 2008, she was a guest attendee at the Western Legends Film Festival.
