The Women (1939)

As has been said before 1939 was a great year for Hollywood classics, "Gone with the Wind", "The Wizard of Oz", "Wuthering Heights", "Stagecoach", et.al but I must admit I'd never heard of this film, or its place in the pantheon before now. It merits its spot. Once the novelty of an all-female cast wears off (there' nary a male extra in the backgrounds either), the movie crackles along as a small group of society women present a kaleidoscopic view of relations with men so that while men are absent physically they're ever-present in the dialogue and thoughts of this contrasting set of women-folk. Introduced wittily over the titles alongside their attributional equivalents in the animal world, the actresses play out of their skins and make a two hour plus set-bound movie simply fly by. Central to the whole is Norma Shearer, whose perfect marriage is shattered by her husband's casual infidelity with on-the-make shop girl Joan Crawford in a terrific, venomous turn. Shearer effectively plays queen bee to the drones around her both in her society set and in the motley assemblage at the divorce farm in Reno. She makes the journey from marriage to divorce and back with dignity and intelligence and even if I personally disagree with her choice and the sickly schmaltzy close-up with which she ends the film, about to fall back into her errant (ex-) husband's arms, this doesn't invalidate the fun and wit that has gone before. As good as Crawford and Shearer are, in their contrasting roles, it's Rosalind Russell as the treacherous, waspish Mrs Fowler, who steals the show and gets many of the best situations (her cat fight with Goddard is priceless!) and lines. Goddard too is radiant and knowing in her part, while a young Joan Fontaine simpers pleasantly as the naive "little child" of the group. A special nod also to the child actress playing Shearer's daughter without artifice and yet with appreciable warmth and naturalness. There are one or two anachronistic moments which jar, reflecting contemporary attitudes towards race and censorship, but on the whole, "woman's director" George Cukor keeps all the ingredients close to or at boiling point throughout. Perhaps too many of the speeches are head and shoulder shots fore square to the camera and having got good play out of two servant staff extemporising the doings of their masters, Cukor makes the mistake of repeating the trick immediately afterwards, thus diminishing the comedic impact. Nevertheless, appreciating that some of these criticisms are merely due to a retrospective eye (obviously cinematic times and styles change) on a film which in some respects is dated, there are still some neat turns in the language and phrases used, which still resonate today.

Fmovies: This movie's stage origins show beautifully in the dialogue richness and witty one-liners. Things come so fast, you will miss some sparkling cattyness if you let you attention wander for a moment! The fashion show sequence must have seemed a highlight when the film was made, but fast-forward through it now and get to the great dialogue!

It was fitting that MGM was the studio that brought The Women to the screen. Claire Boothe Luce's play which ran on Broadway for 657 performances, was her view of the Republican ladies of Park Avenue, in whose society she fit in so well.

None of those studio bosses were exactly flaming liberals, but probably the most political of all was Louis B. Mayer who served on the California Republican State Committee and had his stable of stars ready to do or die for the GOP whether they wanted to or not. Mayer was very active in the campaign to defeat Upton Sinclair for Governor of California in 1934 and put all of MGM's propaganda resources to defeat the radical Mr. Sinclair.

Claire Boothe Luce knew this world well and certainly had the satirical skills to define it. But make no mistake about it, the real villain here is Joan Crawford, shop girl, working class, and I've got no doubt is a Democrat.

Norma Shearer is her opposite, tasteful, refined, and unfortunately getting a little stale with age. Why would her husband now be eying Crawford at the perfume counter if not so.

Due to a lot of interference by not so well meaning friends like Rosalind Russell, who does nothing but gossip about others, Shearer's marriage does break up and her husband goes off with Crawford. Norma's down, but not out.

The Women has aged very well as entertainment. It's as fresh as it was when first presented on Broadway in 1936. There's always the complaint about no good parts for women being written for the female sex. Definitely not as good as the characters that Clare Boothe Luce created in this play.

My favorite in the cast is Rosalind Russell. Usually cast as second leads and colorless heroines, she fought hard for the part she got her as the heroine's best friend and worst nightmare. She also fought hard to share above the title billing with Norma Shearer and Joan Crawford who had lots more seniority at MGM than Russell. In her memoirs Russell gives total credit to George Cukor for bringing out comedic talents that no one really thought she possessed. Russell had done comedy before, but had not been as well received as she was in The Women.

George Cukor always had that reputation as a women's director and I think this film with the obvious title probably is what gave him that reputation. The Women takes a lot of its edge also from the real life situation at MGM. Norma Shearer, being the widow of Irving Thalberg, was the dowager queen of the lot and she still got the first pick of dramatic parts. Only Greta Garbo at MGM who was in a different plane of existence practically topped her. The rest got Shearer's leavings, especially Joan Crawford. That led to a lot of resentment around MGM.

Among the supporting cast look for good performances from Joan Fontaine as the young and shy divorcée, Mary Boland as the scatterbrained Zsa Zsa Gabor of the day, Paulette Goddard who gets Russell's goat, her man, and the best of her in a chick fight and Marjorie Main as the wisecracking owner of a Reno dude ranch where the women stay when they're shedding their mates.

Within two years Norma Shearer would retire from the screen and Joan Crawford in four years would leave MGM. This was the last really good film either of them did at Leo the Lion's den and it's fabulous.

The Women fmovies. This movie has one of the best casts ever - Joan Crawford, Norma Shearer, Paulette Goddard, Rosalind Russell, Mary Boland, Joan Fontaine, Hedda Hopper and Virginia Weilder just to make a few. These women carry the movie perfectly and acting is perfection. Some people disagree and say that Norma Shearer acts in a 'silent screen' type of way - but I cannot agree with that. I think she did an excellent job especially when she had the crying scene on the sofa (I don't think I have ever seen anybody cry that well before).

Mary Haines (Norma Shearer) discovers that her husband is having an affair with money-hungry perfume sales girl Chrystal Allen (Joan Crawford). Aided and abetted by her cousin Sylvia Fowler (Rosalind Russell) and her army of girlfriends, Mary sets out to win back her man...and teach Chrystal a lesson or two in the process! The movie runs at a rapid pace, and never leaves you bored. The dialog is incredibly witty, it very much surprised me. There was also physical comedy - the hilariously done (and no stunt doubles too!) cat fight between Rosalind Russell and Paulette Goddard. I found the fashion show a bit dragging and too long, but it was still fun looking at all the wonderful classy fashions of that era.

This hilarious comedy about women and their men can appeal to people who are not necessarily fans of old movies. 'The Women' is a wonderful catty, witty, hilarious movie that can be enjoyed by many.

I just saw this film for the first time a few months ago. I laughed harder than I remember laughing at anything made in the last twenty years. The Women is brilliantly written, brilliantly acted, and a whole lot of fun! Norma Shearer is such a sympathetic Mrs. Haines, and the "Jungle red" scene had me in laughing fits. I just could not stop the video for anything. Rosalind Russell was so funny! I thought the scene in the exercise room was absolutely hysterical. I've always been a fan of the demeure Joan Fontaine of Rebecca, and I was surprised to see her here, though not surprised that she played the lamb! This film is such a delight. I think anyone of any age would enjoy it.

There were so many excellent films produced in 1939, but this is the best at showing (what Hollywood wanted to show) the current times. It showcases so many wonderful actresses all at once. Norma Shearer is just outstanding; this is my favorite movie of hers.

It also shows the values and thinking about women's roles at that time; but challenges them at the same time. As embodied by Mary's mother-in-law, there's a feeling of "boys will be boys" and the thought that even though her husband is playing around (for no good reason given - they seem to be a happy couple), Mary should let him get his "wild oats" out of his system, and look the other way. On the other hand, it shows a rich and varied view of all types of women, intelligent, catty, gentle, vicious, etc. They are not necessarily defined by the men in their lives - who are not shown. It actually shows the women ultimately deciding how their men will live - and with whom.

Overall, a wonderful, enjoyable movie.