The Women
October 22, 2010 by admin
The Women
Mothers, daughters, wives, friends: These are the women of The Women. Based on Clare Boothe Luce’s Broadway success and the hit 1939 movie, this sparkling update (from Murphy Brown creator Diane English) set in Manhattan and featuring an all-star, all-female cast says a lot about what it means to be today’s woman and all of it’s funny! The story starts with beautiful, smart, accomplished Mary Haines (Meg Ryan) discovering her husband is cheating on her. It’s a time when friends are needed, so Mary’s gal pals (Annette Bening, Jada Pinkett Smith and Debra Messing) and mother (Candice Bergen) rally round with advice, cocktails and shopping. The Wife vs. the Other Woman (Eva Mendes): Sharpen your claws for a timeless and wonderfully witty battle.For fans of some of America’s finest actresses, seeing a film with even one of the cast members of The Women would be a treat. But this remake of George Cukor’s famed girl-trouble ensemble film features Meg Ryan, Annette Bening, Jada Pinkett Smith, Eva Mendes, Debra Messing, Cloris Leachman, Bette Midler, Carrie Fisher, Joanna Gleason, and Candice Bergen–whew!–making it a film that fans of these terrifically talented women can savor. The remake may not have the cat-itude or camp factor of the original, but so what? The cast’s chemistry really shines; friendship is thicker than water, it turns out–even stronger than the ties that bind women to their men. Ryan is the good-girl Mary Haines, whose husband, she and her friends learn, is cheating on her with the stunning femme fatale Crystal (Mendes, in the Joan Crawford role)–”a spritzer” at the perfume counter. Quelle horreur! The other women rally around the hapless Mary, staging interventions, offering snappy advice, and plotting battles on behalf of their friend. But it turns out that Ryan’s Mary isn’t quite as fragile as she seems. Gimlets and girl talk–lots of both–go a long way toward getting our heroine through her crisis, and onto a new stage in her life that surprises her husband and more than one of her pals. And the laughs by the appearances of Midler and Bergen, especially, are worth watching the whole film for. –A.T. Hurley
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(out of 109 reviews)
List Price: $ 19.96
Price: $ 4.00
The Women (Keepcase)
- CRAWFORD*JOAN
Be careful what you say in private. It could become a movie. Some gossip overheard by Clare Boothe Luce in a nightclub powder room inspired her Broadway hit that’s wittily adapted for the screen in The Women. George Cukor directs an all-female cast in this catty tale of battling and bonding that paints its claws Jungle Red and shreds the excesses of pampered Park Avenue princesses. Joan Crawford, Rosalind Russell, Joan Fontaine, Mary Boland and Paulette Goddard are among the array of husband snatchers, snitches and lovelorn ladies.George Cukor, Hollywood’s legendary “woman’s director,” had his hands full with the all-female cast of this 1939 film adaptation of the Clare Boothe play. The story finds a group of catty, competitive friends destroying reputations at social gatherings. The dialogue sparkles, Joan Crawford’s performance as a husband stealer is still a classic, the film looks wonderful in Cukor’s hands, and the Technicolor fashion-show scene is a one-of-a-kind Hollywood experience. –Tom Keogh
Rating: 
(out of 203 reviews)
List Price: $ 19.98
Price: $ 9.99
Review by Jim Andrews for The Women
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The original version of this story remains a film classic, with memorable writing, direction and legendary performances by Norma Shearer, Roz Russell, Mary Boland, Joan Fontaine, Virginia Weidler (at one point Doris Day’s sister-in-law), Paulette Goddard and most notably Joan Crawford. That version was witty, wise, bitchy, mean and sympathetic, fast-paced, fun and sophisticated. This version is appalling. This a story which relies on chemistry among the actors above all in this remake the chemistry is zero. Everyone seems to be reciting the script self-consciously, there is not a moment when there’s any sense we are watching real life, everything seems calculated and over-rehearsed. It’s like a bad community production. How all this happened given the talents of Diane English and everyone else involved is beyond me. Even foolproof Bette Midler and Candace Bergen seem to be repeating themselves with no spark. Only Cloris Leachman emerges unscathed. Actually, there seems to be no movie here, just a parade of scenes on movie sets. Thank God Hedda Hopper will never see it.
Review by N. martinez for The Women
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This has to be one of the worst lines in the movie . This turky remake of the 1930s classic is shameful. The Women (remake) boast’s an overacting cast with zero chemistry. What’s next Jessica Simpson as Scarlett O’Hara?
Save yourself from writting a negative review to warn others and avoid this turkey. This should sweep the Razzies….
Review by David C. Hearn for The Women
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There is bad and then there is really bad and the there is the remake of The Women which adds a new low to bad. A great cast wasted on a really bad script. How can one of the funniest plays in B’way History be turned into a dull mess where all the women end up being boring… even Bette Middler ;who can save most anything; couldn’t lift this Turkey out the mud! The casting was right, but the ladies had nothing to work with. Leachman who is super funny didn’t have a single funny line. Don’t waist you money on this ….
Review by Mrs. T. M. Dowling for The Women
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i thought meg ryan was the best in the movie and i dont even think she is a good actress. were they supposed to be over acting so much? the huffs and ridiculous faces. maybe i have never seen jada smith in a movie and only know her from the tabloids, but she was the worst. i thought annette benning was like watching a bad diane keaton imitation. it was bad bad bad. not funny at all, not one chuckle. glad i was multi tasking while watching this.
Review by Luan Gaines for The Women
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When Hollywood remakes a classic, it does so with a vengeance, in this case 1939s “The Women”, a tale of New York socialite Mary Haines (Norma Shearer in 1939, Meg Ryan in 2008) whose husband is stolen by an opportunistic hussy. In the original, a careless gossip reveals a scandalous affair, a girl from the wrong side of the tracks poaching the man of a beloved, gentle woman and faithful wife. Like the current remake, no one suffers financial distress in either film. Where such movies served to distract a country burdened by the long years of the Depression, the 2008 version is nothing but a paean to Sex and the City and its ilk.
The crisp, acerbic dialog that fed the drama of a heartless housebreaker determined to secure her future in 1939 has been watered down to support vague cameo appearances, but the context is lost in a twisted mess of improbable solutions and sloppy writing. When Mary Haines gathers with ladies in similar situations getting “quickie” divorces in Reno 1939, the modern group goes to a health farm, where Ryan smokes a joint with Bette Midler and ruminates on where she’s gone wrong. While the first film offered fresh faces destined for long term stardom, Eve Arden, Paulette Goddard, Rosalind Russell and Joan Crawford, the new one is a rogue’s gallery of cosmetically altered actresses, some more gruesome than others.
Meg Ryan- sporting a mouth that is part Meg, part Calista Flockhart and part Michelle Pheiffer- sullies Shearer’s former role with braggadocio about her performance in the bedroom (something about nails and boards) and a hapless Annette Benning apologizes for exposing her friend to the rabid tabloid gossip. Bette Midler makes a bold, if shocking cameo, as though she stumbled onto the wrong set. And what could be more absurd than casting Crawford’s iconic role with the sultry Eva Mendes (the extent of her role is a few lines delivered in sexy lingerie or in a bath tub)? Sadly, the coming to self of a married woman still in love with an unfaithful husband becomes Ryan’s tongue-in-cheek parody of a new identity, complete with Annie Lennox anthem in the background.
For all the wasted efforts of such greats as Candice Bergin and Cloris Leachman, there are a few stellar moments: 5 stars to Annette Benning for a performance that transcends the vapid material, a short, but punchy role by Debi Mazar, the gossipy nail lady who spreads the rumors and a terrific one-liner by natural comedic actress Ana Gasteyer. In contrast, Jada Pinkett-Smith is a brash lesbian, Debra Messing’s considerable talent is wasted, and Carrie Fisher? Well, she’s just… Carrie Fisher.
An iconic comedy of manners and the danger of gossip is turned into a frivolous chick flick in an effort that does no justice to the sophistication of the original in this uncomfortable ensemble piece. It says something about the state of filmmaking for actresses over forty when all the public is offered is this warmed up hash with neither plot nor substance, a sad commentary when talented actresses are forced to alter their faces to remain relevant in a youth-obsessed society. Shame on Hollywood- and the screenwriter, producers and director- for presenting these actresses with such substandard fare. Luan Gaines/2009.
Review by Gary F. Taylor for The Women (Keepcase)
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The female of the species goes jungle red in tooth and claw in this brilliant screen adaptation of Claire Boothe Luce’s famous Broadway play–a wickedly funny portrait of 1930s society women whose lives revolve around beauty treatments, luncheons, fashion shows, and each other’s men. Socialite Mary Haines is the envy of her set: rich, beautiful, and happily married… but when her husband steps out on her with a gold-digging perfume counter sales clerk, Mary’s so-called friends dish enough dirt to make divorce inevitable whether Mary wants it or not.The script is wickedly, mercilessly funny, fast paced, razor sharp and filled with such memorable invective that you’ll be quoting it for weeks and months afterward: “He says he’d like to do Sylvia’s nails right down to the wrist with a buzz-saw;” “Why that old gasoline truck, she’s sixty if she’s a minute;” “Gimme a bromide–and put some gin in it!” And the all-female cast, which includes every one from Cora Witherspoon to Butterfly McQueen to Hedda Hopper, plays it with tremendous spark.This was the last significant starring role for Norma Shearer, one of MGM’s greatest stars of the 1930s, and she aquits herself very well as the much-wronged Mary Haines. But the real winners are the members of the supporting cast. Joan Crawford is truly astonishing as Crystal Allen, the shop girl who leads Mary’s husband astray, and Rosalind Russell gives an outrageously funny performance as the back-biting gossip whose nasty comments precipitate Mary’s divorce. Indeed, it is hard to do anything except rave about the entire the cast, which includes such diverse performers as Marjorie Main, Paulette Goddard, Joan Fontaine, and Lucille Watson. Even the smallest bit parts score with one-liners that have the impact of a slap in the face, and director George Cukor does an incredible job of keeping everything and every one in sharp focus.Perhaps one of the most interesting things about THE WOMEN is the way in which director Cukor ties the behavior of its characters to their social status. Possessed of absolute leisure and considerable wealth, their energies are inevitably directed into competition for the ultimate status symbol: a successful man. Cukor allows us to sympathize with Mary (Shearer) and laugh at Sylvia (Russell), but he also requires us to pity them–and indirectly encourages gruding admiration for the devious Crystal (Crawford) and the savvy Miriam (Goddard), characters who are considerably more self-reliant. Consequently, not only does THE WOMEN paint a poisoniously funny portait of women as a sex, it takes a hatchet to the society that has shaped their characters as well.Unfortunately, this landmark comedy has not received the full benefit of what DVD offers. Although the print is crisp, the film has not been restored, and the extras are spurious and hardly do the film justice; while I would recommend the DVD simply because you’re likely to wear out a VHS, the DVD has no great advantage over the VHS release. But whether you have it on VHS or DVD, this is one title that you must have in your collection: you’ll watch it again and again. A must-have!
Review by Lawyeraau for The Women (Keepcase)
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This is a film that has withstood the test of time. It is every bit as entertaining, as when it was first first released back in 1939. The film is an outstanding example of pre-World War II opulence and elegance with its gorgeous art deco sets. Based upon a play by Claire Booth Luce, it boast a snappy and witty screenplay by Anita Loos and Jane Murfin. In the hands of legendary director, George Cukor, this film is sharp, funny, and memorable with stellar performances given by the entire cast. Boasting an all female ensemble, with nary a male in sight, the film revolves around men. How to get ‘em. How to keep ‘em. How to lose ‘em. How to get ‘em back.The film details the marital travails of Mary Haines, played by screen great, Norma Shearer. Mary has a coterie of bitchy, gossipy, back biting friends, and included in that group is her cousin Sylvia, played with madcap zaniness by Rosalind Russell. Mary is happily married to wealthy Stephen Haines, or so she thinks. Apparently, her perfect husband is stepping out on her with perfume salesgirl, Crystal Allen, played with bad girl abandon by Joan Crawford, and it seems that all New York knows it.Mary’s so called friends ensure that Mary finds herself in a position to discover her husband’s betrayal. Mary’s mother, Mrs. Moorehead, played with characteristic stateliness and grace by Lucille Watson, counsels her daughter to handle the matter the old fashioned way, promising that the affair will soon burn itself out. She advises her daughter not to betray her feelings about the affair, not to mention it to her husband, not to discuss it among her friends, and to turn a blind eye to the whole matter. Mary reluctanly tries to adhere to her mother’s counsel, until a chance encounter with the now full of herself Crystal Allen causes Mary to lose control, and the fur begins to fly. Mary, now taking a more contemporary approach, totally disregards her mother’s advice and refuses to overlook the affair or forgive her husband for the pain and humiliation he has caused her. Leaving him, the inevitable happens, but all’s well that ends well. The performances by this all star cast are to be lauded, as each and every one of those cast in this film contribute to making it a truly great film.Norma Shearer is perfectly cast as the somewhat prim and proper Mary Haines. She plays her role with studied restraint, until the final shot in the film, when she crosses the line. While the fact that she was the widow of Irving Thalberg, a well respected studio head who had died about two years prior to the filming of this movie, may have contributed to her getting the lead, she certainly deserved it in her own right, as she had been a leading lady for many years (Romeo and Juliet, Marie Antoinette, The Barretts of Wimpole Street, Private Lives, etc.) and a big star. Norma Shearer and Joan Crawford were actually real life rivals and had never much liked each other, so I am sure that playing rivals in this film was not a stretch. Joan Crawford is wonderful as the “man trap” who steals Mary’s husband. She plays the role of Crystal as a hard edged girl from the wrong side of the tracks who grabs for the brass ring. Though she does not have all that many scenes in the film, her presence is such that the viewer does not immediately realize it.Rosalind Russell, in her first comedic role is terrific. She had previously done only dramatic roles and actually auditioned for the role of Sylvia, playing it three different ways. She played it straight. She played it with a light comedic touch. She played it with total, over the top, comedic abandon. When George Cukor selected her for the role, he told her that the third way was the way he wanted her to play it. At first, Ms. Russell balked, thinking that such comedic excess would be the end of her career. He convinced her that madcap zaniness was the way to go, and she complied, giving an over the top, zany performance that was an instant hit. This film kicked off her start as a comedic actress.Kudos also go to Mary Boland, as Flora, the Countess DeLave (“l’amour, l’amour”), as well as to Paulette Goddard, as Miriam Aarons, the divorcee who steals Sylvia’s husband, and to Joan Fontaine, as the sweetly naive Peggy. Ms. Fontaine looks remarkably like her estranged sister, Olivia DeHaviland, in this film. Marjorie Main plays the role of Lucy, the crude, rough, no nonsence country woman. It is a role reminiscent of a young Ma Kettle, a role she would play in the 1947 film, “The Egg and I.” It would be a role that she would take to the bank, as it would spin off into a wildly popular series of “Ma and Pa Kettle” films for Universal Pictures.Virginia Weidler is affecting as little Mary, the Haines’ young daughter. Butterfly McQueen, of “Gone With The Wind” fame, has the small part of Lulu, the cosmetics counter maid. Keep your eye open for Hedda Hopper, the real life gossip columnist. Staying true to form, she plays the role of Dolly Dupuyster, a gossip columnist, who appears towards the very end of the film. Don’t blink, or you’ll miss her. The film is shot in black and white, though it has a fashion show segment that is shot entirely in color. The elegant and chic wardrobe for the cast is provided by the noted designer, Adrian. This is a film that will be enjoyed by viewers who enjoy vintage films, as well as by those who simply love a great movie. Bravo!
Review by J Keistler for The Women (Keepcase)
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I am writing this review after recently watching a revival of the play on PBS. Not having seen the movie in many years, I ordered it on DVD afterward. First, the DVD transfer is flawless. This film is mostly in black-and-white, save an insert in Technicolor for a fashion show. The range of gray tones in these old movies can be a revelation to those who have only seen recent B/W films. The masters of the studios in lighting these movies are long since gone, and apparently their craft went with them. The DVD has not only the delightful movie trailer that went with “Women”, but also the trailer for the musical remake in 1956, “The Opposite Sex”. I never liked the musical, but others might. The amazing thing about “The Women” is that, if one doesn’t pay attention to the trailer, it’s possible to watch it and never realize that there are no men at all in the picture! As the trailer says, 135 women and no men. But of course it’s all about men! This is the basic story of Mary, played by Norma Shearer, who discovers her husband is seeing another women. It follows her through her divorce and reunion with her husband. Naturally it’s not that cut-and-dried. Her bitchy, back-biting friends go through many of the same travails on a cross-country route to a happy ending. Sounds boring written here, but the movie definitely isn’t. Every time Ms. Shearer threatens to get too sugary, a few choice cracks by one of the other characters brings things back into line. I really can’t remember another movie I’ve seen with Norma Shearer, so this movie defines her work for me. She is a very unusual-looking woman, hard to define as pretty, yet definitely with screen presence. Of course, being Mrs. Thalberg didn’t hurt her ability to get this part, and she plays it beautifully. All of the others who support her are equally appropriate, particularly Joan Crawford as the ‘other woman’. This movie was made in one of the low periods in her career, and once again placed her as an A-level actress. Mary Boland also stands out as the Countess and later Mrs. Buck Winston. In the recent PBS production on television, Rue McClanahan played this part and the resemblance to Boland was uncanny!Wardrobe for the movie was provided by Adrian at his best. Standouts for me are the gowns worn by Joan Crawford and Norma Shearer in the final scene of the movie, at the nightclub. Ms. Shearer’s looks almost like something from a sci-fi film! There is no escaping that this movie, and play from which it was derived, were made pre-WW-II. The extravagance shown in this film was never revived after the War, so this gives an insight into the lives of the wealthy. In particular, homes post-War were never staffed with the number of servants shown here. Art Deco never looked better in movies than it does in this one. The beauty salon at the beginning of the movie, and the night club at the end, are creamy and curvaceous like never before, or since. A final note on casting: Marjorie Main leaps from the screen with her screeching voice and uncouth manners. Strangely, she was younger than many of the others in the movie, but as usual she was made to appear frumpy and worn-out. In some ways this appears to be a rehearsal for her part as Ma Kettle in “The Egg and I”. Look closely, though, and you’ll see her youth, here. This is a fairly long movie, well over two hours, but it is so enjoyable that the time isn’t noticed. There truly isn’t a ‘slow’ part to the movie, something or someone is always on the go. Nineteen thirty-nine was an amazing year for movies, seemingly one last pre-War gasp at screen opulence. “The Women” on DVD can be a welcome addition to anyone’s film library, waiting for the right evening when light comedy combined with beautiful women and sassy dialogue is called for. It would be a great buy at twice the price.
Review by Vannie Ryanes for The Women (Keepcase)
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“The Woman” is one of the most amazing movies I have ever seen. For one thing there are no men here. But you don’t miss them because they are the subject of the movie. The movie is adapted from a play by Clare Boothe, directed by wonderful George Cukor and has Butterfly McQueen (Ms. Scarlett, I don’t know nuthin’ ’bout birthin’ babies), famed columnist Hedda Hopper and Hattie McDaniel in it as well Norma Shearer, Joan Crawford, Rosalind and others in the starring roles. Ruth Hussey plays a secretary and Virgina Grey is stunning as a store clerk. This comedy deals with issues that are never ending, cheating husbands, bitchy friends and divorce. Rosalind Russell as Norma Shearer’s catty underhanded cousin is my favorite. These actresses are at their freshest and most beautiful. In the film all of the principals are wealthy, very much “high maintenence” and bored so they do lunch and go to fashion shows. Although the movie is black and white the magnificent fashion sequence is in color. I saw first saw “The Women” on a small b/w TV, imagine my surprise years later when I saw it on a color set and they started showing the fashions. WOW! Joan Crawford has one of her best man grabbing, husband stealing roles in this movie. At one point when the husband needs to cancel their date. She becomes indignant because “he tried to stand Joan up for his wife”. Another time in a confrontation with the wife she says “When Stephen doesn’t like what I’m wearing, I take it off” Are we sure this movie was made in 1939??However, all of these women are such a tight knit clique that they even go to the same divorce dude ranch in Reno (group divorce??) which is owned by Margorie Main who has no sympathy for these rich spoiled and pampered women.If you like your movies sharp, witty, fast paced and classy this is the movie for you. It’s as fresh now as it was in 1939, especially when Mary (Norma Shearer) tells her mother, after she has found out that her husband is cheating on her, “Mother, this is the 20th century. . .” Her mother has said that Mary’s father did the same thing and she kept quite, that Mary should also “keep quiet, do nothing and say nothing.” There are so many witty quotes that time has not tarnished that you will be tempted to use them yourself.
Review by L. Shirley for The Women (Keepcase)
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This review refers to “The Women” (1939)….
If I could only pick one year of movies to collect, I wouldn’t think twice. 1939. This was a year the filmmakers consistently made movie magic. Films that still hold up today as great entertainment. Films that have those special moments we all remember. The glamorous stars defined(and still do) Hollywood. The Academy had their hands full with such great films as “Gone With The Wind”, “Mr. Smith Goes To Washington”, “The Wizard Of Oz”, “Stagecoach”, “Wuthering Heights”, “Ninotchka”, “Love Affair”, “Dark Victory”, “Of Mice and Men” and “Goodbye Mr. Chips”. And those were only the nominated films. There were many other greats, among them, this little gem, starring all the best and the brightest (well, not quite all ) women “movie stars” of the 30′s. And these women, along with their esteemed Director, George Cukor, have left us with a piece of cinematic history to be savored for many more years to come.
In this wonderfully charming and sometines poignant comedy, we find an upper crust circle of women, who are savvy, very modern(for the 30′s),extremely chatty(gossipy), and at times can be, as Joan Crawford puts it to the others, “… there’s a name for you ladies, and it isn’t used in high society…outside of a kennel”. The women, are all very different from each other, yet seem to thrive on the each other’s highs and lows.
Norma Shearer, is Mary Haines, a happily married (or so she thought), wife and mother. As always the wife is the last to know. The circle is all abuzz with the fact the Mary’s hubby Steven(who is a big part of the story, but never seen, as this is an all female cast), is having an affair with a lowly perfume counter salesgirl. It’s a fun and glorious romp with this group, as we follow them through their everyday lives. We are treated to Spa treatments, luncheons, a fashion show(the only scene done in glorious color),and the divorce train to Reno, as we learn all the details of the Mary’s saga, as well as the trials, tribulations and changing relationships of the others. You can’t help but to become involved with their hopes, dreams and..schemes!
So here’s the list: As already mentioned, Norma Shearer and Joan Crawford are the main attractions…add to them, Joan Fontaine, Paulette Goddard, Mary Boland, Phyllis Povah, Hedda Hopper, and stealing the show with a million laughs…Rosalind Russell(her outfits alone will have you rolling), and you’ve got yourself a really wonderful piece of cinema. Other fabulous faces of the thirties to look for include Virginia Weilder(who was also the little sister in “The Philadelphia Story”, Ruth Hussey, Marjorie Main and Butterfly McQueen.
It’s a treat for any lover of black and white classics, and a must have for the pleasure to view all these great ladies of the silver screen together.
Enjoy this Gala of Gals….Laurie
here is a few more fabulous gems from the 30′s:
My Man Godfrey
His Private Secretary
The Little Princess -