When a film is named 'The Women' you'd expect a certain type of story and possibly stereotypical characters. Although when the film was released in 1939, the poster carried the tagline 'It's all about men', it isn't all about nasty two faced behaviour. The characters do also show genuine compassion for one another. But the main themes of the film is meant to be about friendship but how women try to 'take down' other women, usually involving men, is also a huge part of the story. Forgive me if this sounds bitter but I haven't gotten to the best part of what makes 'The Women' so delightfully brilliant.
The comedy craeted from these characters is simply divine. With genuine laugh out loud moments, if unfortunate as the comedic moments are from someone else's demise. Looking back at some scenes, you can't help but think the behaviour of these women is reflection on what women are like. Seeing a spiteful character get her comeuppance, is amusingly satisfying. At the same time, watching a character complain about her husband to the point of divorce the melt into the phone when she calls to tell the good news (she's pregnant) is the same feeling. Being able to switch emotions at the drop of a hat feels like something only a woman (on screen) can do, making you want to cheer and laugh at the same time.
Written by Clare Boothe Luce in 1936, screenwritters Anita Loos and Jane Murfin adapted it for film, following in suit of the title, the film famously only features women, whether it is the main cast or background artist, only women are on screen. Cleverly picking a location that (at the time) only women would be seen, a salon providing everything a woman desires to keep fit, refreshed and not to mention, beautiful. The opening sequence is women talking, snippets of conversations taken out of context and finally stopping on a manicurist putting 'jungle red' nail polish on Slyvia, an unbeliavle cutting Rosalind Russell who enjoy every minute of the role. When Slyvia is told a rumour about her 'dear' friend Mary Haines (Norma Shearer), that her husband is having an affair with a perfumer counter girl (Joan Crawford), she smiles with glee and immediatly calls a friend to share the gossip. From here, marriages are ruined, friendships strengthened, friendships ended, spite and malice exchanged, a very amuisng fight, an exquiste fashion show and the feeling that things will be alright in the end.
Having been written by a woman, adapted by a woman, I wonder if it would have been different if it had been directed by a woman. In the 2008 adaptation, characters are slightly altered by the bare bones are still there. But as Diane English wrote and directed, characters are seen to develop make positive changes and there is far less gossip exchanged. Gossiping is always seen as something women do and that hammered home in director George Cukor's film. But I suppose we can only wonder.
The casting in the film is a stroke of genius. Every woman sinks their teeth into the part they have, even Joan Fontaine's meek and naive Peggy Day who's husband is jealous she has a little bit more money that he does. With dignity and grace Norma Shearer centers the main plot as Mary Haines, who is blissfully happy one minute and devastated the next. She stands by her principles and pride throughout, waiting for silly off screen husband to come to his senses. Rosaline Russell is the anti Girl Friday as the main cause for spreading gossip like poison. Her comedic waspish remarks don't stop, not even in the fact of ruin and an embarassing divorce. Joan Crawford plays the part of the perfumer counter sales girl as if she was born for the part. I can't help but wonder if this was literally how Hollywood saw her; a husband stealing arrogant snake. The image followed her throughout her career and personal life.
With a cast so brilliant in their comedic timings and naturalistic delivery of some of the more caustic and cutting lines, 'The Women' is perfect to seek out in celebration of International Women's Day or any other day in fact.
Thanks to Park Circus, 'The Women' is being screened as part of BFI's Girlfriends season. You can catch a screening of the film Saturday 17 March 2018 at 3pm. Check out other great films being screening in the season HERE.