Wealthy Mary Haines is unaware her husband is having an affair with shopgirl Crystal Allen. Sylvia Fowler and Edith Potter discover this from a manicurist and arrange for Mary to hear the gossip. On the train taking her to a Reno divorce Mary meets the Countess and Miriam (in an affair with Fowler's husband). While they are at Lucy's dude ranch, Fowler arrives for her own divorce and the Countess meets fifth husband-to-be Buck. Back in New York, Mary's ex is now unhappily married to Crystal who is already in an affair with Buck. When Sylvia lets this story slip at an exclusive nightclub, Crystal brags of her plans for a still wealthier marriage, only to find the Countess is the source of all Buck's money. Crystal must return to the perfume counter and Mary runs back to her husband.Written by
Ed Stephan <email@example.com>
After Sylvia bites Miriam on the leg, Miriam's line, "Yeah, gotta be careful of hydrophobia!" is her veiled way of calling Sylvia a bitch (hydrophobia is a synonym for rabies, referring to a late stage of the disease, in which the victim has difficulty swallowing, even liquids, and simultaneously becomes very thirsty, while panicking at the idea of trying to drink water). Also, near the end a second allusion to the word "bitch" is used when Crystal says, "There's a name for you ladies, but it isn't used in high society . . . outside a kennel." See more »
When Mary is reading in bed, the early long shots show the lamp on the left side of the bed to be a male figurine, and the one on the right to be a female. In the close-ups, the lamp on the left of the bed has changed and is female. See more »
In the opening credits, before the photo images of the actresses are shown, their characters are revealed by images of various animals. See more »
At the start of the Technicolor Adrian fashion show, the video and TV versions have traditionally shown a Technicolor stage in the middle of the screen surrounded by pure white (this always struck me as odd but I never thought too much about it). The original 1939 version of the scene shows the Technicolor stage surrounded by the rest of the room IN BLACK AND WHITE, using a stenciling process developed for (but ultimately unused in) The Wizard of Oz. Presumably, because the reel starts right BEFORE the transition, it was either too much trouble and expense to process the small bit of stray black and white footage for television (it would have to have been printed separately onto each release print in 1939)or, more likely, the footage has been lost. The new video and cable versions show The Women in a reconstruction of the original version, with the Technicolor stage printed over a black and white still from later in the film. The image, as now presented, is much less jarring than the original video release. The fashion show was also shot in black and white, with the models interacting with the stars as they move throughout the boutique. After principal photography ended, MGM decided to re-shoot the fashion show in Technicolor (this color footage was not shot by George Cukor)and the models no longer interact with Norma Shearer, 'Rosalind Russell', etc. The original black and white footage, saved in the MGM vault, can now be seen as a special feature on the Warner DVD. Older television prints often showed the fashion show in black and white, but it was not this alternate footage, just the color sequence printed without its tints. See more »
This movie is two wonderful hours of gossipy, clever fun. The script is incredibly good and makes you wish every movie in the world could turn out as well as THE WOMEN. The performances all blend together perfectly, which is what you need if you are going to tell a story like this. Joan Crawford is sublime as the husband stealer and Norma Shearer plays the usual virtuous kind of part she always played in her career. However in my opinion, Roz Russell, who played Mrs. Fowler simply is at her best. It is one of the most funny and exquisite performances that i have ever seen given by an actress on film. It is plain to see she only cares about herself and her own superficial motives but you cant help being on her side and enjoying all the trouble she stirs up. And also Paulette Goddard gave a sassy performance as the sarcastic woman who has seen it all and wants no more of it. The best scene of hers is when she and Mrs. Fowler fight at the divorce ranch. I loved this movie!
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