“Oh, l’amour, l’amour, how it can let you down. Hmm. How it can pick you up again.”
“You’re passing up a swell chance, honey. Where I spit no grass grows ever.”
“No, dear, a man has only one escape from his old self – to see a different self in the mirror of some woman’s eyes.”
“The first man who can explain how he can be in love with his wife – and another woman – is gonna win that prize they’re always giving out in Sweden.”
One of the earliest examples I remember of the full range of female archetypes was this great film with an all-star, all-female cast. It intrigued me to see something so bold as an entire movie without any men, though the influence of husbands, lovers and others is certainly felt.
Among the women we meet are:
- Sweet, happily wedded Mary Haines (Norma Shearer)
- Conniving man-eater Crystal Allen (Joan Crawford)
- Catty scandalmonger Sylvia Fowler (Rosalind Russell)
- Hopeless romantic, unlucky in love Countess De Lave (Mary Boland)
- Middle-class housewife and mother Edith Potter (Phyllis Povah)
- Wealthy in her own right, naive Peggy Day (Joan Fontaine)
- and more – in all, there are 130 speaking roles all filled by women
Though slightly melodramatic (weren’t they all back then?) a witty script and snappy dialogue survive well the test of time. The ending of this movie had me believing in love and cheering for the power of real girlfriends, especially when you really need them.
Loses a star because it probably wouldn’t appeal to the men in my circle – and it will be a bit too melodramatic for some of the girls 😉
Rotten Tomatoes: Critics 90%; Audience 89%
Another favorite I will review on it’s own, The Opposite Sex. An adaptation that not only becomes a musical – but includes men in the cast.