This hilarious 1933 comedy examines the then unlikely and slightly absurd premise of a woman in the role of the ruthless CEO of a major automotive corporation. Ruth Chatterton as Alison Drake runs her company in a manner similar to the Tsarina Catherine running Russia. She constantly reviews her troops (the male employees) to select the most promising for her weekly stud-seduction routine. After dining and wining the intended victim at her lavish villa, and a night of "amour", she subsequently fires him if he shows any sign of attempting to encroach on her independence and detachment. Of course, the seductee always does because his ego won't accept that he's a throw-away one night stand. John Mack Brown is a standout as a typical seductee. And Philip Reed has a cameo as an innocent reject for being "too poetic." When Alison hires a new designer (George Brent) and puts the make on him, he deftly evades her, thus driving her mad until she finally starts falling in love. He slyly keeps outmaneuvering her which spurs her determination even more. At last, she gets so desperate that she resigns her position in his favor, to get him to say "I do." The politically correct male dominance in both business and family is reaffirmed, but given this lady's character one strongly suspects that the battle of the sexes is far from over and may be just beginning!
44 Reviews
Delightfully amusing comedy is both feminist and sexist by turns
ccmiller149223 August 2003
Warning: Spoilers
Amazing performances, modern plot, fast and beautiful.
secondtake3 January 2010
Female (1933)
Smart, fast, witty, daring, fresh, impressive. A great little movie (just an hour long) with such a swirling series of events, and such great acting, you hardly know it's over. The filming is really tight and modern, the writing is sharp, and the leading role, the sexually liberated executive woman played by Ruth Chatterton, is spot on perfect. When George Brent appears (after half an hour), he matches her in a subtle, convincing performance that shows why, after having made twenty films already, he still had his career ahead of him. Chatterton, by contrast, made few films later, which is our loss.
The astonishing thing about the plot, of course, is how racy it is. Even today, with no holds barred (just some letters in a rating system), to have a leading woman sleep around with every handsome young man she wants, without any down side (no backstabbing, no violence, no disease, no remorse, nothing at all) is bold. These days, of course, she'd be a poster child against sexual harassment on the workplace.
But really the movie is about strength, and romance, and is remarkably modern and alive. The director is Michael Curtiz, who made such a huge number of films some of the gems like this one get lost. Some of his other gems, of course, are not lost at all (like, uh, Casablanca or Mildred Pierce). Give this its due. Worth every frame.
Smart, fast, witty, daring, fresh, impressive. A great little movie (just an hour long) with such a swirling series of events, and such great acting, you hardly know it's over. The filming is really tight and modern, the writing is sharp, and the leading role, the sexually liberated executive woman played by Ruth Chatterton, is spot on perfect. When George Brent appears (after half an hour), he matches her in a subtle, convincing performance that shows why, after having made twenty films already, he still had his career ahead of him. Chatterton, by contrast, made few films later, which is our loss.
The astonishing thing about the plot, of course, is how racy it is. Even today, with no holds barred (just some letters in a rating system), to have a leading woman sleep around with every handsome young man she wants, without any down side (no backstabbing, no violence, no disease, no remorse, nothing at all) is bold. These days, of course, she'd be a poster child against sexual harassment on the workplace.
But really the movie is about strength, and romance, and is remarkably modern and alive. The director is Michael Curtiz, who made such a huge number of films some of the gems like this one get lost. Some of his other gems, of course, are not lost at all (like, uh, Casablanca or Mildred Pierce). Give this its due. Worth every frame.
Stripping The Veneer
ccthemovieman-110 February 2009
Warning: Spoilers
I liked this film; but I am partial to these short, snappy films of the early '30s that were only about an hour in length. At 60-65 minutes, most of these films didn't have time to drag. Something usually happening, especially in crime movies. This is not a crime film but a romance-drama.
George Brent as "Jim Thorne" is very good and a guy you have no problems rooting for. Unlike the rest of the people in the film, he's not superficial. That good character trait is what wins over the tough executive "Miss Alison Drake," who's hard-boiled veneer is stripped by the end of the film. (Feminists will dislike much of the last 10 minutes of this movie.) Ruth Chatterton as "Alison Drake," is good.as the head of a car company. She makes the tough decisions and makes them in a hurry. She doesn't stand for any baloney. As for her men, she's only interested in one-night stands and if the guy gets romantic the next day, he's shipped off to Montreal! One guy turns out to be gay, so that night was wasted for her.
Almost stealing the show in a supporting effort is the diminutive Ferdinand Gottschalk as "Pettirgrew." He was over 70 years old when he made this film and was looked less than five feet tall. He was a wonderful actor who did a over 70 movies in the 1930s!.
Other things of note in the film were some cool sets, including one fantastic one of a very Art Deco room with an incredible staircase. Also, some of the clothes worn by Chatterton were pretty wild.
Normally this is not my type of story but it was so well done that I thoroughly enjoyed it.
George Brent as "Jim Thorne" is very good and a guy you have no problems rooting for. Unlike the rest of the people in the film, he's not superficial. That good character trait is what wins over the tough executive "Miss Alison Drake," who's hard-boiled veneer is stripped by the end of the film. (Feminists will dislike much of the last 10 minutes of this movie.) Ruth Chatterton as "Alison Drake," is good.as the head of a car company. She makes the tough decisions and makes them in a hurry. She doesn't stand for any baloney. As for her men, she's only interested in one-night stands and if the guy gets romantic the next day, he's shipped off to Montreal! One guy turns out to be gay, so that night was wasted for her.
Almost stealing the show in a supporting effort is the diminutive Ferdinand Gottschalk as "Pettirgrew." He was over 70 years old when he made this film and was looked less than five feet tall. He was a wonderful actor who did a over 70 movies in the 1930s!.
Other things of note in the film were some cool sets, including one fantastic one of a very Art Deco room with an incredible staircase. Also, some of the clothes worn by Chatterton were pretty wild.
Normally this is not my type of story but it was so well done that I thoroughly enjoyed it.
Female 1933, hilarious, yet typical 1930's gender roles that they placed on women.
dadddiesgurl10 October 2005
Warning: Spoilers
I loved this movie right away, Allison Drake is empowering, beautiful, courageous, outspoken, everything that was not typical for women in the 1930's, and I thought that maybe the film maker was helping to promote this new breed of woman. She even goes as far as to deny a marriage proposal from her top sales exec George Mumford who wants a marriage out of convenience "picture it...you make them, I'll sell them, we'd sweep the country!" Allison is not swayed "I'm not very fond of sweeping; I'm not a bit domestic." Love it!! But I was greatly disappointed when in the end, she gives in to a man who calls her "pathetic" when she doesn't given in to his idea of "what women are born for!" Which is to get married, and have babies. I think that it must have been degrading to women to watch this back then, but those were the times, and what can I say, the movie is fun, seductive, and enchanting. Definitely a movie to add to my collection.
A movie with its feet firmly planted on BOTH the Pre- and Post-Code eras!
planktonrules8 March 2008
This is a very strange film. On one hand, it's very much a so-called "Pre-Code" film because it was made before the new and tougher Production Code. As such, the film is rather frank about sex and seems amoral through the first half. Ruth Chatterton's very liberated character is all business by day, but by night she wants her male employees to service her like stud bulls!! Then, if they fall in love with her, they are cast aside and transferred to another branch of the company. However, it's also like a Post-Code movie in the second half because it tries to completely undo the first half of the film--and even goes so far as to say that it's NOT a woman's place to be running any business! Chatterton, uncharacteristically, seems to agree with this by the time the movie ends!! It's like a case of amnesia or multiple personality!! This inconsistency really helped to undo the movie for me. Had they kept Chatterton cold and sexually charged throughout the film, it really would have made more sense and been more salacious--something that you really expect in the most extreme Pre-Code films. As is, parts are enjoyable and parts are really dull and conventional. An interesting but far from perfect film. How anyone can give this rather ordinary film a score of 10 is just bizarre.
Ruth Chatterton plays a man-eater, a stereotypical male executive role
jacobs-greenwood6 December 2016
A pre-code drama that turns the male stereotype around by having Ruth Chatterton play an executive that's all business by day, but a man-eater by night. As Alison Drake, the head of an automobile manufacturing company that was started by her now deceased father, the actress plays a confident decisive woman that surrounds herself with good looking male secretaries and assistants that she can invite to her home after business hours for sexual liaisons. If any of the men get too chummy, she has them fired or transferred by her only older assistant, a trustworthy father-figure type (Ferdinand Gottschalk) named Pettigrew.
But Alison tires of the routine, realizing that everyone wants something from her, and she doubts the authenticity of the compliments (and a marriage proposal from Douglas Dumbrille, not looking very suave in a bathing suit) she constantly receives. Desiring to be 'just a woman', Alison escapes to a common part of town where she sees and pursues a man (George Brent) that she meets at a shooting gallery. They dance, have hamburgers and a good time together but, at the end of the evening, he declines Alison's offer to take her home, claiming he has a strict rule about pick-ups.
Of course, the man turns out to be Jim Thorne, an engineer that her company just hired to design a car with an automatic transmission. However, Alison learns that her regular routine doesn't work with Jim; the vodka her butler serves doesn't make him amorous and he spurns her advances.
Predictably, this causes her to revert to being a more typical female, one who's willing to chuck everything just to win him.
Originally directed by William Dieterle and then William Wellman, the only screen credit was given to Michael Curtiz, who was brought in to reshoot the scenes with Johnny Mack Brown (per some comments Robert Osborne made when the film aired on TCM), who plays one of Chatterton's pawns. Donald Henderson Clark wrote the story that was adapted by Gene Markey and Kathryn Scola.
But Alison tires of the routine, realizing that everyone wants something from her, and she doubts the authenticity of the compliments (and a marriage proposal from Douglas Dumbrille, not looking very suave in a bathing suit) she constantly receives. Desiring to be 'just a woman', Alison escapes to a common part of town where she sees and pursues a man (George Brent) that she meets at a shooting gallery. They dance, have hamburgers and a good time together but, at the end of the evening, he declines Alison's offer to take her home, claiming he has a strict rule about pick-ups.
Of course, the man turns out to be Jim Thorne, an engineer that her company just hired to design a car with an automatic transmission. However, Alison learns that her regular routine doesn't work with Jim; the vodka her butler serves doesn't make him amorous and he spurns her advances.
Predictably, this causes her to revert to being a more typical female, one who's willing to chuck everything just to win him.
Originally directed by William Dieterle and then William Wellman, the only screen credit was given to Michael Curtiz, who was brought in to reshoot the scenes with Johnny Mack Brown (per some comments Robert Osborne made when the film aired on TCM), who plays one of Chatterton's pawns. Donald Henderson Clark wrote the story that was adapted by Gene Markey and Kathryn Scola.
"To me, a woman in love is unacceptable".
classicsoncall19 March 2011
Warning: Spoilers
Alison Drake (Ruth Chatterton), president of the Drake Motor Company, and Jim Thorne (George Brent), the automatic gearshift genius, spar heatedly in this pre-Code gem from director Michael Curtiz. Chatterton and Brent were actually married to each other during this picture's release, though for only a brief period of two years. One wonders if her independent character Drake got in the way of that marriage the way it did in their on screen relationship.
The picture pulls no punches with Alison Drake's sexist views of men, inviting the company's male employees over for dinner, then using the old pillow toss to signal extra-curricular activities. I was surprised to see Johnny Mack Brown as one of Drake's one night stands. He looked totally out of place as the newly hired whiz kid at Drake Motors; I guess I've seen him in too many of the era's B Westerns to see him with a suit and tie on.
Brent portrays the hard to get and even harder to handle new man at Drake, spurning Alison's offers of romance with lines like "I don't take pick-ups home with me". To prove his point, he drives Allison insanely jealous by dating his own secretary Miss Joyce (Jean Muir). I got a kick out of the way this 1933 Warner Brothers flick brought attention to another one of their then current releases. Brent's character mentions that he and his date were going to go see "Picture Snatcher", a Jimmy Cagney film that's worth the trouble to track down for it's own pre-Code sexual innuendo and banter.
Not to be outdone by his boss, Alison's personal assistant Pettigrew (Ferdinand Gottschalk) also seems to be on the office prowl with Drake's secretary Miss Frothingham (Ruth Donnelly). Already in his mid-Seventies, Gottschalk's character still steps lively and is not immune to the persuasive powers of Miss Frothingham's Passion Flower #2.
To use an automobile term, the picture shifts gears at the finale when Miss Drake actually falls for the gearshift guy, ready to renounce her power and prestige for marriage and kids. Not too believable, but neither was the idea that she would have been president of the company in the first place, at least not in 1933.
The picture pulls no punches with Alison Drake's sexist views of men, inviting the company's male employees over for dinner, then using the old pillow toss to signal extra-curricular activities. I was surprised to see Johnny Mack Brown as one of Drake's one night stands. He looked totally out of place as the newly hired whiz kid at Drake Motors; I guess I've seen him in too many of the era's B Westerns to see him with a suit and tie on.
Brent portrays the hard to get and even harder to handle new man at Drake, spurning Alison's offers of romance with lines like "I don't take pick-ups home with me". To prove his point, he drives Allison insanely jealous by dating his own secretary Miss Joyce (Jean Muir). I got a kick out of the way this 1933 Warner Brothers flick brought attention to another one of their then current releases. Brent's character mentions that he and his date were going to go see "Picture Snatcher", a Jimmy Cagney film that's worth the trouble to track down for it's own pre-Code sexual innuendo and banter.
Not to be outdone by his boss, Alison's personal assistant Pettigrew (Ferdinand Gottschalk) also seems to be on the office prowl with Drake's secretary Miss Frothingham (Ruth Donnelly). Already in his mid-Seventies, Gottschalk's character still steps lively and is not immune to the persuasive powers of Miss Frothingham's Passion Flower #2.
To use an automobile term, the picture shifts gears at the finale when Miss Drake actually falls for the gearshift guy, ready to renounce her power and prestige for marriage and kids. Not too believable, but neither was the idea that she would have been president of the company in the first place, at least not in 1933.
A Classic Of Gender Reversal
Ron Oliver11 February 2002
A powerful FEMALE tycoon is accustomed to getting everything she wants - including men - until she meets a fellow utterly unimpressed by her wealth.
Ruth Chatterton completely dominates this brilliant, fascinating little film, until off-screen spouse George Brent shows up midway through the proceedings. Deftly handling the details of her life - from controlling her commercial competitors to adroitly arranging her next romantic conquest, Chatterton never lets up for a moment. Suave & composed, Brent arrives on the scene, calmly pegging targets in a sideshow, and presents the immovable object to her irresistible force.
Definitely pre-Code, the script throws a few zingers into the face of complacent modern viewers, with Chatterton & Brent doing all they can to entertain their audience. If her toughness turns into compliant conformity at the fadeout, it's a small price to pay for an hour's amusement.
Impish Ferdinand Gottschalk steals several scenes as Chatterton's fey factotum, while Ruth Donnelly makes the most of her tiny role as a spinster secretary. Johnny Mack Brown & Philip Reed are two of Chatterton's discarded young men.
Movie mavens will recognize Robert Greig & Rafaela Ottiano as Chatterton's butler & maid, as well as elderly Charley Grapewin as a sidewalk inebriate, all uncredited.
Warner Brothers gave the film a first-rate production; the terrific sets use detail to add to the story, rather than detract from it. Also, notice the ironic use of the Harry Warren tune during the seduction scenes; by the end of 1933 it would be famous as 'Shanghai Lil,' (with lyrics by Al Dubin) climaxing Warner's FOOTLIGHT PARADE.
Ruth Chatterton completely dominates this brilliant, fascinating little film, until off-screen spouse George Brent shows up midway through the proceedings. Deftly handling the details of her life - from controlling her commercial competitors to adroitly arranging her next romantic conquest, Chatterton never lets up for a moment. Suave & composed, Brent arrives on the scene, calmly pegging targets in a sideshow, and presents the immovable object to her irresistible force.
Definitely pre-Code, the script throws a few zingers into the face of complacent modern viewers, with Chatterton & Brent doing all they can to entertain their audience. If her toughness turns into compliant conformity at the fadeout, it's a small price to pay for an hour's amusement.
Impish Ferdinand Gottschalk steals several scenes as Chatterton's fey factotum, while Ruth Donnelly makes the most of her tiny role as a spinster secretary. Johnny Mack Brown & Philip Reed are two of Chatterton's discarded young men.
Movie mavens will recognize Robert Greig & Rafaela Ottiano as Chatterton's butler & maid, as well as elderly Charley Grapewin as a sidewalk inebriate, all uncredited.
Warner Brothers gave the film a first-rate production; the terrific sets use detail to add to the story, rather than detract from it. Also, notice the ironic use of the Harry Warren tune during the seduction scenes; by the end of 1933 it would be famous as 'Shanghai Lil,' (with lyrics by Al Dubin) climaxing Warner's FOOTLIGHT PARADE.
they managed to hit both the '30s and '40s woman in this one
blanche-229 June 2015
Ruth Chatterton stars with husband George Brent, Philip Reed, and Johnny Mack Bfrown in this 1933 gem, Female.
This movie is a riot. Ruth Chatterton, looking very pretty, plays the a tough businesswoman who runs a tight ship. She tells a friend of hers she has no time for men, no interest in marriage, she's all business.
Whenever there's an attractive man in the office who approaches her about some business thing, she says she can't discuss it right at that moment. Come to her house for dinner that night so they can discuss it.
When they get there, she's feminine and flirty, and eventually the night leads to its inevitable precode conclusion, so we assume. The next day she rebuffs them and it's back to work. One guy gets sent to Hawaii instead of her apartment.
When she meets George Brent, the tables turned, and suddenly she can't live without a man.
Women in the '30s, in films, were sexually liberated and very feminine. In the '40s, they were tailored businesswomen who were miserable without a man. Boy, Ruth got the best of both worlds.
The deco sets were huge and stunning.
Very enjoyable. I love Ruth Chatterton anyway.
This movie is a riot. Ruth Chatterton, looking very pretty, plays the a tough businesswoman who runs a tight ship. She tells a friend of hers she has no time for men, no interest in marriage, she's all business.
Whenever there's an attractive man in the office who approaches her about some business thing, she says she can't discuss it right at that moment. Come to her house for dinner that night so they can discuss it.
When they get there, she's feminine and flirty, and eventually the night leads to its inevitable precode conclusion, so we assume. The next day she rebuffs them and it's back to work. One guy gets sent to Hawaii instead of her apartment.
When she meets George Brent, the tables turned, and suddenly she can't live without a man.
Women in the '30s, in films, were sexually liberated and very feminine. In the '40s, they were tailored businesswomen who were miserable without a man. Boy, Ruth got the best of both worlds.
The deco sets were huge and stunning.
Very enjoyable. I love Ruth Chatterton anyway.
a winner she was, 'till they made her cry...
jaxcatz00716 November 2003
I think that this was one of the most incredible and yet most under-rated films for it's time. For even though they ended with the woman succumbing to the whim of man and the traditional "woman's role", it still spoke miles for the woman. She was strong, brave, and did everything that a man could do and wasn't ashamed and had they only kept her going she could have been great. In fact, she could have won. But did she really lose? I don't think so, because maybe it showed something more about the female mystique, something that people missed because they thought that it only showed how a woman in power breaks down under pressure. What if they were really trying to show something deeper...I don't know now I am getting lost...too many things going through my mind to explain. Nonetheless, I do know that I was in awe after watching this film and it has had a lasting impression on me ever since.
The sexism overpowers everything
MissSimonetta22 August 2013
Warning: Spoilers
This film plays more like a post-coder than a pre-coder. The premise is interesting: a female exec who seduces her male employees finds she cannot so easily make the leading man her next conquest. Then they ruin everything by having the love interest tell her women are "made for" a family life and child-rearing. This leads her to suddenly become a sobbing emotional wreck by the middle of the film, breaking down during a meeting and screaming, "I can't do it-- I'M JUST A WOMANNNN!" Ugh! Then she steps down from her post to conform to society's idea of what a woman should be: a pretty, air-headed housewife who lets her spouse take care of her.
Ruth Chatterton, the average comedy, and scandalous bits at the opening do NOT warrant a ten for this garbage. While we must take into account that this was a different time, there were quite a few movies in the thirties (and even in the twenties!) where the male and female leads were on equal ground. Female (1933) is an un-entertaining relic that I would recommend to no one.
Ruth Chatterton, the average comedy, and scandalous bits at the opening do NOT warrant a ten for this garbage. While we must take into account that this was a different time, there were quite a few movies in the thirties (and even in the twenties!) where the male and female leads were on equal ground. Female (1933) is an un-entertaining relic that I would recommend to no one.
Chatterton eats men for breakfast in this pre code gem
littlemartinarocena18 March 2011
This comedy should be a pre-code document, just as the code was about to be imposed. The sexual conduct of Ruth Chatterton's character is mind blowing in this 1933 flick. Reminded me of Demi Moore in "Disclosure" with a major difference, Ruth Chatterton devours her minions not because she is some kind of monster but as simple mater of fact. h inherited a man's role and she loves it. The last few minutes of "Female" are a forced betrayal of the intention and the morality tale becomes an ominous warning sign for all entrepreneurial females. So blunt! Inspite of the ending this is a gem that should be seen. I guarantee you it will leave you open mouthed. Ruth Chatterton is not just amazingly modern in her upper class Mae Westish part but her performance is truly superb
looking backward
jcappy20 March 2008
Warning: Spoilers
She's rich. She's dazzling. She's convincingly competent. She's impressively tough and assertive. She's the president of a major car manufacturer. She's on top of the world. A step forward for women, right.
Wrong! More like a step backward. Despite her position and prestige Alison Drake truly has no identity of her own. Why? Because she's a---you guessed it-- FEMALE. Love, men, children are, in the end, what she is all about. And she must view these pursuits as being in direct opposition to work, career, success. The private realm is the true place for a female and when it is not, her personal self must subsume her public self. So, in the end, Drake's singular capacity to rule a big motor company is not only not acknowledged but becomes downright superfluous. Nine children and a prestigious family will be her legacy, not nine million automobiles and a place in history .
For with Miss Drake, fulfillment trumps leadership; feelings and emotions counter her incisive authority; fluff is better than gruff; an adorable winning weakness is preferable to the gallantry of strength; and neediness and conventionality are so much more appealing than independence and passionate activity. Wholesome wife-hood is really the thing--so much more rewarding than dating an array of men; while the hobby-horse of family is ridiculously superior to the ugliness of business. Ask any man, right? Yes guilt and the potency behind the female role carry the day with President Drake. And all the reciprocity involved in her business and social relations will never be re-cooped in the love and marriage which are her final lots. Nor will her forcefulness and challenging cleverness ever again find its natural rhythm in worldly affairs.
And poor Ruth Chatterley too. For despite her many triumphant and funny moments, so much of her excellent performance is plainly wasted as it spins from the height of womanhood into the male orbit--and back toward adolescence.
Wrong! More like a step backward. Despite her position and prestige Alison Drake truly has no identity of her own. Why? Because she's a---you guessed it-- FEMALE. Love, men, children are, in the end, what she is all about. And she must view these pursuits as being in direct opposition to work, career, success. The private realm is the true place for a female and when it is not, her personal self must subsume her public self. So, in the end, Drake's singular capacity to rule a big motor company is not only not acknowledged but becomes downright superfluous. Nine children and a prestigious family will be her legacy, not nine million automobiles and a place in history .
For with Miss Drake, fulfillment trumps leadership; feelings and emotions counter her incisive authority; fluff is better than gruff; an adorable winning weakness is preferable to the gallantry of strength; and neediness and conventionality are so much more appealing than independence and passionate activity. Wholesome wife-hood is really the thing--so much more rewarding than dating an array of men; while the hobby-horse of family is ridiculously superior to the ugliness of business. Ask any man, right? Yes guilt and the potency behind the female role carry the day with President Drake. And all the reciprocity involved in her business and social relations will never be re-cooped in the love and marriage which are her final lots. Nor will her forcefulness and challenging cleverness ever again find its natural rhythm in worldly affairs.
And poor Ruth Chatterley too. For despite her many triumphant and funny moments, so much of her excellent performance is plainly wasted as it spins from the height of womanhood into the male orbit--and back toward adolescence.
"You're just a woman after all."
view_and_review18 November 2023
Warning: Spoilers
The 30's was full of movies with sexist tropes and sexist behavior from both men and women, but "Female" has to be the most sexist movie I've seen from that time period and probably the most sexist movie I've ever seen. It was as if they said, "Let's dispense with any innuendos, symbolism, or beating around the bush and put it plainly what the roles of women are."
The movie stars Ruth Chatterton as Alison Drake. She was the president of a car manufacturer and she was good. She was better than good. She knew the business inside and out and she was on top of everything, and a part of every important decision. In other words, she ran the company like "a man."
Alison was the complete package. She was beautiful, young, intelligent, rich, and powerful. She was perfect. Just about any man would be happy to have her as a wife, yet that's not what Hollywood led us to believe.
Those around her pejoratively called her a "superwoman," which I thought was a complement. She made the conscious decision to operate like "a man" in order to be effective as a business leader. This meant she didn't have time for romances, marriage, or falling in love. She treated her male employees like escorts. She would use them for a night of intimacy and then it was all business the next day at work.
In a way I could appreciate it. I'm not a fan of promiscuity, but I could appreciate that she wasn't in love with every charming, handsome guy she spent time with. In every 30's movie the woman fell in love with every man she was intimate with unless A.) she was doing it for the money or B.) she was an antagonist. Alison had money and she was the protagonist in this film which made her extremely atypical.
When she said that she'd never marry or fall in love I knew it was a given that she'd fall in love and marry. It seems like that was the blueprint for many romances back then. Whenever a woman said she wouldn't fall in love and/or she wouldn't marry, it was nothing but blatant and dull foreshadowing.
I also knew that Alison would only fall in love with the man that was hard to get. This was another weak plot device used back then with rich women who always got what they wanted. They were most attracted to the men they couldn't easily get.
The man in this case was Jim Thorne (George Brent). He was an engineer she wanted for her company because he designed an automatic transmission.
When she first saw him she was dressed down and hanging out in an area where working folks went to have a good time. She all but threw herself at Jim and he rebuffed her.
The next time she saw him was at her company. She didn't know he was the engineer she'd hired and he didn't know she was the company president. After they bumped into each other on the factory floor she arranged for him to come to her office to, no doubt, impress him. She had him brought into her large office while she busily attended to tasks and requests with the curt efficiency she always had. Then she invited him to her home to discuss his design in detail, a move she'd done with other male employees of hers.
Her invitations went like this:
She'd invite the man over under the pretense of business. The man would show up thinking it was business. She'd ring for vodka because vodka was the best way to lower the inhibitions of her male guest. Then she'd tell her guest to drop the shop talk and she'd begin to flirt. They'd spend an intimate night together and the next day at work it was business as usual. If the guy caught feelings she'd have him transferred to another location.
When she invited Jim to her home she couldn't break him, which you know meant she'd want him even more. The vodka didn't inebriate him and he was not moved by her flirting. As he put it, he was an engineer not a gigolo.
Now Alison was really perturbed. She had to have Jim. She almost fired his secretary because she thought she was Jim's sweetheart. Instead, she asked her manservant Pettigrew (Ferdinand Gottschalk), "What kind of woman do men like? How do they want them to act?"
To which he responded, "Well that depends. A man of Jim Thorne's type, for example, wants a woman that will look up to him. Gentle. Feminine. Someone he can protect. That's because Jim Thorne is strong and rather primitive perhaps. The dominant male my dear."
This is the point in the movie where things could've gone one of two ways:
1.) Alison stays true to herself and moves on from Jim.
2.) Alison contorts herself into the image that would please Jim.
I'm sure you can guess which way it went.
Alison devised a plan to be alone with Jim where she could show how vulnerable she was and how Jim could protect her and provide for her. It was embarrassing, and it worked. Alison made herself into a dependant, fragile weakling, and "strong Jim" did the manly thing and took the lead. As he said, he liked this version of her because he likes to be the one doing the hunting. They spent an intimate night together and the wonderful image I had of Alison crumbled.
Then, something interesting happened. The next day Jim came into her office with a marriage certificate for the two of them. Alison said she wasn't interested in marriage. At that rejection I rejoiced. Alison was back. It was all an act in order for her to make Jim a conquest. She had to play a role to get what she wanted. Now that she got him she could go back to her normal self.
Hooray!
Jim was crushed (snicker). "Then you don't love me?" he asked. Because intimacy, especially for women at that time, was only reserved for those you loved.
"Oh Jim you're being unreasonable," Alison retorted, which was a very appropriate answer. You mean she should love you just because you spent one night together?
He launched into a harangue saying, "I suppose you think you're too superior for marriage, and love, and children. The things that women were born for."
My man, why not just club her in the head and drag her back to your cave while you're at it. If that wasn't one of the most sexist things you could say it sure ranks up there.
And this was the protagonist!
He continued his diatribe, "Say who do you think you are? Are you so drunk with your own importance you think you can make your own rules?"
Meaning she's not following the rules of nature. The rules that state she should be serving a man and not the other way around.
"You've been playing this role so long you're starting to believe it," he continued.
What role is that you might ask. The role of a "man." Someone who could keep her feelings in check and be decisive, calculating, and efficient.
"You're a fake," he continued. "You've been playing this part so long you've begun to believe it. The great superwoman," he said derisively. "Cracking her whip and making these poor fools jump around. You and your new freedom. Why if you weren't so pathetic you'd be funny."
He said a few more words, tore up the marriage certificate, and stormed out.
Again, Alison could've gone one of two ways and they were virtually the same as before. And if you thought the sexism was done, hang on to your hats.
The next scene Alison was in a very important board meeting. Her staff was all in an uproar about credit and their inability to secure loans from any bank. They looked to Alison for guidance but in a way in which the writer was trying to force feed the viewer. It was as if they had to remind us what kind of leader Alison was. At the moment she was listless and afar. She wasn't paying any attention to the proceedings because Jim was on her mind. In meetings past her voice was the most commanding and decisive voice in the room. Exactly what you'd want from a leader, but not today.
Then she spoke.
"I can't go on!" she cried. "I don't belong here. This is no place for a woman. I know I've always thought I was different. I've always tried to beat life the way men beat it but I can't. I can't!
All this crazy frantic struggle, fighting with bankers, trying to save the business. What's it to me?! You do what you like with it, I don't care!" she bawled as she ran out of the room.
And like that, Alison was dead to me.
The sexism didn't stop there. She went to her office to cry. Pettigrew, seeing her all broken up over a man, said, "That's right my dear. Have a good cry. It's just what you need. Of course, I've been expecting this for some time, it's only natural. You couldn't go on as you had been, living on your nerves, running this big business by yourself." Then he drove home the point of the movie:
"You're just a woman after all."
With that reinforcement of her true nature she knew what she had to do. She went back to the board room to say she was sorry and then she made a call to a New York bank. She claimed she was going to the bank to secure a loan, but really she was going after Jim. She was willing to let her entire business collapse to be what Jim wanted her to be.
The movie concluded with her telling Jim that he could run the company. And when he asked what she'd do, she said she'd have nine babies. It was a chauvinist's dream.
I'm far from a feminist, but this movie had me reeling. I don't think I could cringe anymore. This was one of the most dated, didactic, preachy, moralistic movies about being a woman that I've ever seen. Cam Newton couldn't have written a more sexist movie. What's more, it's rated 6.7/10 on IMDb! Who the hell stuffed this ballot box?
What really sucks is that this movie had a chance to set itself apart and show something meaningful. Was Alison flawed? Sure she was, but not in the way she ran her business. Not in the way she handled all the potential suitors that were beating down her door. Not in her core personality. Instead of making a real statement about women and what they CAN be, Hollywood balked, yet again, and fed us straight hog slop about what women SHOULD be.
Free on YouTube.
The movie stars Ruth Chatterton as Alison Drake. She was the president of a car manufacturer and she was good. She was better than good. She knew the business inside and out and she was on top of everything, and a part of every important decision. In other words, she ran the company like "a man."
Alison was the complete package. She was beautiful, young, intelligent, rich, and powerful. She was perfect. Just about any man would be happy to have her as a wife, yet that's not what Hollywood led us to believe.
Those around her pejoratively called her a "superwoman," which I thought was a complement. She made the conscious decision to operate like "a man" in order to be effective as a business leader. This meant she didn't have time for romances, marriage, or falling in love. She treated her male employees like escorts. She would use them for a night of intimacy and then it was all business the next day at work.
In a way I could appreciate it. I'm not a fan of promiscuity, but I could appreciate that she wasn't in love with every charming, handsome guy she spent time with. In every 30's movie the woman fell in love with every man she was intimate with unless A.) she was doing it for the money or B.) she was an antagonist. Alison had money and she was the protagonist in this film which made her extremely atypical.
When she said that she'd never marry or fall in love I knew it was a given that she'd fall in love and marry. It seems like that was the blueprint for many romances back then. Whenever a woman said she wouldn't fall in love and/or she wouldn't marry, it was nothing but blatant and dull foreshadowing.
I also knew that Alison would only fall in love with the man that was hard to get. This was another weak plot device used back then with rich women who always got what they wanted. They were most attracted to the men they couldn't easily get.
The man in this case was Jim Thorne (George Brent). He was an engineer she wanted for her company because he designed an automatic transmission.
When she first saw him she was dressed down and hanging out in an area where working folks went to have a good time. She all but threw herself at Jim and he rebuffed her.
The next time she saw him was at her company. She didn't know he was the engineer she'd hired and he didn't know she was the company president. After they bumped into each other on the factory floor she arranged for him to come to her office to, no doubt, impress him. She had him brought into her large office while she busily attended to tasks and requests with the curt efficiency she always had. Then she invited him to her home to discuss his design in detail, a move she'd done with other male employees of hers.
Her invitations went like this:
She'd invite the man over under the pretense of business. The man would show up thinking it was business. She'd ring for vodka because vodka was the best way to lower the inhibitions of her male guest. Then she'd tell her guest to drop the shop talk and she'd begin to flirt. They'd spend an intimate night together and the next day at work it was business as usual. If the guy caught feelings she'd have him transferred to another location.
When she invited Jim to her home she couldn't break him, which you know meant she'd want him even more. The vodka didn't inebriate him and he was not moved by her flirting. As he put it, he was an engineer not a gigolo.
Now Alison was really perturbed. She had to have Jim. She almost fired his secretary because she thought she was Jim's sweetheart. Instead, she asked her manservant Pettigrew (Ferdinand Gottschalk), "What kind of woman do men like? How do they want them to act?"
To which he responded, "Well that depends. A man of Jim Thorne's type, for example, wants a woman that will look up to him. Gentle. Feminine. Someone he can protect. That's because Jim Thorne is strong and rather primitive perhaps. The dominant male my dear."
This is the point in the movie where things could've gone one of two ways:
1.) Alison stays true to herself and moves on from Jim.
2.) Alison contorts herself into the image that would please Jim.
I'm sure you can guess which way it went.
Alison devised a plan to be alone with Jim where she could show how vulnerable she was and how Jim could protect her and provide for her. It was embarrassing, and it worked. Alison made herself into a dependant, fragile weakling, and "strong Jim" did the manly thing and took the lead. As he said, he liked this version of her because he likes to be the one doing the hunting. They spent an intimate night together and the wonderful image I had of Alison crumbled.
Then, something interesting happened. The next day Jim came into her office with a marriage certificate for the two of them. Alison said she wasn't interested in marriage. At that rejection I rejoiced. Alison was back. It was all an act in order for her to make Jim a conquest. She had to play a role to get what she wanted. Now that she got him she could go back to her normal self.
Hooray!
Jim was crushed (snicker). "Then you don't love me?" he asked. Because intimacy, especially for women at that time, was only reserved for those you loved.
"Oh Jim you're being unreasonable," Alison retorted, which was a very appropriate answer. You mean she should love you just because you spent one night together?
He launched into a harangue saying, "I suppose you think you're too superior for marriage, and love, and children. The things that women were born for."
My man, why not just club her in the head and drag her back to your cave while you're at it. If that wasn't one of the most sexist things you could say it sure ranks up there.
And this was the protagonist!
He continued his diatribe, "Say who do you think you are? Are you so drunk with your own importance you think you can make your own rules?"
Meaning she's not following the rules of nature. The rules that state she should be serving a man and not the other way around.
"You've been playing this role so long you're starting to believe it," he continued.
What role is that you might ask. The role of a "man." Someone who could keep her feelings in check and be decisive, calculating, and efficient.
"You're a fake," he continued. "You've been playing this part so long you've begun to believe it. The great superwoman," he said derisively. "Cracking her whip and making these poor fools jump around. You and your new freedom. Why if you weren't so pathetic you'd be funny."
He said a few more words, tore up the marriage certificate, and stormed out.
Again, Alison could've gone one of two ways and they were virtually the same as before. And if you thought the sexism was done, hang on to your hats.
The next scene Alison was in a very important board meeting. Her staff was all in an uproar about credit and their inability to secure loans from any bank. They looked to Alison for guidance but in a way in which the writer was trying to force feed the viewer. It was as if they had to remind us what kind of leader Alison was. At the moment she was listless and afar. She wasn't paying any attention to the proceedings because Jim was on her mind. In meetings past her voice was the most commanding and decisive voice in the room. Exactly what you'd want from a leader, but not today.
Then she spoke.
"I can't go on!" she cried. "I don't belong here. This is no place for a woman. I know I've always thought I was different. I've always tried to beat life the way men beat it but I can't. I can't!
All this crazy frantic struggle, fighting with bankers, trying to save the business. What's it to me?! You do what you like with it, I don't care!" she bawled as she ran out of the room.
And like that, Alison was dead to me.
The sexism didn't stop there. She went to her office to cry. Pettigrew, seeing her all broken up over a man, said, "That's right my dear. Have a good cry. It's just what you need. Of course, I've been expecting this for some time, it's only natural. You couldn't go on as you had been, living on your nerves, running this big business by yourself." Then he drove home the point of the movie:
"You're just a woman after all."
With that reinforcement of her true nature she knew what she had to do. She went back to the board room to say she was sorry and then she made a call to a New York bank. She claimed she was going to the bank to secure a loan, but really she was going after Jim. She was willing to let her entire business collapse to be what Jim wanted her to be.
The movie concluded with her telling Jim that he could run the company. And when he asked what she'd do, she said she'd have nine babies. It was a chauvinist's dream.
I'm far from a feminist, but this movie had me reeling. I don't think I could cringe anymore. This was one of the most dated, didactic, preachy, moralistic movies about being a woman that I've ever seen. Cam Newton couldn't have written a more sexist movie. What's more, it's rated 6.7/10 on IMDb! Who the hell stuffed this ballot box?
What really sucks is that this movie had a chance to set itself apart and show something meaningful. Was Alison flawed? Sure she was, but not in the way she ran her business. Not in the way she handled all the potential suitors that were beating down her door. Not in her core personality. Instead of making a real statement about women and what they CAN be, Hollywood balked, yet again, and fed us straight hog slop about what women SHOULD be.
Free on YouTube.
The Huntress Gets Captured by The Game
wes-connors8 March 2008
Ruth Chatterton (as Alison Drake) is the successful president of "Drake Motors"; she runs a tight ship, and has a yen for good-looking men. In fact, she enjoys treating men the way they have always treated women; and, attractive new hires are invited to Ms. Chatterton's mansion for an evening of vodka and sex. When invitees get out of line, or expect more than a "one night stand", Chatterton has them transferred. The boss woman goes unsatisfied when evening "pick up" George Brent (as Jim Thorne) turns her down. When she discovers Mr. Brent is a new hire at her company, Chatterton again tries, and fails, to seduce him. Has Chatterton finally met her match?
"Female" looks most like a William A. Wellman film, but boasts three directors; and, here's how (more or less): The film's director was William Dieterle; then, he became ill. So, the film was directed (mostly) by Mr. Wellman. However, Jack Warner was unhappy with George Blackwood's performance (as Cooper). The studio ordered the scenes with Mr. Blackwood re-shot. Then, Michael Curtiz directed (only) the scenes with Blackwood's replacement, Johnny Mack Brown (as Cooper). Still, the completed film was to credit Wellman (rightly). But, Wellman and Warner Brothers terminated their relationship (unhappily). So, the studio credited Mr. Curtiz.
With whomever directing, Chatterton is terrific; sadly, her efforts are ruined by an ending which is almost repulsive - what this film does to Chatterton's character is criminal. Still, "Female" is well worth watching, mainly for Chatterton's great style, and performance. Brent (her off-screen husband, at the time) is at his very best, too. And, the supporting cast is great fun. For example, Ferdinand Gottschalk (as Pettigrew) amuses in the workplace; and, don't miss Rafaela Ottiano (as Della) getting a swat in the derrière! Note Ms. Ottiano was Greta Garbo's maid in "Grand Hotel" (1932); incidentally, Garbo used the alias "Harriet Brown" (Lois Wilson's character), and the soon divorced leading man George Brent, from this film. Small world.
****** Female (11/3/33) Michael Curtiz ~ Ruth Chatterton, George Brent, Johnny Mack Brown, Lois Wilson
"Female" looks most like a William A. Wellman film, but boasts three directors; and, here's how (more or less): The film's director was William Dieterle; then, he became ill. So, the film was directed (mostly) by Mr. Wellman. However, Jack Warner was unhappy with George Blackwood's performance (as Cooper). The studio ordered the scenes with Mr. Blackwood re-shot. Then, Michael Curtiz directed (only) the scenes with Blackwood's replacement, Johnny Mack Brown (as Cooper). Still, the completed film was to credit Wellman (rightly). But, Wellman and Warner Brothers terminated their relationship (unhappily). So, the studio credited Mr. Curtiz.
With whomever directing, Chatterton is terrific; sadly, her efforts are ruined by an ending which is almost repulsive - what this film does to Chatterton's character is criminal. Still, "Female" is well worth watching, mainly for Chatterton's great style, and performance. Brent (her off-screen husband, at the time) is at his very best, too. And, the supporting cast is great fun. For example, Ferdinand Gottschalk (as Pettigrew) amuses in the workplace; and, don't miss Rafaela Ottiano (as Della) getting a swat in the derrière! Note Ms. Ottiano was Greta Garbo's maid in "Grand Hotel" (1932); incidentally, Garbo used the alias "Harriet Brown" (Lois Wilson's character), and the soon divorced leading man George Brent, from this film. Small world.
****** Female (11/3/33) Michael Curtiz ~ Ruth Chatterton, George Brent, Johnny Mack Brown, Lois Wilson
Interesting film about a hard-nosed woman boss and the men in her life
SimonJack9 April 2020
There's one very significantly unique thing about "Female," but it's not what many viewers seem to think. This 1933 comedy drama is about what some call "roll reversal." While not very common before the mid-20th century, there have been examples of role reversals among men and women throughout American history. There were even other movies made about successful business women back then. By the late 20th century, of course, women had proved their mettle beyond a doubt in the business world. And, as movies have shown, some women could be as hard-nosed or hard as nails, as is Ruth Chatterton's Alison Drake in this film.
No -- what is especially unique about this film is that it portrays the hard-as-nails lady boss also as a predator. There haven't even been many films made that show such characters among male business mongrels. And, even before the 21st century, society hardly viewed adults who coerced others for sexual purposes as predators. In the past, that was referred to in other terms. Growing up in the mid-20th century, one often heard or read stories about Hollywood bosses who elicited "sexual favors" from actresses to enhance their film careers. More predator revelations have come in the 21st century - not only in the film industry, but in the news and related media fields as well.
This film has a fine cast, with Chatterton especially giving a very good performance. The most interesting character, who's role inclusion is never really made plain, is Pettigrew, played by Ferdinand Gottschalk. Perhaps he is meant to represent a discombobulated conscience or an alter ego for Alison Drake. The performances, though, of the young men in Drake's company who become her victims seem bland and not very real. Considering the time of the film, one would imagine them either bolting - leaving the scene, or jumping right in. The hesitancy of the young men seems to make awkward moments in the filming of the story.
The plot for this film might have continued with Drake going into old age and never marrying. Instead, it has her falling in love and eventually changing. George Brent plays Jim Thorne, the man Drake falls for. Thorne seems to represent the everyman in real life then who had ideas, products, inventions that they earnestly wanted to pursue. Many movies have been made based on such stories. Some men, as Thorne, place great stock in being able to get ahead. Where that clashes with Drake in this film, is where it starts to turn into a romance.
It's always tempting, it seems to me, to project one's modern sensibilities or modern mores onto stories of the past. When one does that, it often blurs the picture of the reality of the past that is being portrayed. The roles of gender over time have changed. And with them, the views and feelings of society. That will always be so. When this movie was made, the predominant objective of the vast majority of people - female and male - was to get married and raise a family.
So, it's understandable how this film would make a turn in that direction. Most, but not all comedy films of the period ended with romance fulfilled. And, that also says something about the prevalent understanding of the time, that real happiness didn't come from business or worldly success, but from love, companionship and family.
Still, at least one other reviewer has noted, this film could have been a different and more interesting story had Alison Drake not fallen in love, or not been able to win her man, and not changed her persona. That would have shown a very different ending. Alison Drake might have been a female version of Lionel Barrymore's Mr. Potter from "It's a Wonderful Life."
Hollywood and the movie industries of European countries made many films about gold diggers, gigolos, hookers, and high-class bordellos, especially before the Mid-20th century. But there seems to be something particularly unsavory about gigolos in the movies I've seen. And, when Alison Drake tries to make her young male employees into gigolos for a day or a week, they seem more pitiable and pathetic than those who ply the trade professionally.
This is an interesting film with a story that was much more unusual for its day than it probably is in modern times.
Here are some favorite lines of dialog.
Alison Drake, "Don't be absurd. You're being old-fashioned." Jim Thorne, "Is it old-fashioned to want to be decent?"
Jim Thorne, "I suppose you think you're too superior for marriage... and love... and children. The things that women were born for."
Jim Thorne, "Say, who do you think you are? Are you so drunk with your own importance you think you can make your own rules? Well, you're a fake. You've been playing this part so long, you've begun to believe it. The great super woman. Cracking her whip and making these poor fools jump around. You and your new freedom. Why, if you weren't so pathetic you'd be funny."
Jim Thorne, "But the laugh's on me. Offering a marriage license to a pick-up."
No -- what is especially unique about this film is that it portrays the hard-as-nails lady boss also as a predator. There haven't even been many films made that show such characters among male business mongrels. And, even before the 21st century, society hardly viewed adults who coerced others for sexual purposes as predators. In the past, that was referred to in other terms. Growing up in the mid-20th century, one often heard or read stories about Hollywood bosses who elicited "sexual favors" from actresses to enhance their film careers. More predator revelations have come in the 21st century - not only in the film industry, but in the news and related media fields as well.
This film has a fine cast, with Chatterton especially giving a very good performance. The most interesting character, who's role inclusion is never really made plain, is Pettigrew, played by Ferdinand Gottschalk. Perhaps he is meant to represent a discombobulated conscience or an alter ego for Alison Drake. The performances, though, of the young men in Drake's company who become her victims seem bland and not very real. Considering the time of the film, one would imagine them either bolting - leaving the scene, or jumping right in. The hesitancy of the young men seems to make awkward moments in the filming of the story.
The plot for this film might have continued with Drake going into old age and never marrying. Instead, it has her falling in love and eventually changing. George Brent plays Jim Thorne, the man Drake falls for. Thorne seems to represent the everyman in real life then who had ideas, products, inventions that they earnestly wanted to pursue. Many movies have been made based on such stories. Some men, as Thorne, place great stock in being able to get ahead. Where that clashes with Drake in this film, is where it starts to turn into a romance.
It's always tempting, it seems to me, to project one's modern sensibilities or modern mores onto stories of the past. When one does that, it often blurs the picture of the reality of the past that is being portrayed. The roles of gender over time have changed. And with them, the views and feelings of society. That will always be so. When this movie was made, the predominant objective of the vast majority of people - female and male - was to get married and raise a family.
So, it's understandable how this film would make a turn in that direction. Most, but not all comedy films of the period ended with romance fulfilled. And, that also says something about the prevalent understanding of the time, that real happiness didn't come from business or worldly success, but from love, companionship and family.
Still, at least one other reviewer has noted, this film could have been a different and more interesting story had Alison Drake not fallen in love, or not been able to win her man, and not changed her persona. That would have shown a very different ending. Alison Drake might have been a female version of Lionel Barrymore's Mr. Potter from "It's a Wonderful Life."
Hollywood and the movie industries of European countries made many films about gold diggers, gigolos, hookers, and high-class bordellos, especially before the Mid-20th century. But there seems to be something particularly unsavory about gigolos in the movies I've seen. And, when Alison Drake tries to make her young male employees into gigolos for a day or a week, they seem more pitiable and pathetic than those who ply the trade professionally.
This is an interesting film with a story that was much more unusual for its day than it probably is in modern times.
Here are some favorite lines of dialog.
Alison Drake, "Don't be absurd. You're being old-fashioned." Jim Thorne, "Is it old-fashioned to want to be decent?"
Jim Thorne, "I suppose you think you're too superior for marriage... and love... and children. The things that women were born for."
Jim Thorne, "Say, who do you think you are? Are you so drunk with your own importance you think you can make your own rules? Well, you're a fake. You've been playing this part so long, you've begun to believe it. The great super woman. Cracking her whip and making these poor fools jump around. You and your new freedom. Why, if you weren't so pathetic you'd be funny."
Jim Thorne, "But the laugh's on me. Offering a marriage license to a pick-up."
Is That a Gearshift in Your Pocket or Are You Just Happy to See Me?
evanston_dad2 December 2008
In "Female," Michael Curtiz's schizophrenic 1933 nothing, the lovely Ruth Chatterton plays the president of an auto manufacturing company who has put business and power above womanly advantages (which in this film means she'd rather be independent than be barefoot and pregnant). She has her way with just about every even moderately good looking man in the joint, inviting them over to her house for "dinner" and to discuss business, only to halt the shop talk mid-way through and throw a pillow suggestively on the floor while the camera discreetly fades to black. All of this changes when she meets George Brent, an engineer hired by the company who is completely immune to Chatterton's dubious charms. Once she realizes that Brent isn't buying what she's selling, she revamps her product, opting instead to act like a typical woman, which means asking Brent's help in starting fires and speaking in a high-pitched sing-song. By the end, she's decided to chuck the business and hand it over to Brent so that she can be his dutiful wife.
This film is absolutely absurd, even by 1933 standards, and you'll have to sit through about 40 feminist film seminars to wash the taste of it out of your mouth, but it's rather fun to see just how backwards it can possibly be. Chatterton is a likable actress and she's got a lot of spunk. The car manufacturing setting means that the screenwriter can create all sorts of double entrendes using car part lingo, and the whole thing's only about an hour long anyway, so it breezes right by.
Grade: B
This film is absolutely absurd, even by 1933 standards, and you'll have to sit through about 40 feminist film seminars to wash the taste of it out of your mouth, but it's rather fun to see just how backwards it can possibly be. Chatterton is a likable actress and she's got a lot of spunk. The car manufacturing setting means that the screenwriter can create all sorts of double entrendes using car part lingo, and the whole thing's only about an hour long anyway, so it breezes right by.
Grade: B
Refreshing pre-code film with a feminist twist
sdave759619 March 2010
Warning: Spoilers
"Female" released in 1933, offers up Ruth Chatterton as an aggressive and powerful CEO of an automobile company. Brave stuff in 1933. Chatterton plays Alison Drake...she is tough and demanding. Her underlings cower and jump to her barking commands. But when Alison sees a man she wants to bed, she invites them over to her home to go over "business." Silent star Johnny Mack Brown is one of her victims, among others. What is startling here is the film does not try to hide the fact that Alison is out for sex and nothing more! When the men get too close, she dismisses them. As Alison tells a friend "I treat men the same way they have treated women." Another man she tries to snare is gay -- or we assume so -- as when Alison asks him if he likes women, he says "not really." So she sends him off to art school in France! A CEO with a heart. But Alison meets her match with Jim, played by George Brent, who must be in just about every movie made at Warner Brothers during this time period. Jim is a hot-shot automobile designer she has lured away from a rival company. But Jim isn't so easy to snare, and doesn't fall into line as Alison demands. This drives her nuts, so she sets out to get him. Alas, the film then starts getting silly, with Alison basically deserting her CEO role to chase after the man she loves. Hey, it is 1933, after all, pre-code or not! Likely the studio knew that audiences of that era would only except a female CEO to a degree. Very clever, those studio bosses.
Absolutely awesome!
silent-1214 July 2002
I first read about this film in "Complicated Women" and was eager to see this pre-Code gender-reversal film. What a delight! Chatterton was fantastic, the art deco sets amazing and the costume design mouth-watering. Not to mention an intelligent, funny, and realistic screenplay in which the woman isn't the only one to compromise in the end. After seeing this I am on to more Ruth Chatterton films. I highly recommend this! 10 stars!
A guilty pleasure of sexual harassment-where the perpetrator wears pearls!
mark.waltz21 February 2013
Warning: Spoilers
I can't decide if this is so bad it's good, so dirty it's clean or so serious, it's funny. But whichever one of those this is, I can't deny, I still like it! "She", who must be obeyed, is Ruth Chatterton, the heiress to an automobile factory who is ruthless in the boardroom and calculating in the bedroom. She does one of three things with each lover she vodkas up after she's done with them-Sends one to her Montreal office to avoid future harassment (or perhaps a lawsuit!), gives another a bonus while ignoring them, and most positively, sends another off to Paris to continue his art education. (Now that's financial aid!) But each of these young men have one thing in common: they aren't willing to accept this one night stand from the other, mainly because this isn't allowed when it's a woman!
The aging Chatterton (she was 41 when this came out) is an odd choice to play this sex-crazed C.E.O. But she obviously is enjoying this hard-hearted working girl who declares "I'm not fond of sweeping. I'm not at all domestic". Of course, she's referring to being swept off her feet when answering an unwanted marriage proposal, but when he-man George Brent comes along, her typical games do not come off. He's wiser to her intentions, and doesn't mince words to let her down gently. Her aging right-hand man (Dudley Digges) sees right though her, and he knows that it is only a matter of time before the tables are turned.
To tell the truth, this isn't really a very good film, but as far as pre-code drama goes, it is certainly fun to study, and at only an hour in length, flies by. Chatterton is rather mannish in her demeanor and her actions, so her way of seduction is right on, as if never having been given feminine guidance. Of course, she knows she's a woman deep inside, so it comes off that she has been lying to herself for years, a predictable turn to take during a pre-feminist era. There's no middle ground here, even when the head of an automobile retail outlet (Douglas Dumbrille) offers to double each of their profits through their joining in marriage. She has to be in charge. What do you think the changes of that happening with macho minded Brent will be?
Art deco sets (including the outrageous location of an organ being played in her home) and a constant repeat of "Footlight Parade's" "Shanghai Lil" in the background (as seduction music), plus the use of the same swimming pool utilized for the "By a Waterfall" production number in that film. Delightful character performances by Ruth Donnelly (as a shy secretary being romanced by Digges), Rafaela Ottiano (the rather severe looking maid who all of a sudden breaks into "Shuffle Off to Buffalo") and Charley Grapewin (as a 14th Street drunk) are fun touches, while Lois Wilson has a nice small role as Chatterton's college chum who gets the earful of how this "female" lives her life.
The aging Chatterton (she was 41 when this came out) is an odd choice to play this sex-crazed C.E.O. But she obviously is enjoying this hard-hearted working girl who declares "I'm not fond of sweeping. I'm not at all domestic". Of course, she's referring to being swept off her feet when answering an unwanted marriage proposal, but when he-man George Brent comes along, her typical games do not come off. He's wiser to her intentions, and doesn't mince words to let her down gently. Her aging right-hand man (Dudley Digges) sees right though her, and he knows that it is only a matter of time before the tables are turned.
To tell the truth, this isn't really a very good film, but as far as pre-code drama goes, it is certainly fun to study, and at only an hour in length, flies by. Chatterton is rather mannish in her demeanor and her actions, so her way of seduction is right on, as if never having been given feminine guidance. Of course, she knows she's a woman deep inside, so it comes off that she has been lying to herself for years, a predictable turn to take during a pre-feminist era. There's no middle ground here, even when the head of an automobile retail outlet (Douglas Dumbrille) offers to double each of their profits through their joining in marriage. She has to be in charge. What do you think the changes of that happening with macho minded Brent will be?
Art deco sets (including the outrageous location of an organ being played in her home) and a constant repeat of "Footlight Parade's" "Shanghai Lil" in the background (as seduction music), plus the use of the same swimming pool utilized for the "By a Waterfall" production number in that film. Delightful character performances by Ruth Donnelly (as a shy secretary being romanced by Digges), Rafaela Ottiano (the rather severe looking maid who all of a sudden breaks into "Shuffle Off to Buffalo") and Charley Grapewin (as a 14th Street drunk) are fun touches, while Lois Wilson has a nice small role as Chatterton's college chum who gets the earful of how this "female" lives her life.
What Women Want
manoftheoldies4 October 2013
There, somebody had to say it. This movie is about what women want.
Most of my fellow reviewers on here, especially a few who make copious amounts of IMDb posts, are sounding more "wooden" than usual with regards to this movie.
This film has been described as a lot of things, but I have yet to see someone say it is all about What Women Want (no relation to the Mel Gibson movie). Digging far deeper than its comedy vehicle suggests, it no doubt explores the inner fantasies of many women in 1933, which still hold true for many today. Some just won't admit it as doing so would contradict their social/political views.
Those who have certain cultural expectations either relating to yesteryear's order of films, or to present day, will most likely be sorely disappointed in this movie. It will hit them on the head like a ton of bricks. This movie is truly one of a kind. Not to be missed!!
I gave it a 7/10, which seems like a high score, but actually falls in the middle of my bell curve for about 2000 different older movies which I have collected thus far. I rarely ever score 10/10, and many classic-era B movies get a 5/10 to 7/10 from me.
Most of my fellow reviewers on here, especially a few who make copious amounts of IMDb posts, are sounding more "wooden" than usual with regards to this movie.
This film has been described as a lot of things, but I have yet to see someone say it is all about What Women Want (no relation to the Mel Gibson movie). Digging far deeper than its comedy vehicle suggests, it no doubt explores the inner fantasies of many women in 1933, which still hold true for many today. Some just won't admit it as doing so would contradict their social/political views.
Those who have certain cultural expectations either relating to yesteryear's order of films, or to present day, will most likely be sorely disappointed in this movie. It will hit them on the head like a ton of bricks. This movie is truly one of a kind. Not to be missed!!
I gave it a 7/10, which seems like a high score, but actually falls in the middle of my bell curve for about 2000 different older movies which I have collected thus far. I rarely ever score 10/10, and many classic-era B movies get a 5/10 to 7/10 from me.
female
mossgrymk19 March 2024
The previous reviewer, view and review, pretty much summed up my feelings on this dreary, sexist exercise but I want to be on record as loathing this thing, and to do that I need 600 characters, so here are some random thoughts:
1) I'm always struck when a pre code film like this one pushes the sex envelope but fits quite neatly into the sexist one.
2) You can talk about your gangsters, juvenile delinquents, Nazis and heartless plutocrats but when it comes to durable, long lasting and reliable villains in 1930s and 40s Hollywood nothing quite beats the Powerful Unmarried Working Woman. She is, invariably, killed off, slapped around, or, as here, humiliated (i.e the film's single most nauseating scene where Ms. Drake breaks down and admits that she cannot run her business the way a man can). It wasn't until Katherine Hepburn kicked in the chauvinist doors a bit in "Woman Of The Year" that things began very tentatively to change.
3) In the film's final scene George Brent tells Ruth Chatterton he wants nine kids and she smiles, acquiescently. In real life they had none. And were divorced after two years. Something comforting in that.
4) Some nice shots of the Frank Lloyd Wright house in the Hollywood Hills. That and Ms. Chatterton's smile are the only things that save this abomination from a 3 rating. Give it a C minus.
1) I'm always struck when a pre code film like this one pushes the sex envelope but fits quite neatly into the sexist one.
2) You can talk about your gangsters, juvenile delinquents, Nazis and heartless plutocrats but when it comes to durable, long lasting and reliable villains in 1930s and 40s Hollywood nothing quite beats the Powerful Unmarried Working Woman. She is, invariably, killed off, slapped around, or, as here, humiliated (i.e the film's single most nauseating scene where Ms. Drake breaks down and admits that she cannot run her business the way a man can). It wasn't until Katherine Hepburn kicked in the chauvinist doors a bit in "Woman Of The Year" that things began very tentatively to change.
3) In the film's final scene George Brent tells Ruth Chatterton he wants nine kids and she smiles, acquiescently. In real life they had none. And were divorced after two years. Something comforting in that.
4) Some nice shots of the Frank Lloyd Wright house in the Hollywood Hills. That and Ms. Chatterton's smile are the only things that save this abomination from a 3 rating. Give it a C minus.
Female President of an Automobile Company!
rgraham-314 May 2003
This is a wonderful movie! The Art Deco sets are great - especially Miss Drake's house. (High up in the entry hall there is a balcony with a live organist!). Here are some facts: The assembly line for the "Drake" automobile is actually footage of the assembly line for the 1932 Plymouth. That beautiful town car she travels in is a Cord L-29 (as it pulls away listen to that beautiful whine of the front-wheel-drive transmission). George Brent drive a 1929 Packard. (Guess my obsession!)
Female raciness
TheLittleSongbird26 March 2020
It is a shame that Ruth Chatterton is not more widely known today, despite gaining appreciation overtime, or didn't have a bigger career. She had the presence and appeal to have one and make more films. Have liked a lot of what Michael Curtiz has done, cannot rave about 'Casablanca', 'The Adventures of Robin Hood' and 'Mildred Pierce' especially enough. Do like many films from the 30s and a lot of pre-code content has been known to amaze me.
Was not sure about the premise at first and the title wasn't the most interesting one in the world, with the worry that it would be distasteful, but Chatterton and Curtiz convinced me enough to see 'Female'. It turned out to be much better than expected, gets away with a lot and isn't distasteful. Though in my view the first half is better than the second, the second is still very watchable despite the ending being disappointing but the first half is more inspired and entertaining.
'Female' is beautifully made, absolutely loved the production values. Very elegantly and stylishly shot with gorgeous art direction and costuming. Curtiz, assisted too by an uncredited William A. Wellman, directs skillfully as usual. The script is snappy and witty, the racier lines even sparkling. Was really amazed by how much the film gets away with. The first half of the story is on the silly side but it is also always engaging, surprisingly tough as nails and enormously entertaining to watch.
Chatterton gives a performance full of spunk and charm, her character could have potentially annoyed but she makes the character interesting and fun to watch. George Brent doesn't have as interesting a character but he provides some nicely subtle male lead support, with some nice chemistry with Chatterton (didn't think he was dreary at all). Johnny Mack Brown is amusing, and the seduction scene is a highlight.
The pace does slacken a bit in the second half and the material doesn't feel as inspired.
Biggest problem for me was the ending, very forced, with a character change that makes no sense at all, and too much of a rushed cop-out. Really do not like endings like that and have noticed that a lot in pre-code films and melodramas recently.
Overall, entertaining with a great first half but uneven second half. 7/10
Was not sure about the premise at first and the title wasn't the most interesting one in the world, with the worry that it would be distasteful, but Chatterton and Curtiz convinced me enough to see 'Female'. It turned out to be much better than expected, gets away with a lot and isn't distasteful. Though in my view the first half is better than the second, the second is still very watchable despite the ending being disappointing but the first half is more inspired and entertaining.
'Female' is beautifully made, absolutely loved the production values. Very elegantly and stylishly shot with gorgeous art direction and costuming. Curtiz, assisted too by an uncredited William A. Wellman, directs skillfully as usual. The script is snappy and witty, the racier lines even sparkling. Was really amazed by how much the film gets away with. The first half of the story is on the silly side but it is also always engaging, surprisingly tough as nails and enormously entertaining to watch.
Chatterton gives a performance full of spunk and charm, her character could have potentially annoyed but she makes the character interesting and fun to watch. George Brent doesn't have as interesting a character but he provides some nicely subtle male lead support, with some nice chemistry with Chatterton (didn't think he was dreary at all). Johnny Mack Brown is amusing, and the seduction scene is a highlight.
The pace does slacken a bit in the second half and the material doesn't feel as inspired.
Biggest problem for me was the ending, very forced, with a character change that makes no sense at all, and too much of a rushed cop-out. Really do not like endings like that and have noticed that a lot in pre-code films and melodramas recently.
Overall, entertaining with a great first half but uneven second half. 7/10
Early Thirties Flick that is Interesting though Flawed
atlasmb4 October 2013
A film titled "Female" is obviously about more than one woman. It is about all women; the nature of women.
We are introduced to Allison Drake, head of Drake Motor Company, who wields power with authority and a swift precision. As it turns out, she is a female version of the prototypically corrupt male boss. She uses her power to seduce those under her authority. She surrounds herself with attractive men and beds them routinely. Afterwards, she shrugs them off like used toys. A man playing this role would be despised, and so should she be. But it is a novel reversal of roles, so it is interesting.
However, Allison laments that she has never found a real man. If she could only find a man who had the strength to stand up to her, she might actually be able to fall in love. Cue the new male employee, Jim Thorne, a gun-shooting, pipe-smoking heman who she meets accidentally outside the company. She is intrigued. He puts her in her place. When she finds that Jim is an employee of her company, Allison puts the usual machinations in motion--dinner for two at her house (in a library replete with hunting trophies), a shaker of vodka, throw pillows at the ready. Jim, of course, remains all business, confusing Allison. The remainder of the plot is rather predictable, except for the disappointing ending.
Released in 1933, this is a pre-Code production with the usual suggestions of nudity. It also features some amazing art deco sets and some beautifully sexy gowns.
Besides the ending, the film's only failure for me was the casting of George Brent as the heman. Someone along the lines of Clark Gable could have portrayed Jim as he was meant to be.
In the end, this film is interesting for its depictions of its era, including the roles of both genders in business and in society.
We are introduced to Allison Drake, head of Drake Motor Company, who wields power with authority and a swift precision. As it turns out, she is a female version of the prototypically corrupt male boss. She uses her power to seduce those under her authority. She surrounds herself with attractive men and beds them routinely. Afterwards, she shrugs them off like used toys. A man playing this role would be despised, and so should she be. But it is a novel reversal of roles, so it is interesting.
However, Allison laments that she has never found a real man. If she could only find a man who had the strength to stand up to her, she might actually be able to fall in love. Cue the new male employee, Jim Thorne, a gun-shooting, pipe-smoking heman who she meets accidentally outside the company. She is intrigued. He puts her in her place. When she finds that Jim is an employee of her company, Allison puts the usual machinations in motion--dinner for two at her house (in a library replete with hunting trophies), a shaker of vodka, throw pillows at the ready. Jim, of course, remains all business, confusing Allison. The remainder of the plot is rather predictable, except for the disappointing ending.
Released in 1933, this is a pre-Code production with the usual suggestions of nudity. It also features some amazing art deco sets and some beautifully sexy gowns.
Besides the ending, the film's only failure for me was the casting of George Brent as the heman. Someone along the lines of Clark Gable could have portrayed Jim as he was meant to be.
In the end, this film is interesting for its depictions of its era, including the roles of both genders in business and in society.
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