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Call Her Savage (1932)

TV-PG | | Drama | 27 November 1932 (USA)
Sexy Texas gal storms her way through life, brawling and boozing until her luck runs out, forcing her to learn the errors of her ways.

Writers:

(screenplay) (as Edwin Burke), (from the novel by)
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Cast

Complete credited cast:
...
...
...
Sunny De Lane
...
Lawrence Crosby
...
Ruth Springer
...
Ronasa
...
Pete Springer
...
Jay Randall
...
Silas Jennings
...
Old Man in Wagon Train
...
Molly
...
Mort
Dorothy Peterson ...
Silas' Wife
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Storyline

Sexy Texas gal storms her way through life, brawling and boozing until her luck runs out, forcing her to learn the errors of her ways. Written by Ed Lorusso

Plot Summary | Add Synopsis

Taglines:

SHE'S BACK...and greater than ever See more »

Genres:

Drama

Certificate:

TV-PG | See all certifications »
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Details

Country:

Language:

Release Date:

27 November 1932 (USA)  »

Also Known As:

They Call Her Savage  »

Box Office

Budget:

$489,652 (estimated)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

(FMC Library Print) (copyright length)

Sound Mix:

(Western Electric System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

According to the documentary The Celluloid Closet (1995) (based on Vito Russo's book of the same name), this was the first Hollywood movie to depict a gay cabaret. See more »

Goofs

After Nasa is attacked (and impregnated) by Larry Crosby, the next title card says "One Month Later in New Orleans". Even allowing her baby to be a healthy preemie, the title card is wrong biologically and in keeping with the story. See more »

Quotes

Pete Springer: [having seen Nasa and Moonglow] Why were you whipping him?
Nasa Springer: I was practicing in case I ever get married.
See more »

Connections

Featured in Vito (2011) See more »

Soundtracks

Oh! Susanna
(1848) (uncredited)
Written by Stephen Foster
In the score during the wagon train sequence
See more »

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User Reviews

 
Call Me Amazed!
4 March 2005 | by (Northern KY, USA) – See all my reviews

In the Golden Age of Hollywood, amid the storied eons of the great glamor stars, you had the Stanwyckian tough cookies, the Rogers-like high society sophisticates, and the Garboish fragile beauties - but no one was quite like the Jazz Age wild child Clara Bow. When she made an entrance, she burst onto the screen like a whirlwind and didn't look back, positively exuding earthy vitality. That she didn't have a significant sound career is truly unfortunate, for one's imagination plays happily with the notion of Clara bawdily defying the frigid censors well into the culturally stolid war years. Though we didn't get much in that way, CALL HER SAVAGE is fortunately a picture worth a thousand words.

Okay, the first ten minutes make it look like a dusty old western, but STAY WITH IT...otherwise you'll be missing one of the boldest and brightest pre-Code items this side of CONVENTION CITY. When Clara first appears on horseback, the wind blowing through her hair, you will be transfixed for the remainder of the show. The narrative opens in Texas, with a rich landowner punishing his tomboy daughter Nasa (Clara) by sending her off to Chicago for charm school. He also has latent motivation in wanting to marry her off to the man of his choice. Once in the big city, Nasa becomes known as "Dynamite" in the tabloids for her volatility and elopes with a slippery charmer instead of her intended beau. He strays, so to speak, as soon as their honeymoon, leading Clara to take her leave. From here, it's a road to ruin and back again for the young lady, with a startling secret in store for her at the climax. A free-form blend of western, romantic comedy, tragedy, and everything in between, CALL HER SAVAGE takes (sometimes jarring) turns from comedy to pathos, creating an absolutely unique experience.

I can only imagine how Joseph Breen and his ilk must have gnashed their teeth over this film - virtually every scene seems to have been calculated to drive them up the wall. For all its brazenness, it's surprising that CALL HER SAVAGE was a Fox production, for one would expect it more from Warner Bros. We first see Clara in a tight-fitting white shirt, enthusiastically whipping a snake - then a handsome ranch hand when he laughs at her! Clara then tears off a portion of her shirt to tend to his wounds (my, hasn't that one been appropriated time and time again!). Further mix in race relations, prostitution, and an attempted rape of Nasa by her STD-ravaged husband ("Don't get up" she cautions. "I GET UP every afternoon!" he answers). And don't miss the detour to cinema's very first gay bar where the waiters sing about sailors in pajamas (!). On a seedier level, there's a brief but unsavory taste of pederasty when a drunken old fool approaches a little girl.

But it's Clara who makes this movie. The early scenes of her scantily clad and writhing on the grass have a palpable erotic charge that no black and white vintage can dilute (remember, this was the woman who sat through a stage performance of Dracula dressed in a fur coat - and little else). I really hope that Clara is well remembered today, for she was TRULY a star and incredible personality. A lively, vital, and eternally beautiful free spirit. But there was always a touch of sadness in those big, childlike eyes, wasn't there...


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